Climax Play – Mixing Music and Data

When Celebrity Power Takes Over the DJ Booth: Travis Scott vs John Summit in Monaco

Alessandro — Sun, 11 Oct 2026 10:03:57 +0000

CLIMAX NEWS • CLUB CULTURE

Chaos in Monaco: Travis Scott Interrupts John Summit's Set After Late Arrival

A Formula 1 after party featuring two of music's biggest names ended with John Summit's DJ set cut short, Travis Scott onstage and a backstage dispute that quickly became one of the weekend's most viral moments.

There are late arrivals, and then there are late arrivals that completely rewrite the running order. At Lilly's Club in Monte Carlo, a high profile Formula 1 after party featuring John Summit and Travis Scott turned into an unexpected clash between DJ culture, celebrity hierarchy and the basic rules of a live show.

The event took place on Sunday, June 7, with both artists appearing on the same bill at the Monaco club.

John Summit was already performing when the situation changed. According to Summit's account after the event, another artist arrived late and forced his way onto the stage, bringing Summit's performance to an abrupt end.

The issue was not simply that Travis Scott appeared onstage. It was how the change happened.

What happened inside Lilly's Club

Videos from the night spread rapidly online and show Travis Scott approaching the performance area while Summit was still behind the decks.

Scott can be seen climbing into the booth area with a microphone before beginning his own performance, while the ongoing DJ set effectively comes to an end.

The moment immediately created confusion around the stage. Footage from the aftermath also showed members of Summit's team attempting to manage the situation as tensions increased around the booth.

Summit's production director, Erik Fink, later became part of the public conversation surrounding the incident and directly referenced Travis Scott when promoting Summit's following Ibiza appearance.

John Summit responds

Summit addressed the situation on social media shortly after the event.

“My show got shut down due to another artist showing up late and forcing his way onto the stage.”

Summit did not initially name Travis Scott in the statement, but he attached Scott's track “TOPIA TWINS” to the post, making the reference difficult to miss.

Fink was considerably less subtle. In a later Instagram post promoting Summit's return to Ibiza, he explicitly referenced Scott while joking about the next show being without him.

More than a celebrity argument

The viral clips make the episode easy to reduce to another celebrity confrontation.

But for electronic music, the more interesting question is what happens when two very different performance cultures meet in the same booth.

A DJ set is built around continuity. Timing, transitions and control of the room are part of the performance itself. Interrupting that sequence is fundamentally different from moving the start time of a conventional concert.

At the same time, large Formula 1 weekend parties increasingly combine DJs, rappers, pop artists, celebrities and luxury hospitality into the same programme. The result can create spectacular lineups, but it also requires extremely clear production management when schedules move.

THE CONTEXT

Lilly's Club officially promoted the June 7 event as a joint John Summit and Travis Scott night during the Monaco Grand Prix weekend. The venue listed the event from 11 PM until the early hours of the following morning.

When star power collides with the DJ booth

There is also a wider cultural tension behind the incident.

In a club environment, the person behind the decks controls the musical narrative until the scheduled handover. In celebrity driven events, however, traditional running orders can sometimes become secondary to the arrival of the biggest name in the building.

That is precisely why the Monaco episode resonated so quickly beyond the people who were actually in the room.

For DJs, the booth is the stage. A forced interruption does not simply shorten a performance, it changes the performance itself.

For an audience, meanwhile, a surprise Travis Scott appearance can be an extraordinary moment. Those two realities can exist at the same time.

Travis Scott has not publicly explained the incident

At the time the incident was initially reported, Scott had not issued a public response explaining his version of what happened at Lilly's Club.

That distinction matters. The most detailed public account of the disruption came from Summit and members of his team, while the circulating videos show parts of the incident rather than the full production discussions that preceded it.

What is clear is that the planned transition between two headline performances did not happen cleanly, and the result became one of the most discussed nightlife moments of Monaco's Grand Prix weekend.

CLIMAX VIEW

A DJ booth is not an open microphone.

Unexpected moments are part of nightlife, and sometimes they become the moments everyone remembers. But a DJ set is still a performance with its own structure, timing and creative control.

Whatever the level of celebrity involved, the most sustainable version of these crossover events is one where surprise does not come at the expense of another artist's performance.

Sources

Lilly's Club / Xceed: John Summit x Travis Scott, June 7, 2026

TMZ: John Summit's Monaco set ends abruptly

MusicTech: John Summit addresses Travis Scott interruption

Mau P launches Baddest Behaviour Records in 2026

Alessandro — Sat, 10 Oct 2026 18:40:29 +0000

CLIMAX NEWS • LABELS

Mau P Launches Baddest Behaviour Records: From Party Brand to Artist Platform

Mau P is taking Baddest Behaviour beyond the dancefloor. His new record label turns a successful global event concept into something potentially much bigger: a platform for the next generation of electronic music producers.

Four years after “Drugs From Amsterdam” turned Mau P into one of the most recognisable new names in house music, the Dutch producer is entering a different part of the industry.

This time, he is not simply releasing another record. He is building the place where other records can live.

Mau P has officially launched Baddest Behaviour Records, a new artist-led imprint created to give producers a platform for music that has been reaching his inbox for years.

From releasing on other DJs' labels to building his own

Mau P's rise has been closely connected to artist-led labels. Since his 2022 breakthrough, his music has appeared through imprints associated with some of electronic music's most influential names, including John Summit's Experts Only, Chris Lake's Black Book and Solomun's Diynamic.

That makes the next step particularly interesting. Mau P is moving from being an artist given a platform by others to becoming someone capable of providing that platform himself.

Baddest Behaviour is no longer just an event brand. It is becoming part of Mau P's infrastructure.

Baddest Behaviour was already bigger than one party

The name will already be familiar to anyone following Mau P's touring career. Baddest Behaviour has evolved into his own international event concept, including a residency at Pacha Ibiza and major shows across cities such as New York, Miami and Los Angeles.

Turning that identity into a record label creates a direct connection between the music being discovered, the artists playing the events and the audience already following the brand.

And that may prove more significant than simply adding another logo to the crowded electronic music label landscape.

The label is designed to pay opportunity forward

Mau P has explained that the motivation behind the project comes from the volume of music producers have sent him over the years. Until now, hearing a strong demo did not necessarily mean he had somewhere to release it.

Baddest Behaviour Records changes that.

The idea is also closely connected to his own trajectory. Mau P has spoken about established artists who supported his music and gave him visibility at key moments in his career. With his own imprint, he can now potentially do the same for someone else.

This one's for the culture, for the scene.

Why this launch matters

Artist-owned labels are nothing new in electronic music. But the strongest ones become more than release vehicles. They develop a sound, a community and eventually an ecosystem around the artist who founded them.

Mau P already has several of those ingredients. He has the audience. He has the touring brand. He receives the demos. And Baddest Behaviour already carries an identity that audiences recognise.

The new label gives him the missing piece: a permanent outlet for music beyond his own catalogue.

THE BIGGER PICTURE

Earlier in 2026, Mau P also teased plans for his debut album and a Baddest Behaviour clothing line. Taken together, the projects suggest a wider expansion of the brand beyond releases and DJ shows alone.

From artist to curator

The real test for Baddest Behaviour Records will now be curation.

A successful artist can attract thousands of demos. A successful label needs to turn that access into a recognisable musical identity and consistently identify records and artists worth building around.

For Mau P, that transition could be the most interesting part of the entire project.

His career has already shown how quickly one record can change an artist's trajectory. Baddest Behaviour Records now gives him the opportunity to help create that moment for somebody else.

Baddest Behaviour is entering its next phase.

What started as a recognisable name around Mau P's live identity is becoming a platform capable of connecting releases, artists, events and audience under one brand.

Follow the latest electronic music industry stories on CLIMAX News →

Amsterdam Dance Event 2026 lineup

Alessandro — Sat, 22 Aug 2026 19:58:40 +0000

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ADE 2026

Amsterdam Dance Event 2026 Drops 350+ Artists for Its 30th Anniversary

From David Guetta and Armin van Buuren to Amelie Lens, Jeff Mills, Mochakk and Sammy Virji, the first Amsterdam Dance Event 2026 lineup already reads like a snapshot of electronic music right now.

The Amsterdam Dance Event 2026 lineup is beginning to take shape, and ADE is entering its 30th anniversary with scale. More than 350 artists have already been confirmed across the first wave of the festival programme ahead of the event’s return to Amsterdam from October 21 to 25.

ADE’s first wave is less about one headline act and more about showing just how wide electronic music has become in 2026.

The announcement spans virtually every major corner of electronic music: global EDM, house, techno, melodic sounds, UK club music and a new generation of artists pushing through from underground scenes.

Rather than building the programme around one dominant sound, the first release presents ADE as what it has increasingly become: a meeting point for different scenes, markets and generations.

350+ Artists already announced

30 Years of Amsterdam Dance Event

21–25 October 2026

The Amsterdam Dance Event 2026 lineup covers the full spectrum

At the largest end of the spectrum, David Guetta and Armin van Buuren bring global festival-scale visibility to the programme.

The techno side is equally substantial. Adam Beyer, Amelie Lens, Marcel Dettmann, Helena Hauff, Jeff Mills, Oscar Mulero, Planetary Assault Systems, Philippa Pacho, SPFDJ, Freddy K, Nico Moreno, Rene Wise and FJAAK are among the names already confirmed.

For melodic and progressive audiences, the first wave includes Adriatique, Joseph Capriati, Joris Voorn, Sultan + Shepard and Tinlicker, giving that part of the electronic spectrum significant representation as well.

Selected first-wave names:
David Guetta · Armin van Buuren · Adam Beyer · Amelie Lens · Adriatique · Jeff Mills · Mochakk · The Blessed Madonna · The Martinez Brothers · Sammy Virji · Skepta · Folamour · Chloé Caillet · Franky Rizardo · Joris Voorn · KI/KI · DJ Heartstring · Josh Baker · Prospa · Skin on Skin

House and UK club culture have a major presence

House and disco are represented by artists including The Blessed Madonna, The Martinez Brothers, Folamour, Chloé Caillet, Franky Rizardo and Shanti Celeste.

At the same time, the UK’s current influence on global club culture is visible throughout the announcement. Sammy Virji, DJ EZ, Skepta, Josh Baker, Prospa and MPH all appear in the first wave, reflecting how garage, house and bass-driven sounds are increasingly crossing into wider electronic audiences.

Mochakk, Skin on Skin and DJ BORING further blur the boundaries between underground credibility, social discovery and large-scale festival appeal.

ADE is still investing in the next generation

One of the more important signals in the announcement is the amount of space given to artists who are still building their international profile.

Names including Aldonna, Bella Claxton, BASHKKA, Ciara Cuvé, DJ Heartstring, fumi, KI/KI, Marsolo, Novah, Paige Tomlinson and Yanamaste sit alongside established global figures.

That mix matters. ADE has never functioned only as a festival lineup. For artists, managers, labels and industry professionals, Amsterdam in October is also one of the most concentrated discovery environments in electronic music.

An artist appearing on the programme can move between club shows, meetings, panels, label events and networking opportunities within the same week. That ecosystem is what makes ADE structurally different from a conventional festival.

The 30th anniversary is bigger than the festival programme

ADE’s anniversary year extends beyond the first wave of festival artists. The organisation is also developing its ADE Pro conference, Arts & Culture programme, ADE Green and other initiatives throughout the city.

Jean-Michel Jarre has been announced as guest of honour for the 30th anniversary, while ADE Pro has continued to add artists and industry figures including Mochakk, Josh Baker, SPFDJ and Paul Hartnoll of Orbital.

The wider conference programme is also looking at some of the biggest structural questions facing electronic music today, including independence, technology, market consolidation and collective action.

What this first wave says about electronic music in 2026

The most interesting part of the Amsterdam Dance Event 2026 lineup may not be any individual artist. It is the coexistence of so many different scenes inside the same programme.

Stadium-scale EDM has not disappeared. Techno continues to carry enormous international weight. House remains central. UK garage and bass music are expanding rapidly, while younger artists increasingly move between genres rather than staying inside one category.

ADE’s first wave captures that fragmentation and makes it visible in one place.

Electronic music in 2026 is less defined by a single dominant trend than by several strong movements happening simultaneously.

CLIMAX View

ADE’s strength has always been its ability to show the entire electronic ecosystem at once. The 2026 first wave reinforces that role. Global headliners, underground institutions and emerging talent are not competing for separate worlds anymore; they increasingly exist inside the same culture. For the 30th anniversary, Amsterdam looks set to become the clearest snapshot of where electronic music stands right now.

The complete first-wave programme is already available through Amsterdam Dance Event, with additional artists, events and conference announcements expected as October approaches.

Explore more electronic music news and industry stories on CLIMAX .

Sources

Amsterdam Dance Event: First wave of artists for 30 YEARS ADE

Amsterdam Dance Event: ADE Festival 2026

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Dance music growth in the US according to Luminate 2026 data

Alessandro — Thu, 06 Aug 2026 12:20:43 +0000

Music Data

Dance/Electronic Is the Fastest-Growing U.S. Genre in the First Half of 2026

Luminate’s latest Midyear Report shows Dance/Electronic gaining more U.S. on-demand audio market share than any other genre, powered by current hits and a renewed appetite for the EDM sound of 2015 to 2017.

Dance music growth in the US reached a new milestone during the first half of 2026. According to Luminate’s Midyear Report, Dance/Electronic recorded the largest increase in U.S. On-Demand Audio market share of any genre.

Dance/Electronic gained 0.51 share points, making it the leading U.S. growth genre of the first half of 2026.

The result offers a measurable sign of how electronic music is expanding beyond its traditional club and festival audience. Dance music has been building mainstream visibility for several years, but the new data suggests that the shift is now being reflected more clearly in overall listening behaviour.

Luminate reported that total U.S. On-Demand Audio streams grew by 4.8% during the first half of the year, reaching 732.7 billion streams. Within that growing market, Dance/Electronic achieved the strongest increase in share.

+0.51 Dance/Electronic share-point change

732.7B U.S. On-Demand Audio streams

+4.8% Overall U.S. audio streaming growth

What dance music growth in the US really means

The finding does not mean that Dance/Electronic is now the largest genre in the United States. R&B and Hip-Hop still account for approximately one out of every four U.S. audio streams and continue to lead the market in total volume.

Instead, the Luminate data measures the change in each genre’s share of the U.S. On-Demand Audio market. Dance/Electronic increased its position more than any competing category during the first six months of 2026.

Important distinction: Dance/Electronic is the fastest-growing U.S. genre by On-Demand Audio share-point change, not the genre with the highest total number of streams.

That distinction matters because growth shows momentum. A category can remain smaller than the market leader while still attracting new listeners, increasing consumption and gaining cultural relevance at a faster rate.

Current hits are bringing electronic music forward

Luminate identifies John Summit and Disco Lines among the artists driving the current wave. Their success reflects a wider change in the relationship between club music and mainstream streaming.

Electronic records are no longer required to remain inside specialist DJ sets or genre-specific playlists. The strongest releases can now move between festivals, social media, radio, workouts, gaming content and everyday listening without losing their connection to the dancefloor.

Artists such as John Summit have helped make contemporary house music more visible to audiences that may not previously have considered themselves electronic music fans. The result is a crossover model that does not necessarily require artists to abandon club culture to achieve wider reach.

The 2015 to 2017 EDM era is returning

Current releases are only one part of the story. Luminate also points to a viral nostalgia trend involving Dance/Electronic catalogue tracks released between 2015 and 2017.

One of the examples highlighted in the report is “Closer” by The Chainsmokers featuring Halsey. Records from this period are being rediscovered by listeners who originally experienced them during the peak of the festival EDM era, while younger audiences are encountering the same music through short-form video, playlists and online culture.

Nostalgia is therefore operating on two levels. Older fans are returning to music linked to formative memories, while new listeners are treating those records as fresh discoveries.

The renewed interest also explains why the current electronic landscape contains so many references to progressive house, electro house, melodic festival records and the emotional songwriting associated with the middle of the 2010s.

More than an EDM comeback

Describing the trend as a simple comeback would miss what is actually happening. The electronic music market of 2026 is not rebuilding the exact same culture that existed a decade ago.

Instead, familiar sounds are being combined with modern production, faster content cycles, new social platforms and a generation of artists who understand both the club ecosystem and the attention economy.

House, techno and festival-oriented electronic music now occupy overlapping cultural spaces. Underground records can become viral moments, while major crossover artists can maintain credibility inside clubs and festivals.

This flexibility is one reason Dance/Electronic is currently able to grow across different audiences without depending on one single sound or superstar.

Why this matters for the electronic music industry

The data creates opportunities for artists, labels, promoters and platforms, but it also increases competition. As more listeners enter the category, more releases will compete for the same attention, playlists, social reach and festival positions.

Sustainable growth will therefore depend on more than simply copying the sounds currently performing well. Artists will need recognisable identities, strong communities and strategies that connect streaming momentum with live performance and long-term fan development.

The figures also reinforce the value of measuring movement instead of looking only at absolute totals. Market leadership shows scale, while growth reveals where audience behaviour is changing most quickly.

CLIMAX View

The rise of Dance/Electronic is being driven by both forward movement and cultural memory. Current artists are expanding the audience, while the music of 2015 to 2017 is reconnecting listeners with an era that helped define modern festival culture. This is not simply a return to the past. It is a new growth cycle built from the past and reshaped for the present.

Luminate’s report provides a clear snapshot of the first half of 2026. Whether Dance/Electronic can maintain the same momentum through the rest of the year will depend on the strength of upcoming releases and the genre’s ability to convert renewed attention into lasting audience growth.

Explore more electronic music news and data on CLIMAX .

Sources

Luminate: 2026 Midyear Report findings

Luminate: full 2026 Midyear Report

deadmau5 Shares Screenshots of Alleged Death Threat Linked to Brazil

Alessandro — Wed, 29 Jul 2026 18:07:16 +0000

Industry News

deadmau5 Shares Screenshots of Alleged Death Threat Linked to Brazil

The Canadian electronic music artist published a disturbing social media exchange featuring a handgun image and messages warning him to stay away from Brazil.

The alleged deadmau5 death threat became public after the Canadian producer shared screenshots of a disturbing Instagram exchange. The images appeared to include a handgun photo and messages warning him to stay away from Brazil.

Online threats are not fan culture. They are intimidation.

According to the screenshots published by deadmau5, an Instagram account sent the producer a photograph of a handgun alongside messages referencing Brazil. The sender also appeared to claim that the artist was being watched and warned that he would never return to the country.

The messages quickly circulated across electronic music pages and social media communities, generating discussion around online harassment, artist safety and the risks faced by internationally visible performers.

What the deadmau5 death threat screenshots show

deadmau5 published the exchange on his social channels and explained that, although he would not normally expose another person publicly, he does not tolerate death threats.

“I also don’t appreciate death threats.”

The screenshots appear to show a direct conversation in which the sender presents the weapon as a message connected to Brazil. Other messages allegedly warned the producer that he was being watched and that he should not return to the country.

The identity, location and intentions of the person behind the account have not been independently verified by CLIMAX. The available information is based on the material shared publicly by deadmau5 and subsequent media reporting.

A characteristically direct response

Rather than responding with visible fear, deadmau5 answered the messages with sarcasm. He questioned the credibility of the alleged threat and commented on the weapon shown in the photograph.

The reaction was consistent with the producer’s famously direct and unfiltered online personality. However, his decision to publish the conversation also communicated a more serious point: messages involving firearms and warnings about an artist’s future movements cannot simply be dismissed as ordinary criticism.

The case attracted attention not only because of the content of the messages, but also because deadmau5 is one of the most internationally recognisable figures in electronic music. His touring schedule, public appearances and festival performances regularly bring him into direct contact with audiences across different countries.

The wider issue of artist safety

The incident has reopened a wider conversation around online harassment, personal security and the increasingly direct relationship between artists and anonymous social media accounts.

Platforms such as Instagram allow musicians to communicate directly with their audiences and build global communities without traditional barriers. That accessibility is one of the most powerful elements of modern music culture, but it can also expose artists to harassment, intimidation and potentially dangerous behaviour.

Beyond the immediate shock of the exchange, the incident highlights how quickly direct access can become a security concern for public figures. Social platforms allow fans to contact artists without intermediaries, but the same proximity can also enable threatening behaviour.

For internationally touring DJs, the issue is especially sensitive because festival appearances, travel plans and public schedules are often promoted weeks or months in advance. That visibility is essential to the live music industry, but it can also create vulnerabilities when online hostility becomes specific or includes references to weapons and locations.

The deadmau5 death threat discussion therefore extends beyond one artist or one message. It raises broader questions about how social platforms respond to reported threats, how management teams assess risk and how the electronic music community distinguishes criticism from intimidation.

Whether an online message is eventually considered credible or not, sending images of firearms and warnings connected to an artist’s movements crosses a clear line. These actions should not be normalised as part of online fandom or dismissed as harmless provocation.

CLIMAX View

Electronic music is built around community, freedom and shared experience. Threats of violence have no place within that culture. Direct access to artists should strengthen the relationship between performers and audiences, not become a tool for harassment or intimidation.

At the time of publication, CLIMAX has not found a confirmed public statement from law enforcement regarding the exchange.

CLIMAX will update this story if further verified information becomes available.

Explore more electronic music news on CLIMAX .

Sources

deadmau5: original public statement

EDM.com: report on the alleged threat

B Jones Makes an Emotional Return to Tomorrowland After Overcoming Cancer

Alessandro — Mon, 20 Jul 2026 22:36:12 +0000

CLIMAX News

B Jones Makes an Emotional Return to Tomorrowland After Overcoming Lymphoma

The Spanish DJ fulfilled the promise she made during treatment, returning to the Tomorrowland Mainstage for one of the most powerful moments in recent electronic music history.

CLIMAX Editorial Team | July 2026

Some performances are remembered for the music. Others are remembered for what it took to reach the stage.

B Jones delivered one of the most emotional moments of Tomorrowland 2026 when she returned to the festival’s Mainstage after undergoing treatment for lymphoma.

Her appearance represented far more than another major festival booking. It was the fulfilment of a promise made during one of the most difficult periods of her life: to recover, return to performing and stand once again in front of the Tomorrowland crowd.

A battle away from the stage

At the beginning of 2026, B Jones publicly revealed that doctors had discovered a tumour in her spinal area. A subsequent biopsy confirmed that she had lymphoma, forcing the artist to step away from touring and focus entirely on treatment and recovery.

While receiving treatment, the Spanish DJ continued to share messages of strength and positivity with her audience. Tomorrowland gradually became a symbol of the future she was fighting to reclaim.

After later sharing the news that she was in remission, B Jones confirmed that she would keep her promise and return to the festival.

“This was more than a comeback. Stepping onto the Mainstage was already the greatest victory.”

The promise becomes reality

On 19 July 2026, B Jones stepped back onto the Tomorrowland Mainstage in Boom, Belgium, completing a journey that only months earlier had appeared uncertain.

The response from the crowd transformed the performance into a collective celebration of resilience, recovery and hope. Every image carried a meaning that extended beyond the scale of the production or the records being played.

B Jones had already made history as the first Spanish woman to perform on Tomorrowland’s Mainstage. Her return has now added an even more significant chapter to that relationship.

CLIMAX Perspective

Behind every ranking, performance and career milestone, there is a human story. On this occasion, the most important achievement was not a chart position or a festival slot. It was simply being able to return.

Electronic music has always created moments of collective emotion, but only a few performances transcend the event itself.

B Jones’ return to Tomorrowland was one of them.

Sources: DJ Mag, Cadena SER, B Jones official channels and the embedded CLIMAX Instagram Reel.

Alesso Marries Erin Michelle Cummins, Celebrates With Dance Music Friends in Italy

Alessandro — Tue, 14 Jul 2026 21:55:36 +0000

lesso and Erin Michelle Cummins are officially married.

According to a marriage license reported by TMZ, the Swedish producer and his longtime partner tied the knot in Las Vegas on June 20, before later celebrating the milestone with friends in Italy. The Italian gathering quickly attracted attention across the electronic music community, with Martin Garrix, Sebastian Ingrosso, Marshmello and Dillon Francis reportedly among the guests.

The celebration offered fans a rare glimpse into the personal life of one of dance music’s most recognizable artists. Away from festival stages, headline shows and major releases, the wedding became a more intimate moment involving several familiar faces from the wider EDM scene.

Italy provided a suitably cinematic backdrop for the occasion, giving the event an elegant and private atmosphere. Images and posts connected to the celebration quickly began circulating online, turning the wedding into one of the most discussed personal stories in dance music this week.

Beyond the celebrity guest list, the moment also highlighted the close relationships that exist behind the scenes of the electronic music industry. With several major artists reportedly celebrating together, the event became part wedding, part reunion for a group of musicians who have shared stages, collaborations and years of history within the scene.

For Alesso, it marks an important new chapter away from music. For fans, it is a rare look at the personal milestones behind one of electronic music’s biggest careers.

Ultra Music Festival Unveils Full RESISTANCE Lineup for Miami Music Week Residency at M2 Miami

Alessandro — Mon, 02 Mar 2026 22:12:58 +0000

As Miami Music Week enters its final stretch, Ultra Music Festival has officially revealed the complete RESISTANCE lineup for its five-night residency at M2 Miami.

Running from Wednesday, March 25 through Sunday, the takeover reinforces RESISTANCE’s position as one of the most established underground-focused brands within the global festival ecosystem. The programming balances legacy names with rising forces, reflecting the current state of techno and underground house at scale.

Wednesday, March 25 — Opening Night

The residency begins with the highly anticipated RESISTANCE debut of ¥ØU$UK€ ¥UK1MAT$U, setting a high-intensity tone from the outset. The opening night is further driven by the industrial force of 999999999, the raw energy of Carbon Nerve and the precise, driving techno of Juliet Fox.

Thursday, March 26 — Eric Prydz Returns

Thursday sees Eric Prydz anchoring the evening, bringing his long-standing influence within melodic and progressive techno back to Miami. Argy and Jeremy Olander round out the lineup, offering a refined transition into the core Ultra weekend.

Friday & Saturday — Festival Afterhours at M2

As Ultra Music Festival officially begins on Friday, M2 transforms into a high-caliber afterhours environment.

Friday’s lineup features Amelie Lens, Boys Noize and ØTTA, while Saturday continues the momentum with Boris Brejcha, Miss Monique and Brina Knauss, blending melodic precision with peak-time techno performance.

Sunday — The Official Closing

The residency concludes on Sunday with the official RESISTANCE closing party, traditionally led by Carl Cox. The final night also includes Maceo Plex and rising talent Airrica, bringing the week to a structurally coherent close.

Five Nights, One Underground Axis

Across five consecutive nights, RESISTANCE consolidates its presence during Miami Music Week by offering a focused alternative to the mainstage festival environment.

The full RESISTANCE Miami Music Week lineup is now official.

Beatport Psy-Techno: New Official Techno Subgenre Explained

Alessandro — Thu, 05 Feb 2026 21:21:39 +0000

Beatport psy-techno is now officially recognized as a subgenre within the platform’s techno classification, marking a significant update in how electronic music genres are structured and discovered.

The decision reflects the rapid global growth of psy-techno, a hybrid sound that has gained increasing visibility across clubs, festivals and DJ sets worldwide over the past few years.

What Is Psy-Techno?

According to Beatport’s official definition, psy-techno combines:

the hypnotic pulse and structure of techno
psychedelic sound design
driving basslines
intricate, layered textures traditionally associated with psy-trance

The genre is characterized by minimal, spacious arrangements that emphasize groove, tension and mental immersion rather than melodic excess.

The inclusion of Beatport psy-techno reflects a broader shift in genre formalization across electronic music platforms.

Artists such as Sensient, Beat Bizarre, Luis M and Miles From Mars are cited by Beatport as key contributors to the foundational sound of psy-techno.

Why Beatport Added Psy-Techno as a Subgenre

By introducing psy-techno as an official subgenre, Beatport expands its search, discovery and curation tools for DJs, producers and listeners.

The update allows users to:

browse psy-techno releases more accurately
improve genre-based track discovery
reflect current club and festival trends more precisely

As psy-techno continues to grow internationally, its formal recognition signals a broader shift in how electronic music genres are categorized and consumed.

Indira Paganotto on Psy-Techno

One of the most prominent artists in the psy-techno movement, Indira Paganotto, commented on the genre’s recognition by Beatport, describing psy-techno as a commitment to authenticity and artistic integrity.

According to Paganotto, psy-techno is not about rebellion, but about maintaining a personal vision. The genre, she explains, blends psychedelic emotion, nature, freedom and passion with the structured hypnosis and rigidity of techno, creating a sound that opens mental and emotional space while remaining firmly grounded on the dancefloor.

Key Psy-Techno Labels Identified by Beatport

Beatport also highlighted several labels that have played a fundamental role in the global expansion of psy-techno, including:

Zenon Records
IbogaTech
Techgnosis
AlpaKa MuziK
Soupherb Records
Recovery Collective
Occulta Records
ARTCORE Records

These imprints have contributed significantly to shaping and distributing the sound worldwide.

Psy-Techno Now Available on Beatport

The psy-techno category is now live on Beatport and available for users to explore across the platform, offering improved visibility for artists and labels operating within the genre.

Miami Music Week 2026: Dates, Events and Ultra Music Festival Lineup

Alessandro — Thu, 29 Jan 2026 16:25:12 +0000

Miami Music Week 2026 takes place from March 24 to March 29, bringing over 200 electronic music events to Greater Miami and Miami Beach.

Miami Music Week 2026 Overview

Every year, Miami temporarily transforms into the global hub of electronic music. DJs, DJ producers, labels, promoters and fans converge for a concentrated week of events known as Miami Music Week.

The 2026 edition of Miami Music Week is scheduled from March 24 to March 29, 2026, activating clubs, hotel pools and venues across Greater Miami and Miami Beach. With over 200 electronic music events planned, the city becomes a fully distributed nightlife ecosystem operating continuously for six days.

Unlike traditional festivals, Miami Music Week has no single main stage. Instead, it functions as a decentralized network of showcases, label takeovers, pool parties and night events spanning genres such as EDM, house, techno, trance, drum and bass, dubstep and bass music.

What Happens During Miami Music Week

Miami Music Week is not only about performances. It is a high-density industry environment where releases are tested, artist momentum is measured and professional relationships are formed in real time.

Events take place across:
• Nightclubs
• Beachfront venues
• Hotel pools
• Temporary pop-up locations

This structure allows multiple audiences and scenes to coexist simultaneously, making Miami Music Week one of the most influential electronic music weeks globally.

Ultra Music Festival 2026: Dates and Location

The week concludes with Ultra Music Festival, Miami’s flagship electronic music event.

Ultra Music Festival 2026 will take place from March 27 to March 29, 2026, at Bayfront Park, located in downtown Miami.

While Ultra represents the most visible endpoint of Miami Music Week, its role is contextual. The festival acts as a large-scale closing chapter to a week already saturated with electronic music programming.

Ultra Music Festival 2026 Lineup Highlights

The Ultra Music Festival 2026 lineup brings together globally established acts spanning multiple generations of electronic music.

Confirmed artists include:
• Above & Beyond
• Alesso
• Armin van Buuren
• Carl Cox
• Dom Dolla
• John Summit
• Hardwell
• Mau P
• Skrillex
• Tiësto

The lineup reflects Ultra’s positioning as a high-scale, cross-genre electronic festival designed for global visibility rather than niche experimentation.

Miami Music Week as Industry Infrastructure

Beyond performances, Miami Music Week operates as an industry-level testing ground. Booking demand, audience response and artist scalability are measured live across dozens of parallel events.

For artists, presence during Miami Music Week often signals:
• market readiness
• international demand
• booking leverage for summer festival seasons

For promoters and labels, the week offers real-time data on crowd response across different formats, venues and price points.

Why Miami Music Week Matters

Miami Music Week is not defined by a single event or lineup. Its relevance comes from density.

For six consecutive days, electronic music occupies public space, nightlife infrastructure and cultural attention simultaneously. This concentration makes Miami Music Week a reference point for understanding where electronic music stands globally at the beginning of each year.

For one week, Miami is not just a destination.
It becomes infrastructure.

Miami Music Week 2026: Key Information

Dates: March 24–29, 2026
Ultra Music Festival: March 27–29, 2026
Location: Greater Miami & Miami Beach
Main Festival Venue: Bayfront Park

FAQ – Miami Music Week 2026

When is Miami Music Week 2026?
Miami Music Week takes place from March 24 to March 29, 2026.

When is Ultra Music Festival 2026?
Ultra Music Festival runs from March 27 to March 29, 2026.

Where is Ultra Music Festival held?
Ultra is held at Bayfront Park in downtown Miami.

How many events happen during Miami Music Week?
More than 200 electronic music events are scheduled across the city.

The 2026 edition is scheduled to take place from March 24 to March 29, activating clubs, hotel pools and venues across Greater Miami and Miami Beach. With more than 200 events planned, the week spans the full spectrum of electronic music, from EDM and house to techno, trance, drum and bass and bass-driven genres.

Rather than a single festival, Miami Music Week functions as a distributed ecosystem. Labels, promoters and artists operate simultaneously across the city, turning Miami into a continuous flow of showcases, daytime activations and late-night programming for six consecutive days.

Ultra Music Festival Closes the Week

The week culminates with the return of Ultra Music Festival, Miami’s flagship electronic event. Ultra will take place at Bayfront Park from March 27 to March 29, closing Miami Music Week with large-scale production and global visibility.

The 2026 lineup includes Above & Beyond, Alesso, Armin van Buuren, Carl Cox, Dom Dolla, John Summit, Hardwell, Mau P, Skrillex and Tiësto.

Ultra remains the most visible endpoint of the week, but its role is contextual. The real impact of Miami Music Week lies in its density: six days where releases are tested, partnerships are formed and audience demand is measured in real time.

For electronic music, Miami is not just a destination.
For one week, it becomes infrastructure.