Blog - EDM

When two-thirds of Swedish House Mafia step into the studio, the result is rarely just another track.

With their latest collaboration, "No Enemies," Steve Angello and Sebastian Ingrosso deliver not only a forward-thinking standalone release, but the first major strike in a new creative chapter powered by their alliance with SUPERHUMAN. The new single finds its voice with Swedish singer-songwriter Namasenda, whose ethereal yet commanding vocals float above a relentless tide of industrial synths and war-drum percussion.

From its opening moments, the track surges with raw, unfiltered energy, blending the cinematic grandeur synonymous with Swedish House Mafia's anthems with a razor-edged sense of grit that feels tailor-made for the ascendant generation of ravers. The production feels like a dystopian cityscape being built and torn down in real-time, with layers of distorted bass carving through shimmering pads, all erupting into a chorus that highlights the duo's unmistakable chemistry. 

The release of "No Enemies" follows the recent major announcement that Swedish House Mafia, comprising Ingrosso, Angello and Axwell, have officially partnered with SUPERHUMAN for global label and creative services. After years of working with industry heavyweights like EMI and Virgin, the group is returning to its Swedish roots by entrusting the Stockholm-based label with their ambitious creative vision moving forward.

You can listen to "No Enemies" below and find the new single on streaming platforms here.

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What if a stage wasn't just a place to watch live music, but a portal that pulled you right into the heart of it? That's the promise of Bonnaroo's new Infinity Stage, which will transform the festival's Centeroo atmosphere in 2025.

The innovative stage, which Bonnaroo claims is "the world's largest 360° spatial audio experience," will tower over the other six preexisting structures in the festival's central hub. However, Brad Parker, Festival Director at Bonnaroo's organizer C3 Presents, describes Infinity is a "perfect additive" that will amplify the energy without altering the event's course.

Parker paints a picture of the open-air stage as more like fuel poured on an already roaring fire, with electronic dance music as the gasoline. He says the genre is the largest growing subculture within Bonnaroo's storied grounds at Great Stage Park, underscoring its rising dominance in today's festival landscape.

"The EDM scene of now is very reminiscent of the jam band scene of the early 2000s, a quiet but powerful underground culture making waves across the entire scene," Parker tells EDM.com. "Bonnaroo has always been about offering the best in the streets. It’s quite literally the origin of our namesake. EDM is the most popular it’s ever been, and The Infinity will be the most advanced production for soundscape we have ever had."

The inaugural Infinity lineup boasts a stacked lineup of electronic acts, including a rare collaborative DJ set from Of The Trees and Tape B, who were named to EDM.com's Class of 2024 and Class of 2025, respectively. It will also feature a highly anticipated takeover by Experts Only, the brand launched by dance music superstar John Summit, which was recently honored as 2024's best record label in our list of the year's top industry leaders.

The next-gen stage comes from Polygon Live, a renowned music tech firm out of the UK. It will incorporate spatial audio and a fully synchronized, state-of-the-art lighting system to create a multi-sensory live audio environment the likes of which has never been experienced by festival-goers, Parker said, citing Polygon.

"When Polygon Live said they could present audio to us at scale in a way that music festival fans had never heard, of course we were intrigued," he recalls. "The real creative process comes through the programming itself and the artists we are putting onstage. You will hear some once-in-a-lifetime performances from these artists on Infinity because you have never heard their music presented quite like this before."

The phrase "immersive" has been beaten into oblivion by the music industry, but it seems Infinity has earned the title. Polygon's ambitions are becoming reality as they develop the stage's production, which will disperse bleeding-edge spatial audio across three massive hemispherical domes.

"What we are attempting to do with Infinity is to audio what the Sphere is to video," Parker says. 

He realized the remarkable potential of Infinity when he experienced a smaller version of its production at Thailand's Wonderfruit Festival back in December 2024. While it felt like dancing inside a state-of-the-art club, Parker says he was actually partying in the middle of a field, completely swept away by spatial audio that "really makes you feel like you are in the experience, and not at it."

Polygon Productions

Infinity could serve as a harbinger of where Bonnaroo is headed in the future. The festival's team, Parker says, will continue to learn, adapt and push the envelope as they embrace new technologies and opportunities to improve the fan experience. 

He cautions, however, that evolving Bonnaroo's onsite experience must strike a careful balance between experimentation and reverence for the festival's storied legacy.

"Bonnaroo is one of the few festivals that has had the privilege now to serve multiple generations of fans," Parker explains. "Our biggest task is honoring and thanking those fans that got us through the first 20 years, while also looking forward to curating for the community of fans who will get us through our next 20."

"This is accomplished by paying modern day homage to our jam band roots," he continues, "with recent bookings like Goose, JRAD, Eggy and more while also focusing on what the younger generation is interested in, such as Olivia Rodrigo and elevating our EDM programming. Life is all about balance."

As spatial audio technology rapidly transforms music as we know it, with even the inventor of the MP3 racing to revolutionize, Bonnaroo is finding the sweet spot between innovation and authenticity. True to form, the festival is embracing the future of live music while staying true to its roots: vast azure skies, camping camaraderie and the kind of communal energy you can only find on The Farm.

"Festivals will always be special sacred places and testing grounds for new experiences," Parker says. "There is something about a festival that can’t quite be replicated in an arena or amphitheater, and it’s our jobs to tap into exactly what this is to stay fresh and keep evolving. There will always be a demand for live music, and we hope to be at the center of that craving."

"At the end of the day, we build worlds and create communities. If we can do that, we win big."

You can view the full lineup for the inaugural Infinity Stage below and purchase tickets to Bonnaroo 2025 here.

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Deep in the eastern Coachella Valley, where the suburban landscape dissolves into the arid, sand-covered grounds, thumping basslines echo through the night sky as glowing lasers emerge in the distance.

This vignette may sound like a description from a renegade Southern California desert party in the late 90s, but it's actually a portrayal of a current post-Coachella event series, Framework in the Desert.

Daniela Becerra

Already in its fourth iteration, Framework in the Desert harkens back to the free-spirited nature of raves past while applying contemporary productions all within a unique desert locale.

Curated by revered LA promoter Framework, the trio of after-hours events centers around the first weekend of Coachella. Held inside an airport hangar, the venue is mere minutes from the storied Empire Polo Fields, attracting festival attendees and acting as a final hoorah for those looking to extend their evening deep into the morning.

Having already gained notoriety for producing events in uncommon spaces, this year's event welcomed over 14,000 guests throughout the weekend, eclipsing previous attendance records. In doing so, Framework in the Desert has emerged as the premier Coachella afterparty series.

Daniela Becerra

For 2025, Framework introduced a new stage, the Long Feng Art Car. As part of a recent addition within Burning Man, the art installation was the centerpiece of the three-night run, featuring moving dragon heads, aerial dancers, lasers, fog machines and LED panels. The art car, paired alongside the high-caliber talent that performed within it, created a unique "you-had-to-be-there" musical experience.

Speaking of talent, the walls within the airport hangar consistently reverberated for three consecutive nights as the thumping sounds of house and techno escaped from the speakers. 

Daniela Becerra

EDM.com class of 2025 stars Layton Giordiani and Max Styler, alongside Francis Mercier, deadmau5, Mau P and Interplanetary Criminal, all took turns performing atop the Long Feng Art Car.

Standout performances include Alesso's BODY HI project and house music superstar Chris Lake, who brought out his Anti-Up duo collaborator Chris Lorenzo for a surprise b2b performance.

Daniela Becerra

The performances were able to be enjoyed by fans in both indoor and outdoor settings, where aircraft from the attached airport were on display. Additionally, VIP experiences were hosted by Wynn Nightlife and featured exclusive seating, dedicated bottle service, prime artist sightlines, and the elevated guest service the brand is known for. 

As they approach their fifth year in the desert, Framework has proven they can deliver top-tier productions in stand-out settings. With record-breaking crowds in 2025, we're thinking it's time for a second weekend in 2026.

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Two years can be an eternity in electronic music, but Claude VonStroke has returned as if he never left.

The Dirtybird label founder flew the coop back in 2023, announcing a hiatus from his VonStroke project to focus on his bass music alias, Barclay Crenshaw. But he's now back in full force with a new house EP, I Was the Wolf.

Released independently today, the project marks VonStroke's first original music since the fall of 2023. Featuring two tracks, it reaffirms why he remains an essential voice in house music's evolving conversation.

c/o Press

The titular "I Am the Wolf" is vintage VonStroke with chunky drums and wonky synth stabs. The track's thick, viscous bassline prowls beneath the surface with predatory intent, a fitting soundtrack for the EP's lupine theme.

"Move with the Pack" reveals VonStroke's more contemplative side. Here, jazzy keyboard flourishes drift across a hypnotic, loungey four-on-the-floor rhythm that wouldn't feel out of place in a smoke-filled Tokyo listening bar. The track breathes with remarkable restraint, suggesting he has spent his hiatus expanding his emotional palette.

Together, these tracks form a compelling statement from a producer who understands that true longevity comes not from chasing trends, but from periodically returning to your roots—and finding they've grown deeper in your absence.

In other VonStroke news, he recently announced a comeback tour, "Life of Leisure," which takes flight today at an I Was the Wolf release party at New York's Knockdown Center. The DJ has said he's debuting his "2.0 brand" by virtue of the tour, which is set to hit a number of his favorite venues and festivals, including Miami's Club Space, SoCal's Lightning in a Bottle and Detroit's iconic Movement.

You can listen to I Was the Wolf below and find the new EP on streaming platforms here.

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Don Diablo is "entering a new era" of his influential record label, HEXAGON.

Today's release of his new single "Freek Like Me" doesn't just commemorate 10 years of HEXAGON. His revitalized label signals an evolving shift in direction, musically, creatively and culturally. What once started as a future house imprint built from a #1 Beatport remix has now matured into a full-scale reset, one Diablo dubs "HEXAGON 2.0."

"This is a new chapter where every release is more intentional, more meaningful," Diablo said. "From a musical perspective, I’m going back to the essence—combining the classic house sounds I grew up with and futuristic sound design. I call it 'NeoNostalgia.'"

"We're entering a new era where quality needs to win over quantity," Diablo said. "'Freek Like Me' marks the start of HEXAGON 2.0, a new chapter where every release is more intentional, more meaningful and designed to truly connect with people, not just feed the algorithms."

"From a musical perspective, I'm going back to the essence, combining the classic house sounds I grew up with and futuristic sound design," Diablo continued. "I call it 'NeoNostalgia.'"

Diablo's concept of NeoNostalgia is emblematic of a philosophy shaped by his decade-long journey in building HEXAGON, a platform that has grown into a launchpad for both chart-toppers and underground innovators alike.

As the first transmission from this new chapter, "Freek Like Me" explodes with personality, driven by thick, vocoder-laced vocals and earworm hooks that make it feel instantly familiar. Piano stabs channel the euphoric soul of '90s club culture while the percussion churns with an edge—an aesthetic nod to the early warehouse days of house. It’s this deliberate blend of grit and gloss that gives the track its character.

You can listen to "Freek Like Me" below.

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The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene.

You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.

Festival season is rapidly approaching liftoff, and "Air," the new collaboration from Gryffin, Excision and Julia Michaels, feels like its first moment of weightlessness. 

Out now via 10K Projects, the track leans into its emotional core rather than chasing the extremes on which Excision is known to hang his hat. Built on Gryffin's signature cinematic textures, "Air" opens with bright piano chords and luminous synths that swell like a rising tide.

Michaels’ momentous vocals land with real weight, anchoring the arrangement as it glides into a drop that’s more subtle surge than full-on explosion. There's tinctures of Excision’s dubstep influence in the design, especially in the second drop, but it’s filtered through a melodic lens to inspire movement without overwhelming force. 

To that end, "Air" feels like a shared vision more than a clash of styles. It's a soaring, anthemic dance record that evokes the cathartic euphoria of early 2010s progressive house while staying rooted in modern melodic bass. 

As Gryffin continues his "PULSE: PHASE 2" tour and heads into a loaded festival season, "Air" lands like a mission statement. His first foray into dubstep and co-production with Excision signals his intent to continue growing and demonstrating his elite versatility within a multitude of dance music sub-genres.

You can listen to "Air" below and find the new single on streaming platforms here.

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A striking survey presented at this year's International Music Summit in Ibiza indicated that 61% of emerging DJs believe social media numbers carry more weight than actual musical skill when it comes to career success.

The data comes from a 15,000-person survey conducted by the Pete Tong DJ Academy, per Mixmag. It illuminates growing concerns of a music industry so saturated and insular that breaking through often depends less on artistry and more on whether or not you can strike fool's gold with gimmicky viral moments.

62% of respondents feel the music industry operates like a "closed club," according to the report, leaving little room for those without established connections or marketing muscle. Many pointed to a growing reliance on metrics like follower counts and engagement rates as gatekeeping tools for bookings, label signings and playlist placements.

While 35% of respondents remain hopeful that persistence pays off, the numbers paint a picture of an ecosystem increasingly shaped by optics over originality, leading many artists to believe that long-term sustainability hinges more on algorithms as it does on their skills in the studio and behind the decks.

Elsewhere in the survey, over half reported experiencing burnout or anxiety. "Every post feels like a test," one 24-year-old French DJ lamented. "If it flops, I feel like a failure."

Tiësto, Clean Bandit and Leony serve escapism with a side of dance music therapy in their new collaboration, "Tell Me Where U Go."

The track seamlessly fuses Tiësto's masterful trance sensibilities with Clean Bandit's orchestral pop prowess, creating something greater than its already formidable parts. The latter's candid admission about dissociation provides a psychological depth that resonates against the record's euphoric flourishes.

In other words, it makes the body move while the mind wanders elsewhere.

"My therapist said I dissociate sometimes," explains Clean Bandit's Jack Patterson. "She said to me, 'Tell me where you go.' After the session I went to the studio and we made this song."

That cerebral approach permeates the track as Leony's intoxicating vocals float over a pulsing four-on-the-floor beat, her urgent lyrics transforming a therapist's clinical inquiry into a dancefloor confrontation: "Tell me where you go, when you look into my eyes." Meanwhile, the production builds with the restrained confidence that only veterans of Tiësto and Clean Bandit's chart-topping caliber could execute.

The string arrangements, the band's perennial ace card, cut through Tiësto's immaculate production with dramatic precision, creating moments that feel both intimate and stadium-sized. It's a collaboration that respects the signature sounds of both while pushing them into refreshingly vulnerable territory.

You can listen to "Tell Me Where U Go" below and find the new single on streaming platforms here.

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With great beard comes great responsibility, and Hairitage wields both to unleash "Lemons," a track born from nostalgic cartoon villainy.

The new single is built on a sample from a fictional organization in SpongeBob SquarePants called E.V.I.L., an acronym for Every Villain Is Lemons. Consisting of antagonists like Plankton, Man Ray and The Dirty Bubble, the group is a goofy parody of classic supervillain tropes and first appeared in the Season 3 episode titled "Mermaid Man and Barnacle Boy V."

In an era where virality is both manufactured and measured, the track's true accomplishment lies in its distribution. While major artists rely on blitzkrieg marketing offensives and industry muscle, "Lemons" was fueled by an organic groundswell of fan enthusiasm on platforms like Reddit, bridging millennial nostalgia with Gen Z's internet-fueled music consumption.

From the jump, Hairitage's brassy stabs blare like SpongeBob's band in the Bubble Bowl (cue their iconic performance of "Sweet Victory"). They set the stage for a screeching dubstep drop so filthy it would make Squidward quit clarinet for good.

You can listen to "Lemons" below.

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