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UK to ban the resale of tickets for profit to protect fans

Picture this: your favourite artist announces a tour, you queue online, refresh non-stop… and tickets vanish in minutes. Moments later, the same tickets appear on resale sites at two or three times the price.

This loop has defined modern ticket buying, leaving fans feeling outplayed by bots, brokers and opaque platforms. Now the UK government has decided this “normal” has gone too far. It plans to ban reselling tickets above face value across concerts, festivals, theatre, comedy and sport, drawing a line between fair exchange and profiteering.

For a community like ours - built around club nights, raves and festivals - this is not just legal fine print. It reshapes how demand, access and fairness are shared in the live music ecosystem. In what follows, we outline the new rules, what research suggests might happen, and why it matters so much for electronic dance music.

ticket-resellers-resale-uk-united-kingdom-service-fees.jpg

What exactly is changing?

The UK government will ban ticket resale above face value. Tickets can only be resold at their original price plus capped fees, closing the door on profit-driven flipping while still letting fans pass on tickets they cannot use.

In practice, you will be allowed to resell if you cannot attend, but not at a profit, and platforms will face limits on service fees so they cannot hide extra margin inside “charges”. Resale sites must monitor listings, enforce price caps and respect original purchase limits, or face serious penalties.

These measures follow the “Putting Fans First” Programme, which showed typical mark-ups above 50%, with some tickets sold for many times their face value. In a multi-billion-pound live sector, touting has effectively become a parallel industry - and this law aims to bring it back under control.

Why the UK moved now: pressure, data and outrage

For years, artists and fans have warned that industrial-scale touting was out of control. Recently, that pressure became impossible to ignore, with major acts like Coldplay, Dua Lipa and Radiohead urging the government to act.

Media and regulators added hard evidence: extreme resale prices, bots harvesting large batches of tickets, and platforms where most listings carried heavy mark-ups. The system increasingly looked like it rewarded speculation rather than music and community.

Politically, it was no longer defensible. Fans saw “sold out” messages, then watched tickets reappear moments later at inflated prices. At that point, it stopped looking like a fair market and started to feel like a rigged game. And that is why the UK chose to move now.

What economics and research say about ticket resale

Economists have studied ticket resale for decades, and their conclusions are mixed. In theory, resale can improve “allocative efficiency”: tickets move from people who value them less to those who value them more, even at higher prices.

In practice, three problems dominate. First, fans often pay more overall because brokers compete with them in the primary sale and then add substantial mark-ups and fees. Second, potential benefits are eaten up by transaction costs - platform fees, time spent searching and the risk of fraud. Third, artists, venues and crews rarely share in the extra value created when demand is high.

So resale is less a question of “good or bad” and more one of who captures the gains and who carries the risk. The UK’s decision clearly prioritises access and fairness for fans, and stable income for the live ecosystem, over speculative profit for intermediaries.

How could this reshape the electronic dance music ecosystem?

In electronic music, the change could be felt most around major headline shows and festivals. Until now, missing the first ticket drop often meant choosing between paying triple on resale or staying home. Removing profit from resale reduces the incentive for bots and brokers to hoover up allocations, keeps more tickets at face value, and lowers the “panic premium” of last-minute buying. For younger or lower-income ravers, that can determine whether key events are even possible.

For underground events and mid-tier artists, the effect is more indirect but still important. If fans start to trust the overall ticket system more, they may feel safer buying advance tickets for smaller events, and more willing to take chances on new names and local crews instead of saving everything for a single mega-headline show.

At the same time, power shifts slightly towards artists and promoters. With less money to be made in the secondary market, primary pricing becomes more strategic. We are likely to see clearer tiered pricing, official fan-to-fan exchanges at face value and more community-driven models like mailing list drops, Discord allocations or label-only presales, where value flows back into the culture that creates demand.

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The risks and unintended consequences we must watch

Every intervention in a market changes behaviour, and this one is no exception. One clear risk is the growth of black and grey markets. If regulated platforms cannot host profitable resales, some activity may shift into encrypted chats, fake “fan groups” on social media or old-school street touting, where fraud risk and lack of protection hit fans hardest. In EDM scenes that already rely on informal networks to swap tickets, education around safe resale and official face-value exchanges will be critical.

A second risk is that dynamic pricing becomes the new villain. If profit is limited after the first sale, some promoters may attempt to capture more value upfront through demand-based pricing or “platinum” tiers. We have already seen how this triggered backlash in other genres; applied to blockbuster techno or crossover EDM tours, it could simply move the pain earlier in the process.

Finally, tighter rules may create extra pressure for smaller promoters. Secondary markets, despite their problems, sometimes help fill rooms through last-minute bargains. If that safety valve disappears or becomes too complex, smaller players may carry more unsold-ticket risk and feel forced to play safer with line-ups and capacities. For a culture built on risk, experimentation and tiny rooms, we must ensure that well-intended regulation does not end up favouring only big, risk-averse operators.

How the scene can respond: from complaint to design

For dancetoday, the deeper question is not simply “Is this law good or bad?”, but rather “How do we design a fairer ecosystem around it?”. If we accept that the rules of the game are changing, then the real power lies in how our community chooses to adapt.

Promoters and clubs can move from frustration to ownership of the ticket journey. By creating official fan-to-fan resale channels at face value plus modest, transparent fees - ideally integrated into their existing ticket providers or their own platforms - they can keep resale visible, reduce fraud and stay directly connected to the people on their dancefloors.

Artists and labels can use their influence to push for honest pricing and real limits on extreme dynamic tiers that quietly squeeze out loyal fans. When big names publicly stand for fair access, it becomes harder for the industry to hide behind vague “market forces”.

Communities and platforms like dancetoday can act as connectors and educators. We can explain what safe resale looks like, highlight events that commit to fair ticketing, and publicly back promoters who treat dancefloors as communities, not just cash machines. In our own Discord server, a dedicated channel already lets members buy and sell tickets at face value - or below - with zero tolerance for profiteering. The community itself helps enforce this norm, flagging any exploitative behaviour so it can be resolved quickly.

Ultimately, markets are designed and governed, not natural laws. The UK decision opens a window in which fans, artists and promoters can push for a system that reflects our core values: access, connection and respect. The real test is whether we simply complain about the old model or actively help shape the new one.

Amazing_HOLO_show_at_Tomorrowland_2023_with_our_Winches_and_Eric_Prydz_image3_560f6428-2317-4113-8693-35e2008be9ad.png

Conclusion: fans back at the centre?

Banning profit on ticket resale will not fix everything. Queues will still crash, big shows will still sell out quickly, and bots will not vanish overnight. But symbolically and practically, this is a meaningful shift. It says that fans are not just numbers to extract money from, but the heart of the live music economy.

For the electronic dance music scene, this is also an invitation. It is a chance to rethink how we sell access to shared experiences, how we shape ticket-buying, and how we protect the trust that keeps people coming back to dark rooms, bright lights and heavy sound. At dancetoday, this aligns with what we stand for: sustainable growth of electronic music culture, fair treatment of artists and justice for the people who keep dancefloors alive.

Now we want to hear from you. Will banning profit on resale make it easier or harder to experience the shows you love? How should our scene adapt ticketing so the next generation of ravers does not inherit the same frustrations? The future of fair ticketing will not be written only in parliament; it will be written in how our community chooses to respond, organise and hold itself to higher standards.

References and further reading

UK Government – “Putting fans first: consultation on the resale of live events tickets” (DCMS / DBT, updated 19 Nov 2025) https://www.gov.uk/government/consultations/putting-fans-first-consultation-on-the-resale-of-live-events-tickets/putting-fans-first-consultation-on-the-resale-of-live-events-tickets-html GOV.UK
UK Government – “Government response to the consultation on the resale of live events tickets” (Nov 2025) https://www.gov.uk/government/consultations/putting-fans-first-consultation-on-the-resale-of-live-events-tickets/outcome/government-response-to-the-consultation-on-the-resale-of-live-events-tickets GOV.UK+1
The Guardian – “Reselling tickets for profit to be outlawed in UK government crackdown” (17 Nov 2025) https://www.theguardian.com/money/2025/nov/17/reselling-tickets-for-profit-to-be-outlawed-in-uk-government-crackdown The Guardian
BBC News – “Reselling tickets above face value to be banned by government” (18 Nov 2025) https://nz.news.yahoo.com/reselling-tickets-above-face-value-212004190.html Yahoo News
Resident Advisor – “UK to outlaw reselling tickets for profit” (18 Nov 2025) https://ra.co/news/84025 RA+1
Pascal Courty – “Some Economics of Ticket Resale” (Journal of Economic Perspectives, 2003) https://www.aeaweb.org/articles?id=10.1257/089533003765888449 American Economic Association
Phillip Leslie & Alan Sorensen – “Resale and Rent-Seeking: An Application to Ticket Markets” (Review of Economic Studies, 2014) https://academic.oup.com/restud/article-abstract/81/1/266/1730966 OUP Academic+1
Matthew J. Parlow – “The Law and Economics of Ticket Scalping” (Wayne Law Review, 2023) https://ssrn.com/abstract=4324594

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

1d:T1158f,

Το Ηνωμένο Βασίλειο απαγορεύει την κερδοσκοπική μεταπώληση εισιτηρίων για να προστατεύσει τους fans

Φαντάσου το εξής: ο αγαπημένος σου καλλιτέχνης ανακοινώνει tour, βάζεις ξυπνητήρι, μπαίνεις μισοκοιμισμένος στην online ουρά, κάνεις refresh σαν τρελός… και μέσα σε λίγα λεπτά, όλα έχουν γίνει sold out. Μετά, σχεδόν σαν κακό αστείο, ανοίγεις ένα secondary resale site και βλέπεις τα ίδια εισιτήρια στη λίστα σε τιμή τρεις φορές πάνω από την αρχική.

Για χρόνια, αυτός ο εκνευριστικός κύκλος ήταν η «κανονικότητα» στο σύγχρονο αγορά εισιτηρίων - μία “τελετουργία” που άφηνε τους fans να νιώθουν ότι τους κερδίζουν τα bots, οι brokers και οι αδιαφανείς πλατφόρμες. Πλέον, όμως, η κυβέρνηση του Ηνωμένου Βασιλείου αποφάσισε ότι αυτή η «κανονικότητα» έχει ξεπεράσει τα όρια. Σχεδιάζει να καταστήσει παράνομη τη μεταπώληση εισιτηρίων πάνω από την ονομαστική τους αξία, σε συναυλίες, φεστιβάλ, θέατρο, κωμωδία και αθλητισμό, χαράζοντας μια καθαρή γραμμή ανάμεσα στη δίκαιη ανταλλαγή και την αισχροκέρδεια.

Για μια κοινότητα όπως η δική μας - χτισμένη γύρω από βραδιές σε clubs, raves και φεστιβάλ - αυτό δεν είναι απλώς μια τεχνική ρύθμιση στα «ψιλά γράμματα» του ticketing. Είναι μια δομική αλλαγή στο πώς κατανέμονται η ζήτηση, η πρόσβαση και η δικαιοσύνη μέσα στο οικοσύστημα της ζωντανής μουσικής.

Έτσι, σε αυτό το άρθρο θα αναλύσουμε τι ακριβώς λένε οι νέοι κανόνες, θα διερευνήσουμε τι λέει η οικονομική έρευνα για το τι μπορεί να ακολουθήσει και, κυρίως, θα εξετάσουμε γιατί όλα αυτά έχουν τόσο μεγάλη σημασία ειδικά για τον κόσμο της ηλεκτρονικής μουσικής.

ticket-resellers-resale-uk-united-kingdom-service-fees.jpg

Τι αλλάζει στην πράξη;

Η κυβέρνηση του Ηνωμένου Βασιλείου έχει πλέον επιβεβαιώσει την πρόθεσή της να απαγορεύσει τη μεταπώληση εισιτηρίων πάνω από την ονομαστική τους τιμή, αναδιαμορφώνοντας τους «κανόνες του παιχνιδιού» για όποιον αγοράζει ή πουλά εισιτήρια. Με το νέο πλαίσιο, τα εισιτήρια θα μπορούν να μεταπωλούνται μόνο στην αρχική τους τιμή, συν αυστηρά περιορισμένες και ανώτατες χρεώσεις, κλείνοντας την πόρτα στη μεταπώληση με σκοπό το κέρδος, ενώ ταυτόχρονα επιτρέπει στους πραγματικούς fans να μεταπωλούν εισιτήρια που δεν μπορούν πλέον να χρησιμοποιήσουν.

Τι σημαίνει αυτό πρακτικά;
Πρώτον, η μεταπώληση πάνω από την ονομαστική τους αξία καθίσταται παράνομη. Θα μπορείς ακόμη να μεταπωλήσεις το εισιτήριό σου αν δεν μπορείς να πας, αλλά δεν θα επιτρέπεται να βγάλεις κέρδος από αυτό. Παράλληλα, τα service fees θα μπουν υπό ανώτατο όριο (fee cap), πράγμα που σημαίνει ότι οι πλατφόρμες δεν θα μπορούν πλέον να αποκομίζουν επιπλέον κέρδη από διογκωμένες «χρεώσεις» ως τρόπο παράκαμψης του ορίου τιμής.

Επιπλέον, οι πλατφόρμες μεταπώλησης αποκτούν σαφείς νομικές υποχρεώσεις. Τα marketplaces θα είναι υποχρεωμένα να παρακολουθούν τις καταχωρίσεις, να εφαρμόζουν τα νέα όρια τιμών και να αντιμετωπίζουν πιθανές βαριές κυρώσεις – συνδεδεμένες με μερίδιο του παγκόσμιου κύκλου εργασιών τους – αν δεν συμμορφώνονται. Την ίδια στιγμή, τα ποσοτικά όρια θα αντικατοπτρίζουν τους αρχικούς κανόνες αγοράς: εάν η κύρια πώληση επέτρεπε μέγιστο αριθμό τεσσάρων εισιτηρίων ανά άτομο, τότε δεν θα επιτρέπεται να μεταπωλήσετε νόμιμα περισσότερα από τέσσερα για το συγκεκριμένο show. Αυτό στοχεύει άμεσα στις μεταπωλήσεις βιομηχανικής κλίμακας που βασίζεται σε μαζικές αγορές.

Το κρίσιμο σημείο είναι ότι αυτά τα μέτρα δεν εμφανίζονται από το πουθενά. Ακολουθούν μια μακρά διαβούλευση στο πλαίσιο του προγράμματος “Putting Fans First”, κατά την οποία η ανάλυση της κυβέρνησης έδειξε ότι οι τυπικές προσαυξήσεις (mark-ups) σε μεγάλες πλατφόρμες μεταπώλησης ήταν συχνά πάνω από 50%, ενώ ορισμένα εισιτήρια μεταπωλούνταν σε τιμές μέχρι και έξι φορές πάνω από την αρχική τους τιμή! Αν το δούμε σε φόντο ενός τομέα ζωντανής μουσικής που το 2023 αποτιμήθηκε σε πάνω από 6 δισεκατομμύρια λίρες - με ένα gig να γίνεται περίπου κάθε τέσσερα λεπτά στο Ηνωμένο Βασίλειο - γίνεται ξεκάθαρο ότι η μεταπώληση εισιτηρίων δεν είναι απλώς ένα «side hustle» που λειτουργεί στο περιθώριο. Έχει εξελιχθεί σε μία παράλληλη βιομηχανία, και αυτή η νομοθεσία είναι μια άμεση προσπάθεια να επανέλθει αυτός ο «σκιώδης» κόσμος υπό έλεγχο.

Γιατί το Ηνωμένο Βασίλειο κινήθηκε τώρα: πιέσεις, δεδομένα και αγανάκτηση

Καλλιτέχνες και fans μιλάνε γι’ αυτό το πρόβλημα εδώ και χρόνια, αλλά πρόσφατα οι πιέσεις έφτασαν σε σημείο που πλέον δεν μπορούσαν να αγνοηθούν. Δεκάδες μεγάλα acts, όπως οι Coldplay, η Dua Lipa και οι Radiohead, κάλεσαν δημόσια την κυβέρνηση να τιμήσει τη δέσμευση του μανιφέστου της και να βάλει τέλος στο βιομηχανικής κλίμακας αισχοκερδής μεταπώλησης εισιτηρίων.

Ταυτόχρονα, δημοσιογραφικές έρευνες άρχισαν να σχηματίζουν μια σχεδόν σουρεαλιστική εικόνα. Εισιτήρια για τους Oasis εμφανίστηκαν online για πάνω από £4.000 το καθένα, ενώ εισιτήριο για φεστιβάλ στο Λονδίνο διαφημιζόταν σε δευτερογενή πλατφόρμα στην εξωφρενική τιμή των… £114.666! Εντωμεταξύ, η Trading Standards αποκάλυψε περιπτώσεις όπου διαφημιστικές εταιρείες χρησιμοποιούσαν ψεύτικες ταυτότητες και αυτοματοποιημένα bots για να αποκτήσουν μεγάλες παρτίδες εισιτηρίων, μόνο και μόνο για να τα flip-άρουν αργότερα με προσαυξήσεις 500% ή και παραπάνω.

Παράλληλα, ρυθμιστικές αρχές όπως η Αρχή Ανταγωνισμού & Αγορών διαπίστωναν ότι σε πολλές μεγάλες πλατφόρμες μεταπώλησης, η πλειονότητα των εισιτηρίων είχε προσαυξήσεις άνω του 50%. Με άλλα λόγια, το σύστημα έδειχνε να ανταμείβει το καθαρό arbitrage, και όχι την τέχνη, την προσπάθεια και τις κοινότητες που πραγματικά δημιουργούν τη ζήτηση.

Για τους πολιτικούς, η κατάσταση έγινε πια αδύνατο να δικαιολογηθεί δημόσια. Οι fans έβλεπαν “sold out” στις επίσημες πλατφόρμες και λίγα λεπτά μετά τα ίδια εισιτήρια να εμφανίζονται ξανά σε πλατφόρμες μεταπώλησης σε εξωφρενικές τιμές. Αυτό έμοιαζε όλο και λιγότερο με υγιή ελεύθερη αγορά και όλο και περισσότερο με στημένο παιχνίδι. Κι αυτός είναι, τελικά, ο λόγος που το Ηνωμένο Βασίλειο επέλεξε να δράσει τώρα.

Τι λένε τα οικονομικά και η έρευνα για τη μεταπώληση εισιτηρίων

Οι οικονομολόγοι μελετούν αυτό το φαινόμενο εδώ και δεκαετίες, πολύ πριν μπούνε στο παιχνίδι τα bots, οι "αίθουσες αναμονής" και η δυναμική κοστολόγηση. Τα ευρήματά τους είναι σύνθετα - και αυτή η πολυπλοκότητα έχει σημασία για τη σκηνή μας.

Από τη μία πλευρά, ορισμένες έρευνες υποστηρίζουν ότι το resale μπορεί να βελτιώσει αυτό που οι οικονομολόγοι αποκαλούν "κατανεμητική αποτελεσματικότητα"(allocative efficiency): θεωρητικά, τα εισιτήρια μετακινούνται από άτομα που τα εκτιμούν λιγότερο σε άτομα που τα εκτιμούν περισσότερο, ακόμη κι αν αυτό γίνεται σε υψηλότερες τιμές. Με καθαρά μαθηματικούς όρους, η μεταπώληση μπορεί να βοηθήσει τα εισιτήρια να καταλήξουν σε αυτούς που είναι διατεθειμένοι να πληρώσουν περισσότερα για να βρεθούν εκεί.

Ωστόσο, το ίδιο σώμα έρευνας υπογραμμίζει τρία σημαντικά προβλήματα, που είναι πολύ πιο δύσκολο να αγνοηθούν όταν φύγεις από τη θεωρία και μπεις στον πραγματικό κόσμο.

Πρώτον, η μεταπώληση συχνά αυξάνει το συνολικό κόστος για τους fans. Οι brokers και οι πλατφόρμες δεν «μετακινούν» απλώς παθητικά εισιτήρια... ανταγωνίζονται ενεργά τους fans στην primary sale, εξασφαλίζουν μεγάλες ποσότητες εισιτηρίων και επανεμφανίζονται αργότερα με σημαντικές προσαυξήσεις και πρόσθετες χρεώσεις. Έτσι, οι άνθρωποι που στην πραγματικότητα στηρίζουν και διατηρούν την κουλτούρα καταλήγουν να πληρώνουν περισσότερα για την ίδια εμπειρία.

Δεύτερον, ακόμη και όταν η μεταπώληση πράγματι «αναδιανέμει» εισιτήρια, τα λεγόμενα κέρδη από την κοινωνική πρόνοια συχνά "ροκανίζονται" από το κόστος συναλλαγών. Οι χρεώσεις των πλατφόρμων, ο χρόνος που ξοδεύουν οι fans ψάχνοντας για ένα νόμιμο εισιτήριο και ο διαρκής κίνδυνος απάτης, μειώνουν στην πράξη το θεωρητικό όφελος που υποτίθεται ότι προσφέρει η μεταπώληση. Αυτό που μοιάζει αποτελεσματικό σ ένα εγχειρίδιο, στη θεωρία, αρχίζει να μοιάζει εκμεταλλευτικό στην πράξη όταν είσαι εσύ αυτός που κάνει ασταμάτητα refresh και εύχεται το εισιτήριο να είναι αληθινό.

Και τρίτον, οι producers - δηλαδή οι καλλιτέχνες, τα venues, τα crews και όλοι όσοι με τη δουλειά τους δημιουργούν τη ζήτηση εξαρχής - συνήθως δεν αποκομίζουν καμία από την επιπλέον αξία που δημιουργεί η δευτερογενής αγορά. Όλο αυτό το πρόσθετο κέρδος, που δημιουργείται απλώς επειδή η ζήτηση είναι υψηλή, απορροφάται από μεσάζοντες, των οποίων η βασική «δεξιότητα» είναι το timing και η πρόσβαση, όχι η δημιουργικότητα ή η οικοδόμηση κοινότητας.

Άρα, η μεταπώληση δεν είναι απλά «καλή» ή «κακή». Είναι θέμα του ποιος αποκομίζει την αξία και ποιος αναλαμβάνει το ρίσκο. Υπό αυτό το πρίσμα, η κίνηση του Ηνωμένου Βασιλείου στέλνει ένα πολύ ξεκάθαρο μήνυμα για το πού θέλει να βρίσκεται αυτή η ισορροπία. Οι νομοθέτες ουσιαστικά λένε ότι το κερδοσκοπικό κέρδος για τους μεσάζοντες έχει μικρότερη σημασία από την πρόσβαση και τη δικαιοσύνη για τους fans, καθώς και από τα μακροπρόθεσμα, βιώσιμα έσοδα για το οικοσύστημα της live μουσικής που πραγματικά καθιστά δυνατές αυτές τις βραδιές.

Πώς θα μπορούσε αυτό να αναδιαμορφώσει το οικοσύστημα της ηλεκτρονικής μουσικής;

Οk, ας κάνουμε τώρα zoom στον δικό μας κόσμο - clubs, raves, festivals, events ηλεκτρονικής μουσικής - και ας δούμε πώς αυτή η αλλαγή θα μπορούσε να επηρεάσει τη σκηνή.

Πρώτον, όσον αφορά την πιο δίκαιη πρόσβαση σε headline shows και festivals, ο αντίκτυπος θα μπορούσε να είναι σημαντικός. Για μεγάλα events, οι δευτερογενείς αγορές συχνά γίνονταν πραγματικοί gatekeepers: αν έχανες το πρώτο drop για ένα τεράστιο φεστιβάλ techno, η «επιλογή» σου συνήθως ήταν να πληρώσεις τα τριπλά ή... να μείνεις σπίτι. Έτσι, απαγορεύοντας την μεταπώληση με γνώμονα το κέρδος, το Ηνωμένο Βασίλειο ουσιαστικά κόβει το βασικό κίνητρο για τα bots και τους μεσάζοντες να συγκεντρώνουν ολόκληρες τις διαθέσιμες θέσεις και να τις μεταπωλούν σε διογκωμένες τιμές. Αυτό, με τη σειρά του, μπορεί να κρατήσει περισσότερα εισιτήρια διαθέσιμα στην ονομαστική τους τιμή για πραγματικούς fans και να μειώσει αυτό το γνώριμο “anxiety premium” που πολλοί πληρώνουν όταν αγοράζουν πανικόβλητοι από μεταπωλητές την τελευταία στιγμή. Για τους πιο νέους ravers ή τους fans με χαμηλότερο εισόδημα, αυτό δεν είναι θεωρία, καθώς μπορεί να καθορίσει κυριολεκτικά αν ένα summer festival ή ένα ονειρικό headline set είναι οικονομικά εφικτό ή απλώς άπιαστο.

Από την οπτική των underground events και των καλλιτεχνών μεσαίας κατηγορίας, το αποτέλεσμα είναι πιο έμμεσο, αλλά παραμένει σημαντικό. Οι περισσότερες βραδιές σε μικρά κλαμπ δεν δημιουργούν τεράστιες αγορές μεταπώλησης σήμερα, καθώς οι scalpers συνήθως στοχεύουν stadium tours, mega-festivals και τεράστια pop-dance crossovers. Ωστόσο, το γενικό κλίμα εμπιστοσύνης - ή δυσπιστίας - γύρω από το ticketing επηρεάζει τους πάντες. Αν οι fans αρχίσουν να νιώθουν ότι το οικοσύστημα εισιτηρίων στο «πάνω επίπεδο» είναι λιγότερο «αρπακτικό», μπορεί να νιώσουν πολύ πιο άνετα να αγοράζουν εισιτήρια εκ των προτέρων και για μικρότερα events. Σε ένα πιο υγιές κλίμα, το κοινό είναι πιο πιθανό να ρισκάρει με άγνωστα ονόματα, niche δισκογραφικές εταιρίες και local ομάδες παραγωγής, αντί να εξοικονομούν κάθε τους ευρώ μόνο για το ένα μεγάλο headliner night που φοβούνται μήπως χάσουν.

Τέλος, από την οπτική της δυναμικής μεταξύ καλλιτεχνών, promoters και πλατφόρμων, η αφαίρεση κέρδους από τη δευτερογενή αγορά καθιστά την πρωτογενή τιμολόγηση ακόμη πιο στρατηγική. Οι promoters και οι καλλιτέχνες θα μπορούσαν να ανταποκριθούν σχεδιάζοντας πιο πολυεπίπεδες δομές τιμολόγησης στην αρχική πώληση, με προσεκτικά σχεδιασμένα tiers, με official fan-to-fan συναλλαγές στην ονομαστική τιμή ή δημιουργώντας διαφανή εσωτερικά συστήματα μεταπώλησης. Ταυτόχρονα, μπορούν να πειραματιστούν περισσότερο με λοτταρίες, προπωλήσεις μόνο για μέλη και direct-to-community (D2C) μοντέλα για τους πιο πιστούς followers. Για την ηλεκτρονική μουσική ειδικότερα, αυτό θα μπορούσε να ωθήσει περισσότερα events προς πραγματικά community-centric προσεγγίσεις: π.χ. κυκλοφορία λιστών αλληλογραφίας αντί για αδιαφανείς προπωλήσεις, κατανομή εισιτηρίων στο Discord για τα βασικά μέλη της κοινότητας και την κυκλοφορία εισιτηρίων μόνο από δισκογραφικές εταιρείες, όπου η αξία επιστρέφει στην κουλτούρα και τους ανθρώπους που τη συντηρούν, αντί να εξαφανίζεται σε κερδοσκοπικές μεταπωλήσεις.

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Οι κίνδυνοι και οι ακούσιες συνέπειες που πρέπει να παρακολουθούμε

Κάθε παρέμβαση σε μια αγορά μετακινεί τη συμπεριφορά κάπου αλλού, και η ίδια η κυβέρνηση του Ηνωμένου Βασιλείου το αναγνωρίζει αυτό στα δικά της έγγραφα διαβούλευσης. Άρα, ενώ η πρόθεση πίσω από τον νέο νόμο είναι να προστατέψει τους fans, υπάρχουν αρκετές πιθανές παρενέργειες που πρέπει να έχουμε στο νου μας, αν θέλουμε ένα πραγματικά πιο υγιές οικοσύστημα, και όχι απλώς ένα διαφορετικό είδος προβλήματος.

Καταρχάς, υπάρχει ο κίνδυνος να ενισχυθούν οι μαύρες και γκρίζες αγορές στο παρασκήνιο. Πλατφόρμες μεταπώλησης όπως η Viagogo και η StubHub υποστηρίζουν ότι τα αυστηρά price caps μπορούν να ωθήσουν τους fans προς μη ρυθμιζόμενα κανάλια-μέσα, όπου τα ποσοστά απάτης είναι συχνά πολύ υψηλότερα και η προστασία των αγοραστών είναι ελάχιστη. Αν οι mainstream, ρυθμιζόμενες πλατφόρμες δεν μπορούν πλέον να φιλοξενούν κερδοφόρες μεταπωλήσεις, είναι αρκετά πιθανό μέρος αυτής της δραστηριότητας να μετακινηθεί αλλού: σε κρυπτογραφημένα chats και κλειστά Telegram groups, σε ψεύτικα “fan communities” στα social media που στην πραγματικότητα είναι βιτρίνα για scalpers ή ακόμη και πίσω στο παλιό, φυσικό street-level touting έξω από τα venues. Από τη σκοπιά της EDM, όπου πολλοί fans βασίζονται ήδη σε άτυπα δίκτυα για να ανταλλάσσουν εισιτήρια για festivals, raves και club nights, αυτός ο κίνδυνος είναι πολύ πραγματικός. Γι' αυτό η εκπαίδευση σχετικά με την ασφαλή μεταπώληση, τους σαφείς ελέγχους ταυτότητας και την προώθηση επίσημων ανταλλαγών ονομαστικής αξίας θα έχει μεγαλύτερη σημασία από ποτέ.

Δεύτερον, ακόμη και αν το κέρδος στη δευτερογενή αγορά περιοριστεί, υπάρχει σοβαρή πιθανότητα η δυναμική τιμολόγηση να γίνει ο νέος "κακός". Εάν η στρόφιγγα του κέρδους κλείσει μετά την αρχική πώληση, ορισμένοι διοργανωτές και μεγάλοι παίκτες μπορεί απλώς να αποφασίσουν να αποκομίσουν μεγαλύτερη αξία εκ των προτέρων χρησιμοποιώντας τιμολόγηση βάσει της ζήτησης ή επίπεδα "πλατινένιων" εισιτηρίων. Έχουμε ήδη δει πώς η επιθετική δυναμική τιμολόγηση πυροδότησε έντονες αντιδράσεις για μεγάλες περιοδείες επανένωσης και mainstream pop εμφανίσεις. Τώρα φανταστείτε αυτή τη λογική να εφαρμόζεται σε blockbuster techno headliners, εμβληματικά house acts ή crossover EDM περιοδείες. Χωρίς προσεκτική ρύθμιση και πραγματική διαφάνεια, οι fans μπορεί να καταλήξουν να αντιμετωπίζουν την ίδια οικονομική πίεση - απλά λίγο νωρίτερα στη διαδικασία και με διαφορετικό brand name στο checkout page.

Τέλος, πρέπει να σκεφτούμε πώς αυτοί οι κανόνες μπορούν να επηρεάσουν τους μικρότερους διοργανωτές. Οι δευτερογενείς αγορές, παρά τα ελαττώματά τους, μερικές φορές βοηθούν αθόρυβα events που δυσκολεύονται: οι ευκαιρίες της τελευταίας στιγμής, τα πακέτα προσφορών ή οι μεταπωλήσεις με έκπτωση μπορούν να κάνουν τη διαφορά ανάμεσα σε μια μισοάδεια αίθουσα και ένα γεμάτο, ζωντανό dancefloor. Εάν η μεταπώληση είναι αυστηρά περιορισμένη ή γίνει πολύ περίπλοκη, οι μικρότεροι διοργανωτές μπορεί να αναλάβουν μόνοι τους μεγαλύτερο μέρος του κινδύνου των απούλητων εισιτηρίων. Ως αποτέλεσμα, μπορεί να νιώθουν αναγκασμένοι να παίζουν πιο «συντηρητικά» και safe με τα line-ups, τους χώρους και τις χωρητικότητες, κάτι που δεν είναι πάντα φιλικό προς πειραματισμό. Για μια κουλτούρα σαν τη δική μας - χτισμένη πάνω στο ρίσκο, στα «περίεργα» line-ups σε μικρά υπόγεια, στα νέα ονόματα πριν καν γίνουν "cool" - πρέπει να είμαστε προσεκτικοί ώστε οι καλοπροαίρετες ρυθμίσεις να μην καταλήξουν να ανταμείβουν κυρίως τους μεγάλους, risk-averse παίκτες, ενώ παράλληλα να πιέζουν αθόρυβα τις πιο δημιουργικές γωνιές της σκηνής.

Πώς μπορεί να αντιδράσει η σκηνή: από το παράπονο στον σχεδιασμό

Για το dancetoday, το βαθύτερο ερώτημα δεν είναι απλώς «Είναι αυτός ο νόμος καλός ή κακός;», αλλά «Πώς σχεδιάζουμε ένα πιο δίκαιο οικοσύστημα γύρω του;». Αν δεχθούμε ότι οι κανόνες του παιχνιδιού αλλάζουν, τότε η πραγματική δύναμη βρίσκεται στο πώς επιλέγει να προσαρμοστεί η κοινότητά μας.

Από την πλευρά των promoters και των clubs, αυτό σημαίνει ότι πρέπει να ξεπεράσουν την καθαρή απογοήτευση και να αναλάβουν την ευθύνη της διαδικασίας πώλησης εισιτηρίων. Αντί να τα αφήνουν όλα σε third-party "γίγαντες", μπορούν να αρχίσουν να χτίζουν επίσημα fan-to-fan κανάλια μεταπώλησης - δηλαδή μεταπώληση εισιτηρίων μεταξύ fans - όπου τα εισιτήρια θα ανταλλάσσονται στη ονομαστική τους τιμή, συν μόνο κάποιες μικρές, ξεκάθαρα εξηγημένες χρεώσεις. Ενσωματώνοντας αυτά τα συστήματα απευθείας στους υπάρχοντες παρόχους εισιτηρίων - ή ακόμα και στις δικές τους πλατφόρμες - μπορούν να διατηρήσουν τη διαφάνεια της μεταπώλησης, να μειώσουν την απάτη και να διατηρήσουν μια άμεση σχέση με τους ανθρώπους που πραγματικά γεμίζουν τα dancefloors τους.

Από την οπτική γωνία των artists και των δισκογραφικών εταιριών, υπάρχει επίσης μια ευκαιρία να επαναπροσδιοριστούν οι προσδοκίες. Μπορούν να χρησιμοποιήσουν την επιρροή τους για να απαιτήσουν ειλικρινείς, άμεσες δομές τιμολόγησης από τους συνεργάτες τους και να πιέσουν όχι μόνο για αυστηρά όρια στις μεταπωλήσεις, αλλά και για όρια σε ακραία δυναμικά επίπεδα τιμολόγησης που αθόρυβα αποκλείουν τους ίδιους fans που τους έχτισαν την καριέρα. Όταν τα μεγάλα ονόματα τοποθετούνται δημόσια υπέρ της δίκαιης πρόσβασης, γίνεται πολύ πιο δύσκολο για τη βιομηχανία να κρύβεται πίσω από «δυνάμεις της αγοράς» ως δικαιολογία.

Την ίδια στιγμή, κοινότητες και πλατφόρμες,όπως το dancetoday, έχουν έναν κρίσιμο ρόλο ως σύνδεσμοι και εκπαιδευτές. Μπορούμε να βοηθήσουμε τους fans να καταλάβουν πώς μοιάζει μια ασφαλής μεταπώληση στην πράξη, να εξηγήσουμε γιατί ορισμένες πρακτικές είναι επιβλαβείς και να αναδεικνύουμε events που δεσμεύονται ενεργά στις αρχές της δίκαιης έκδοσης εισιτηρίων. Επιπλέον, μπορούμε συνειδητά να γιορτάζουμε και να αναδεικνύουμε τους promoters που βλέπουν τα dancefloors ως ζωντανές κοινότητες και όχι ως «μηχανές είσπραξης», ώστε αυτή η νοοτροπία να γίνει ο κανόνας και όχι η εξαίρεση. Στην πραγματικότητα, αυτό ήδη διαμορφώνει τον τρόπο λειτουργίας του δικού μας οικοσυστήματος: εντός του discord server του dancetoday, ένα ειδικό κανάλι επιτρέπει στα μέλη να αγοράζουν και να πωλούν εισιτήρια στην ονομαστική τους αξία - ή συχνά ακόμα και κάτω από αυτήν - χωρίς κανένα πνεύμα κερδοσκοπίας. Η κοινότητα είναι τόσο καλά εκπαιδευμένη γύρω από αυτόν τον κανόνα που, εάν εμνφανιστεί μια απόπειρα εκμεταλλευτικής τιμολόγησης, είναι σχεδόν βέβαιο ότι θα επισημανθεί από τα ίδια τα μέλη και θα διευθετηθεί άμεσα από την ομάδα του dancetoday.

Τελικά, η έρευνα δείχνει ότι οι αγορές δεν είναι δυνάμεις της φύσης. Είναι σχεδιασμένες, προσαρμοζόμενες και ρυθμιζόμενες. Η απόφαση του Ηνωμένου Βασιλείου ανοίγει ένα παράθυρο μέσα στο οποίο fans, καλλιτέχνες και διοργανωτές μπορούν συλλογικά να πιέσουν για ένα σύστημα που αντανακλά τις βασικές αξίες της κουλτούρας μας: πρόσβαση, σύνδεση και σεβασμό. Το ερώτημα τώρα είναι αν θα μείνουμε μόνο στο να παραπονιόμαστε για το παλιό μοντέλο ή αν θα βοηθήσουμε ενεργά στο να χτιστεί το νέο.

Συμπέρασμα: οι fans ξανά στο επίκεντρο;

Η απαγόρευση της κερδοσκοπικής μεταπώλησης εισιτηρίων δεν θα λύσει μαγικά κάθε ενόχληση-απογοήτευση γύρω από το ticketing. Οι ουρές θα συνεχίσουν να «κρασάρουν», τα μεγάλα shows θα εξακολουθήσουν να γίνονται sold out σε δευτερόλεπτα και τα bots δεν θα εξαφανιστούν από τη μια μέρα στην άλλη. Παρ’ όλα αυτά, σε συμβολικό αλλά και πρακτικό επίπεδο, αυτή η κίνηση αποτελεί μια σημαντική αλλαγή. Στέλνει ένα ξεκάθαρο μήνυμα ότι οι fans δεν είναι απλώς νούμερα σε μια βάση δεδομένων για να «ρευστοποιούνται» μεταξύ πρωτογενών και δευτερογενών πλατφόρμων εισιτηρίων, αλλά η καρδιά που χτυπάει πίσω από ολόκληρη την οικονομία της live μουσικής.

Για τη σκηνή της ηλεκτρονικής μουσικής, αυτή η στιγμή είναι και μια πρόσκληση: μια ευκαιρία να επανεξετάσουμε τον τρόπο με τον οποίο πουλάμε πρόσβαση σε shared experiences, πώς διαμορφώνουμε όλη την εμπειρία αγοράς εισιτηρίου και πώς προστατεύουμε την εμπιστοσύνη που κρατά τους ανθρώπους να επιστρέφουν ξανά και ξανά σε σκοτεινά clubs, εκτυφλωτικά lasers και δυνατά ηχοσυστήματα. Από τη δική μας οπτική στο dancetoday, αυτό ευθυγραμμίζεται βαθιά με όσα πρεσβεύουμε: τη βιώσιμη ανάοτυξη της κουλτούρας της ηλεκτρονικής μουσικής, τη δίκαιη μεταχείριση των καλλιτεχνών και τη δικαιοσύνη για τους ανθρώπους που κρατούν τα dancefloors ζωντανά, εβδομάδα με την εβδομάδα. Αυτός ο νόμος μπορεί να γίνει ένα σημαντικό βήμα προς αυτή την κατεύθυνση, αρκεί να παραμείνουμε σε εγρήγορση για τους τυχόν κινδύνους του και να επιλέξουμε συνειδητά πώς θα εφαρμοστεί στην πράξη.

Τώρα βέβαια θα θέλαμε να ακούσουμε και τη γνώμη σας. Πιστεύεις ότι η απαγόρευση του profit resale θα κάνει πιο εύκολο ή πιο δύσκολο το να ζεις τα shows που αγαπάς; Και πώς θεωρείς ότι η σκηνή μας πρέπει να προσαρμόσει το ticketing, ώστε η επόμενη γενιά ravers να μη κληρονομήσει τις ίδιες απογοητεύσεις που εμείς θεωρήσαμε «φυσιολογικές» για χρόνια; Μοιράσου τις σκέψεις σου. Το μέλλον της δίκαιης έκδοσης εισιτηρίων δεν θα γραφτεί μόνο στο κοινοβούλιο ή σε έγγραφα πολιτικής. Θα γραφτεί στον τρόπο που επιλέγουμε ως κοινότητα να ανταποκριθούμε, να οργανωθούμε και να κρατήσουμε ο ένας τον άλλο σε υψηλότερα standards.

References and further reading

UK Government – “Putting fans first: consultation on the resale of live events tickets” (DCMS / DBT, updated 19 Nov 2025) https://www.gov.uk/government/consultations/putting-fans-first-consultation-on-the-resale-of-live-events-tickets/putting-fans-first-consultation-on-the-resale-of-live-events-tickets-html GOV.UK
UK Government – “Government response to the consultation on the resale of live events tickets” (Nov 2025) https://www.gov.uk/government/consultations/putting-fans-first-consultation-on-the-resale-of-live-events-tickets/outcome/government-response-to-the-consultation-on-the-resale-of-live-events-tickets GOV.UK+1
The Guardian – “Reselling tickets for profit to be outlawed in UK government crackdown” (17 Nov 2025) https://www.theguardian.com/money/2025/nov/17/reselling-tickets-for-profit-to-be-outlawed-in-uk-government-crackdown The Guardian
BBC News – “Reselling tickets above face value to be banned by government” (18 Nov 2025) https://nz.news.yahoo.com/reselling-tickets-above-face-value-212004190.html Yahoo News
Resident Advisor – “UK to outlaw reselling tickets for profit” (18 Nov 2025) https://ra.co/news/84025 RA+1
Pascal Courty – “Some Economics of Ticket Resale” (Journal of Economic Perspectives, 2003) https://www.aeaweb.org/articles?id=10.1257/089533003765888449 American Economic Association
Phillip Leslie & Alan Sorensen – “Resale and Rent-Seeking: An Application to Ticket Markets” (Review of Economic Studies, 2014) https://academic.oup.com/restud/article-abstract/81/1/266/1730966 OUP Academic+1
Matthew J. Parlow – “The Law and Economics of Ticket Scalping” (Wayne Law Review, 2023) https://ssrn.com/abstract=4324594

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“The worst and biggest clown wannabe DJ 🤮”

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

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

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

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

So What Does Underground Actually Mean?

The easy version goes something like this:

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

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

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

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

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

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

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

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

argy sven vath.png

Can Success Make You Mainstream?

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

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

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

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

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

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

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

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

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

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

When the DJ Became the Show

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

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

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

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

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

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

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

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

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

But Underground Can Become a Brand Too

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

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

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

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

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

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

DVS1: What If We Are Asking the Wrong Question?

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

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

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

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

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

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

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

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

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

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

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

So… Who Wins?

Underground or Mainstream? Sven Väth or Argy?

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

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

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

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

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

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

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

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

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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.

20: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.21: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!22: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.23:T2836,

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

19 Artists, Many Directions

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

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

Inside the Greek Lineup

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

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

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

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

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

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

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

Beyond the Booth

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

What Comes After

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

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

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

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

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

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

WhoMadeWho: A Band That Learned to Speak Club

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

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

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

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

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

Avangart Tabldot: Catch Them at This Moment

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

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

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

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

Why Playground 260 Fits the Idea

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

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

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

Why September 19 Is Worth Your Saturday

There is a nice balance to this lineup.

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

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

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

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.

25:T409,In the years since their inception WhoMadeWho have established themselves as one of the definitive underground bands of their generation. A group whose grasp of emotional depth, heartrending melody and inspired songwriting is exceptional, the Danish outfit is composed of Tomas Høffding, Tomas Barford and Jeppe Kjellberg. They have become renowned for their exemplary back catalogue, consummate professionalism and standout performances all over the globe, from Coachella to Sonar, to Burning Man, producing a plethora of albums, EPs, singles, and remixes on labels like Kompakt, Innervisions, Life & Death, and their own imprint The Moment. With Barfod’s penchant for electronic music poetically juxtaposed with Høffding and Kjellberg’s respective backgrounds in rock and jazz, their music is an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible, and immensely satisfying. To check out upcoming tour dates & exclusive merch: whomadewho.co26:T29a9,

Four days full of music, top names, huge stages, British weather and an experience that is difficult to describe with words.

There are festivals that you see in photos and videos and say "impressive". And there are festivals that you have to experience up close to truly understand their size. Creamfields clearly belongs to the second category.

dancetoday was at Daresbury, England this year to cover Creamfields 2026 up close, in a special year as the festival celebrated 20 years at Daresbury. Four days, dozens of stages, thousands of people and a lineup that once again proved why Creamfields is considered one of the most important dance festivals in Europe and in the world.

A truly impressive lineup

If there is one area where Creamfields makes no compromises, it is the lineup. This year's edition featured names such as Swedish House Mafia, Calvin Harris, Martin Garrix, Armin van Buuren, Alesso, Tiësto, Carl Cox, Amelie Lens, Disclosure, Fisher, Eric Prydz, Rossi., KETTAMA and many more. The program is packed from beginning to end and every year it seems to get better and better, covering almost every side of the modern dance scene. For us, this is also one of Creamfields' biggest advantages.

Creamfields' unique stages

It is impossible to talk about Creamfields without talking about its stages. The festival's stages are truly a reference point for festival production worldwide. At the top is, of course, APEX, which is not just another stage. It is a huge indoor superstructure with a capacity of 30,000 people, the biggest indoor stage in the world. And when you are inside it, you immediately understand why. The size, sound, lights, visuals and the energy of 30,000 people create an experience that is difficult to capture in a photo or video.

If APEX is the ultimate experience of a huge indoor main stage, Steel Yard alone is a reason to travel all the way to Creamfields. A huge, enclosed arena that has become synonymous with some of the festival's most impressive moments. The feeling inside Steel Yard is different. Darker, more intense, more club oriented. The lights, lasers, sound and energy of the crowd create more of the feeling of a huge warehouse party than a simple festival stage. And when 20,000 people are dancing under a huge indoor production, you understand why this particular stage has gained an almost legendary status.

And then there is ARC, with a completely different aesthetic and character. More open and with an intense dancefloor atmosphere, it hosted some important names from the house and dance scene this year. What we liked the most is that the three stages do not try to do the same thing. APEX is the huge festival spectacle, Steel Yard puts you in a pure clubbing mood, while ARC has its own more open and dancefloor-oriented atmosphere. This is where you understand why production is one of Creamfields' biggest strengths, because it has different spaces that can each offer you a completely different experience.

The British weather

If there is one thing you need to be prepared for before going to Creamfields, it is the weather. Do not go with the mindset that "it's summer, so the weather will be good". British rain can completely change the experience of a festival, and when we are talking about camping and huge outdoor areas, things can become quite difficult. So, if someone is thinking about visiting Creamfields in the coming years, our advice is simple: be prepared. A good raincoat, the right shoes or waterproof boots and a genuinely waterproof tent can make a huge difference. It is also a good idea to have dry clothes with you and protection for your phone. Creamfields requires equipment, and if you do not have it, the weather can ruin a big part of the experience.

Food at Creamfields: plenty of options, but slightly expensive prices

When it comes to food, Creamfields has plenty of options and it is difficult to go hungry. There are different food spots and choices for different tastes, while camping visitors also have the option of getting basic products at the Downtown area. However, as is now the case at most major European festivals, prices were a little high. For a four-day festival, especially if someone is staying at the campsite and needs to buy food and drinks every day, the cost can add up quite a lot. That is why it is a good idea to have a suitable budget before the trip. We would not say that this ruins the experience, after all, when you are at Creamfields, most of the day is spent surrounded by music and the festival atmosphere. It is simply good to know in advance that your budget does not stop at the price of the ticket. (Good tip, buy a lot of fruits)

The atmosphere is perhaps the biggest advantage

Beyond the artists and the stages, there is something that cannot easily be captured in photos and videos. The crowd. The energy around Creamfields is different. Thousands of people are there for the same reason: the music. From the first stage to the last, there is constant movement, dancing and people simply enjoying the moment. Always friendly and willing to help with a difficulty or a problem that may come up during the day, the crowd at Creamfields takes the festival experience one step further.

What we liked the most and what we would like to see differently

Like every festival, Creamfields is not perfect. The long distances can be tiring, especially when you are trying to catch different stages during the same day. The weather can also make the experience quite difficult, while the cost of food and drinks could be lower (but this is also debatable regarding where you are living, different salaries in each country). On the other hand, these things are small compared to what Creamfields offers as a whole.

dancetoday was in Daresbury to experience Creamfields 2026 up close and to share the experience of a festival that grows, evolves and raises the bar even higher every year. It is not perfect and it does not need to be. But it has one of the strongest lineups in the dance scene, productions that are difficult to find elsewhere, world class indoor stages and an atmosphere that fully justifies its place among the biggest dance festivals in Europe.

Because some festivals you see. Some others you hear. Creamfields is something you have to experience.

And after experiencing it, one thing is certain:

Creamfields, see you next year.

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.

27: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.

28: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.7:["$","div",null,{"className":"bg-transparent min-h-screen text-white flex flex-col 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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/ab6761610000e5eb78484e23002e1607039af9b9","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. 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Great success was achieved thanks to launching the popular podcasts on Youtube under the titles \"Mind Games\" and \"MiMo Weekly\" as well as releases on such famous labels as Black Hole and Bonzai Progressive.\n\nIt all began in far 2011. Olesia has been actively giving performances in Ukraine for 2 years with her DJ sets, having visited almost every Ukrainian city.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1120,"documentId":"eimyk58vhze6zvdotiqhwue5","Name":"Innellea","createdAt":"2026-03-29T17:43:55.112Z","updatedAt":"2026-08-30T14:21:00.929Z","publishedAt":"2026-08-30T14:21:01.136Z","locale":"en","slug":"innellea","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb6aa6915de01025952b2abfdc","bio":"Innellea – a neologism; created in reference to musical reinvention. Neither restrained nor bound by conventions, Innellea’s visions and impressions are visibly transferred into music. 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. 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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. 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In 2008, he became known for remixing \"Højere vildere (skru op for den bitch)\" that was a collaboration of Rune RK and Morten Breum featuring the Danish duo Nik & Jay. This single collected a number of awards to this year's distribution of Danish Deejay Awards. In 2009, he released his album Drop! followed by Nightclub Session in 2010.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1127,"documentId":"bxdjb8butbqxt153tvp06ltd","Name":"Adam Ten","createdAt":"2026-08-30T14:22:24.203Z","updatedAt":"2026-08-30T14:22:30.313Z","publishedAt":"2026-08-30T14:22:30.556Z","locale":"en","slug":"adam-ten","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb124d9ef54fb1a032b951518e","bio":"Israeli musician and a rare talented DJ. For the last 10 years, he has shaped his own unique sounds and became one of leading names in the underground scene of Tel-Aviv city.\n\nHe’s prone to play all nighters, floating the crowd and taking them on a smooth journey, fluently mixing a wide range of genres and making it sound like a one piece of art. Being versatile, always positive, and describing himself as a primarily curious DJ who will always ready to take the next step and push the boundaries of the crowd.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null},{"id":1130,"documentId":"e1ojvo9eajrv9le5ule6ms02","Name":"Bedouin","createdAt":"2026-08-30T14:23:52.249Z","updatedAt":"2026-08-30T14:24:20.742Z","publishedAt":"2026-08-30T14:24:20.910Z","locale":"en","slug":"bedouin","spotifyImageUrl":"https://i.scdn.co/image/ab6761610000e5eb235847fc0fabe2594fa28e7f","bio":"There are at least 2 artists with this name.\n1) Bedouin is a Brooklyn-based production & DJ partnership between nomads Rami\nAbousabe and Tamer Malki who are creating their own idiosyncratic spell of melodies and rhythms.\n\nTogether they share an eclectic sonic vision that pulls from diverse influences owing to their Middle Eastern heritage, Western upbringing, and world travels. 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With millions of streams and a massive following across platforms, his signature sound bridges worlds — from tribal rhythms and deep emotion to pure dancefloor energy.\n\nOmiki’s collaborations and remixes with icons such as Argy, Anyma, Kevin de Vries, and Astrix have defined a new crossover era for the underground. His music echoes on the world’s biggest stages — Tomorrowland, EDC, A State of Trance, Ultra Miami — shaping the sound of a generation that moves beyond genres and borders.","specialArtist":null,"externalId":null,"spotifyId":null,"instagramUrl":null,"spotifyUrl":null,"websiteUrl":null}]}]}],"$L29","$L2a"]}]