Brooklyn Mirage is both a paradise and a paradox.

Unparalleled programming and production intertwined with some serious pitfalls have created a perception of the storied EDM venue that seesaws between excellence and dysfunction. But with new leadership at the helm, 2025 could be a turning point.

First, the good. There’s no denying that the New York venue’s curation is top-notch. Dance music’s biggest artists—like Carl Cox, John Summit, Keinemusik, Black Coffee and Swedish House Mafia—often take the stage at Brooklyn Mirage. Record labels and brands with thriving communities—like Anjunadeep, Boiler Room, Mayan Warrior and All Day I Dream—curate shows there too. And rewarding the truest of revelers, dusk-to-dawn shows are hosted regularly, spurring sunrise sets in a sprawling setting that few stateside venues can pull off.

Plus, the venue’s production rivals festival stages. The sound system is stellar and Brooklyn Mirage’s gargantuan, 300-foot, 14K LED video wall is a spectacle.

But it’s not all sunshine and rainbows. Reports in recent years of operational mismanagement and safety concerns have soured the venue’s relationship with longstanding patrons. Social media is rampant with accounts of aggressive security, oversold shows and confiscation of Narcan, a life-saving medication that’s widely considered a critical harm reduction tool in the dance music community. A pair of mysterious deaths near Brooklyn Mirage in 2023 also cast a long shadow over the venue’s reputation, fueling calls for greater accountability and improved safety measures.

Josh Wyatt, the new CEO of Avant Gardner—the multi-venue complex that houses Brooklyn Mirage—is determined to tackle the venue’s most pressing concerns with meaningful change.

“Trust, transparency and accountability are the three key words in my moral compass,” Wyatt tells EDM.com in a sweeping interview. “I have pushed those three words down into the fiber of the company to ensure that employees understand that these are key expectations I have as CEO.”

It’s natural to be skeptical about lofty statements. “So what does this all mean in practice?” Wyatt himself segues, expanding on several concrete ways to rebuild trust with patrons who may have had negative experiences at Brooklyn Mirage in the past.

“We’ve heard feedback that the way security interacts with fans is too draconian,” he says. “I think that comes down to training and a commitment to change the company culture.”

To address this feedback, Wyatt plans to expand Brooklyn Mirage’s guest ambassador program and have all staff undergo hospitality training. This community-based approach to guest relations should translate to more pleasant experiences with staff once Brooklyn Mirage reopens later this year, he says.

“It’s one thing to understand the technical details of the venue, but it’s another thing to actually be trained with a culture of hospitality: welcoming people, really wanting to make sure that guests feel safe, feel heard and are given the opportunity to have a great time.”

Apart from hospitality training, Wyatt mentions that all staff has already undergone training on harm reduction, overdose prevention, anti-harassment, sexual violence prevention, CPR/AED, bystander intervention and Narcan administration. Regarding past reports of staff confiscating Narcan, he affirms that the medicine is permitted into the venue and that all staff has been made aware of the policy. However, Wyatt stresses that patrons in need of help should seek out trained medical professionals who will be onsite at every show.

But it’s not just the way in which staff members interact with fans that has proven to be an albatross for Brooklyn Mirage—it’s also the way they present themselves.

“When someone comes in and sees security in quasi-military gear, it certainly sends a message, and that message is definitely not one of openness and positivity,” Wyatt admits. “Our goal would be similar to the U.S. Secret Service or Federal Air Marshals. There’s a lot of stuff that happens behind the scenes that you never see, yet it’s safe for politicians to give a speech, and it’s also safe for us to fly.”

Wyatt emphasizes there’s nuance in prioritizing security while maintaining a welcoming atmosphere. “It’s almost like being a swan. We’re paddling furiously underneath, but all you should see is a hospitality-forward company.”

When it comes to safety outside the venue’s walls, Brooklyn Mirage is investing in improvements, Wyatt says, to “lighting, fencing, perimeter sight lines, way-finding, signage to subways and rideshare, and cell phone service—through finally getting the right permits and licenses to install more cell phone towers.”

These changes should make a big difference since the streets surrounding Brooklyn Mirage are relatively quiet with limited residential presence. The immediate vicinity comprises several blocks of warehouses, factories and commercial buildings with sparse street lighting and low pedestrian traffic.

The venue will also continue working with both NYPD and private security to patrol the surrounding neighborhood after shows end, policing unlicensed drivers from picking up inebriated patrons. Though Wyatt states that there are legal and technical limits to what they can do once someone exits the venue.

“It’s more of a neighborhood or community problem,” he adds. “I would challenge everyone around us as neighbors to work together collectively—whether it’s other nightlife operators in the area, property owners or politicians—we need to work together to make the neighborhood a more welcoming place.”

Apart from hospitality and safety, capacity is one of the biggest criticisms of Brooklyn Mirage. Patrons often report that shows feel overcrowded and oversold, sometimes raising concerns about potential fire hazards.

Wyatt views capacity across two axes: technical (the layout of the dancefloor) and functional (the number of people on the dancefloor).

On the technical front, “there will be no barriers, columns or production tents on the dancefloor,” Wyatt says. “That’s a very simple but profound fix that we think will improve crowd flow.”

If you’ve been to Brooklyn Mirage, you’ve probably experienced bottlenecks around the steel boundaries of the large production tent at the back of the dancefloor or around the towering, obstructive columns spread across the dancefloor. Eliminating these structures will open up significantly more space for dancing. Wyatt also promises new spaces with direct sight lines to the stage.

In fact, holding true to its name, Brooklyn Mirage as we know it is going to disappear. The space is being rebuilt from the ground up, and the rebuild will result in a larger dancefloor and dynamic production design.

“We can’t fully disclose what we’re doing, but I can tell you that when you walk into Brooklyn Mirage for the first time, you’re going to see a set design that will blow you away,” Wyatt emphasizes. “Then when you come back two weeks or two months later, it’s going to look totally different. The type of technology that we’re designing to be able to allow us to do that is bespoke and has never been done before—I think it’s pretty mind-blowing.”

Love it or hate it, Brooklyn Mirage will sunset its signature video wall. Wyatt favors flexibility in stage design and thinks the video wall creates a fixed point of view that restricts optionality. “We’ve been flirting with new production elements ahead of the 2025 Mirage season,” he says. “One of our first tests was this sort of 360° pulsating visual rig that we put up for Rampa at the Great Hall in December.”

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“The second area of technical flow is how people get in and out of the venue and how people get between the different sections within the venue,” Wyatt continues. “With the new venue design, we’ve addressed all pressure points to make the guest experience a lot easier and more intuitive in terms of flowing through the venue. Because it’s not just about dancing, it’s also about the ability to get to the exits, bars and bathrooms quickly.”

Aside from streamlined flow, Wyatt says the revamped Brooklyn Mirage will also have “new areas where people can peel out of the main dancefloor, hang out and have much better experiences and side quests around the entire campus.” If you’ve ever been to the venue and found yourself stumped by an aggressive security guard telling you that the elevated floors are closed off, Wyatt wants to fix that. He acknowledges that area restrictions were not always clearly communicated by staff in the past, but enhanced signage and hospitality training will change that.

When it comes to the burning question of whether Brooklyn Mirage oversells shows, Wyatt says he wants to be both “transparent and a little combative” in his response.

“I’ve seen the numbers. In the past for 2023 and before, there was overselling,” he reveals. “In 2024, there was a cap on the number of tickets that were sold. I have all the data and other than maybe one or two shows, there was never overselling of tickets. So I acknowledge customer feedback that it’s been overcrowded, but since I came on board, I said whatever the venue capacity is, you cannot sell one ticket beyond that.”

“Perception is everything,” he adds. “We have to communicate effectively with all the constituents that touch the company—vendors, employees, neighbors, politicians and of course fans. We’ve been putting out communications in writing, on social media, and in person to tell people what we are going to do, show people that we’ve listened to their feedback and to provide a solution to any type of challenge that people have faced.”

If you scroll through Brooklyn Mirage’s Instagram page, you’ll notice a drastic difference in how they are engaging with fans. Any criticism is met with openness and positivity. Before Wyatt joined the company, responses to comments on social media were non-existent.

“We need to have an active dialogue where you recognize a customer has had either a positive experience or a negative experience, and comment on that to either give reinforcement to the positive moment or a service path to recovering from a negative moment,” Wyatt explains. “The team has been incentivized to be very engaged on social media.”

Alongside Net Promoter Score, a standardized methodology for benchmarking and capturing feedback in the hospitality and nightlife industry, Brooklyn Mirage will collate customer sentiment on social media to measure the success of its new policies on improving the guest experience.

Wyatt’s focus on guest satisfaction stems from over two decades of experience in the hospitality industry.

“I’ve always been deeply motivated and inspired by creative companies that have a meaningful community,” he says. “Brands that can define, support and grow a community are brands that typically stand the test of time. They may go through ups and downs, but the ones I think that survive and eventually thrive over years and more importantly decades are ones that understand their community and know how to foster a long-term view of that community. I’ve always aligned myself to companies that follow that mantra.”

Wyatt’s most recent tenure as CEO of social club NeueHouse and its sister company, the photography museum Fotografiska, was rooted in community-building. NeuHouse’s cultural programming (artist talks, film screenings, creator dinners), interior design (communal workspaces and lounges) and membership were designed to foster a vibrant community of creators, inventors and thought leaders.

His past experiences as president of Equinox Hotels and co-founder of Generator Hostels share similar community underpinnings. “When I started Generator—back when the word Millennial was the equivalent of what Gen Z is today—no one understood the concept of bringing together high-level interior design, cultural curation and music into the budget travel industry,” he says. “We did that with Generator.”

Part of Wyatt’s efforts with Generator also included an early discovery of now-global music broadcasting platform Boiler Room. “We were the first to ever bring Boiler Room on the road,” he recalls. “We found them in a garage in Shoreditch back in 2008 and thought that they were incredible and that they should travel. So we were the first ones to ever actually stream a touring Boiler Room. It happened in Berlin, back in 2010, and was the first touch point I had seeing the power of electronic music with a communal, tribal vibe—people coming together to experience a profound sense of joy and emotion.”

To this day, Wyatt still champions rising talent, pointing to Keinemusik supporting Desiree and Black Coffee working with Shimza as great examples. In turn, he aims to use Brooklyn Mirage as a lever where established acts can amplify emerging talents, an opportunity he called “one of the best parts about this job.”

“One of the things that I’m intrigued by is this concept of established artists or platforms that are also really, really good at developing talent underneath them and elevating that talent, whether it’s directly on a label or just as friends.”

Brooklyn Mirage kicks off its 2025 season on May 1st. You can find out more via the venue’s website.

The vibrant streets of Downtown Los Angeles will once again reverberate with the sounds of house and techno as Skyline Festival returnd this weekend for its fourth iteration. 

Organized by Insomniac Events, the two-day event will once again return to Grand Park for a multi-block takeover stretching from the music center to city hall. Within those boundaries, attendees can expect to find three distinct stages showcasing an array of international talent within the house and techno genres.

Cloonee, Green Velvet, Nico Moreno, The Martinez Brothers, Marco Carola, Matroda, and Gordo are all scheduled to perform at the Factory 93-branded event.

However, there will be one area within the festival championing the sounds that make LA’s dance scene stand out from other cities.

Skyline’s Arts District stage will feature local underground DJs showcasing the diverse sounds coming out of the City of Angels. The area will allow the scene’s leading names to perform alongside industry titans, all while shining a light on LA’s underground dance  community.

EDM.com caught up with three rising acts set to perform at Skyline to hear unique perspectives on LA’s dance music scene. 

OJ

“LA is the city where I first discovered electronic music and raving. Years of going to underground parties motivated me to pursue the craft myself, and the people I’ve met along the way—fellow DJs, artists, promoters, dancefloor friends—have given me the confidence to keep going. To be a part of the Arts District lineup celebrating this community feels like a very full-circle moment!

Whenever I meet artists or ravers from other cities, I feel proud to tell them about the LA scene – how there are dozens of parties happening on any given night, each curating its own flavor of vibe and genre. This creates an environment where artists can experiment and not feel limited. You can see that diversity in the Arts District lineup, and it’s influenced me as a multi-genre DJ and producer.”

Trussie

“I feel honored to represent LA’s underground bass music scene. In a city with many more platforms for house and techno, my friends and I are fighting to create new spaces for bassier, left-field, and global dance genres. I think it’s not a coincidence that the people pushing this needle forward in LA—Introspekt, Carre and Bianca Oblivion—are all women.”

Soul Purpose

“I was born and raised in LA, and my identity—both musically and personally—was shaped by the city’s dance music scene and its queer underground. Playing the Arts District stage for me is about honoring the spaces and people who built this culture before me, the ones who fiercely and courageously carved out spaces for my self-expression, resistance, and joy.

I’m absolutely gagged by the artists I’ll be sharing this stage with and will be out in the crowd supporting them; that’s one of my favorite things about the underground—we are there for each other. The Arts District continues to reflect that and the raw, unapologetic diversity of LA nightlife—the creators, the builders, the disruptors. And right now, with so much at stake for queer and marginalized communities, we need to hold on to that spirit of creating, building, and disrupting through community and music more than ever.”

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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.

EDM.com Fresh Picks

barking continues – herz

Lonely Computer, Montgomery – Blindfold

Art School Girlfriend – Is It Light Where You Are

Mont Duamel – King Without a Crown

Gilligan Moss – Mystic Pebble (Mood Talk Remix)

Glass Animals – Show Pony (Parra For Cuva Remix)

Rachika Nayar – The Trembling of Glass

Teebs, Thomas Stankiewicz – Atom Song

Bronze Sun – Illusionz

Lit Wilson – Switching Lanes

El Pablo – Party (feat. Kaye)

After six years of silence, Winter Music Conference is finding new rhythm once more. With just six weeks until its long-awaited return, organizers have revealed the first wave of programming for its milestone 35th anniversary, promising a lineup packed with dance music’s most influential artists and industry power players.

Taking place from March 26-28 at the historic Eden Roc Miami Beach Resort, WMC 2025 promises three days of insightful panels, educational workshops and networking events designed to fuel the next chapter of electronic music’s creation. LP Giobbi, Shimza, HAYLA and Aluna are some of the notable artists slated to appear, joining a roster of executives and thought leaders from Ultra Records, SoundCloud, Defected Records, Kompass Music Group and Wasserman, among many others.

For a conference that once set the blueprint for Miami Music Week, this year’s edition marks a significant return to form after a six-year absence. WMC’s return to Miami feels like a homecoming for an industry that has transformed dramatically in its absence. WMC last took place in 2019, with plans for a 2020 revival derailed by the pandemic. A virtual edition followed, but the physical event has remained dormant until now.

As dance music continues to thrive in new markets, digital spaces and crossover genres, this year’s edition offers a rare chance for both veterans and newcomers to once more shape its future together, in person. Panels and discussions will explore the evolution of music distribution, artist branding in the streaming age and the impact of emerging technologies on the creative process. Over 60 industry leaders are scheduled to participate with moderators from Billboard, SPIN, EDM.com and DJ Mag guiding the conversations.

Beyond the conference halls, attendees can expect signature WMC events, including the Official WMC Pool Party, a Kickoff Networking Mixer and a new awards ceremony merging the Electronic Dance Music Awards (EDMAs) and the International Dance Music Awards (IDMAs). The latter promises a star-studded closing event, celebrating fan-favorite artists.

WMC 2025 tickets are on sale now. Readers of EDM.com can enter the code ‘EDMWMC’ for a $25 discount.

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Loco Dice and Carl Cox have never been strangers to seismic moments on the dancefloor. Yet their new single, “Road Runner,” feels like a singular feat as the two titans of techno bring decades of global club mastery into focus.

Dexterous breakbeat drums scuttle across the track, which features a high-energy bassline that rattles ribcages and pulses with a radiant insistence. Meanwhile, revving risers surge upward, hinting at the sublime tension only these two producers could conjure.

Dice has been candid about his longtime admiration for Cox. “I was always Carl’s biggest fan… it was a blessing when he spotted me at my first gig at Circoloco in 2002,” he shared in a clip on social media, recalling the start of their storied friendship. 

From that fateful set in Ibiza to the pounding synergy of “Road Runner,” their creative bond has flourished across tours, remixes and many memorable b2b sets. As the new single storms onto sound systems and stages alike, it simultaneously offers a tantalizing glimpse of what’s coming.

Slated for release on May 23rd, Loco Dice’s forthcoming album, Purple Jam, will feature “Road Runner” alongside its first single, “Heavy Heart,” Dice’s raw collaboration with Skrillex and Fireboy DML.

You can find “Road Runner” on streaming services here.

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Swedish House Mafia and The Weeknd have reunited for “Closing Night,” a new track steeped in the seductive melancholy that has defined their collaborations thus far. 

Available exclusively on the “Pharrell Williams” edition of Hurry Up Tomorrow, the song marks another chapter in a partnership that has blurred the lines between electronic music and pop grandeur.

For Swedish House Mafia, the track reinforces their unique ability to meld their stadium-filling, euphoric sound with something more intimate, an ability that has kept them at the forefront of electronic music for over a decade. The trio stuns with sweeping synths, aching chord progressions and an undercurrent of tension that builds like a slow-burning fire beneath The Weeknd’s vocals.

The collaboration is another addition to a saga that began in 2021 with “Moth to a Flame,” their hypnotic anthem that became a billion-stream behemoth. They followed it up in 2022 by co-producing “Sacrifice” and “How Do I Make You Love Me?” on Dawn FM, projects that further wove The Weeknd into the fabric of the electronic dance music world.

Fans eager to experience “Closing Night” will need to seek out the limited Pharrell Williams edition of Hurry Up Tomorrow, available through a dedicated portal on The Weeknd’s website. 

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Miami’s beloved boutique festival We Belong Here is raising the stakes for VIP festival experiences, inking a strategic partnership with E11EVEN to introduce an all-new table service concept.

The illustrious E11EVEN, which is consistently ranked among the nation’s top nightclubs by Nightclub & Bar Magazine, is bringing its next-level hospitality concepts to the festival’s 360° main stage. With this move, the two Miami entertainment powerhouses are bridging the gap between the city’s dance music culture and high-end nightlife.

“We’re excited to bring E11EVEN’s world-class hospitality to We Belong Here,” said Gino LoPinto, Operating Partner at E11EVEN Miami. “This partnership allows us to offer festival-goers an unparalleled table service experience and aligns two brands that share a core value of innovating from the status quo.”

Fans of the illustrious E11EVEN can now purchase this rare collaborative festival experience ahead of We Belong Here, which returns to Historic Virginia Key Beach Park from March 1-2.

The festival recently unveiled its full 2025 lineup, featuring headlining sets by Eric Prydz, Kaskade, Lane 8, Louid The Child and Swedish House Mafia’s Steve Angello. The undercard is equally impressive, with performances from Sultan + Shepard, Yotto, LP Giobbi, Cristoph and Massane, among others.

Meanwhile, an ancillary partnership with Smorgasburg is curating a stacked lineup of local food vendors, proving that great music deserves great eats.

Miami’s most intimate dance music festival is growing—but not at the cost of its identity. We Belong Here co-founder Charles Hochfelder said this year’s event is “shaping up to be our biggest festival yet.”

This year’s marks the fourth edition of We Belong Here, and its expansion is clear. The festival’s signature 360° main stage experience is leveling up alongside the Beach and Lost Village stages, both of which annually highlight local and emerging talent.

“Our focus on local and emerging artists is a core part of our festival’s identity,” added Justin Dauman, co-founder of We Belong Here. “These stages not only provide a unique beachfront atmosphere but also serve as a launching pad for the next generation of dance music stars. We’re proud to contribute to Miami’s vibrant music scene by giving these talented artists the exposure they deserve.”

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Hannah Wants has returned to Defected Records with “Hold Me,” a deeply personal house track featuring British singer-songwriter ARA.

This song explores heartbreak and healing through hypnotic Afro-house grooves and velvety piano chords and an emotive vocal performance from ARA. The arrangement is warm and visceral yet irresistibly danceable, striking the perfect balance between feeling and rhythm.

Wants described “Hold Me” as her most significant release to date, a cathartic expression of resilience and healing. Written in December 2023, the song took on profound meaning after she experienced both a breakup and cancer diagnosis. 

“I was unaware that this very song would become my own truth,” she said, “and a part of my own storyline.”

“Heavy adversities don’t come to punish us,” Wants added. “They come to teach us. It’s all about mindset. Open your eyes, heart and mind, listen to your intuition… it’s an opportunity to elevate.”

A special acoustic version of “Hold Me” will follow later in the month of February. In the meantime, listen below and find the new single on streaming platforms here.

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Some letters come with a gentle tap at the door, but Levity‘s “Postman” kicks it down with style.

As their first release of 2025, “Postman” suggests the breakout EDM.com Class of 2024 trio isn’t just delivering the mail, but sending a message about where electronic music can go when tradition and innovation collide.

Out now via Ultra Records, the track is a love letter to soul music’s golden age, channeled through Levity’s brand of neon-soaked dubstep. It opens with a smooth, honeyed croon, rich with vintage whimsy as if Sam Cooke himself were whispering through the static of an old jukebox.

But just as the nostalgic charm sets in, Levity rip the floor out from under you. With bass stabs that claw through the mix and snarl with distortion, the drop hits with the force of a wrecking ball wrapped in velvet—devastating but somehow still elegant. 

Through the chaos, however, that silky hook resurfaces and grounds the track in doo-wop warmth. It’s in these moments that Levity demonstrate their growing maturity as producers, knowing exactly when to unleash bedlam and when to pull back and let the soul breathe.

Listen to “Postman” below and find the new single on streaming platforms here.

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Taiki Nulight and borne are digging deep into the underworld of 140 dubstep with their new collaboration, the aptly titled “Out of Control.”

The heavy-hitting track unites the production finesse of both artists, who have crafted a menacing, untamed beast that pulls us into its grip. “Out of Control” delivers the gritty and forward-thinking soundscapes that have become borne’s signature while Nulight dives headfirst into left-field territory, infusing the track with quivering bass stabs and punchy percussion.

With its mesmerizing vocals, the collaboration radiates with dark, irresistible energy. It’s a testament to the sound design expertise of Nulight and borne, an unstoppable pair.

“Working with Taiki was a pleasure collaborating with someone who shares and understands your vision always makes the writing and creating process super smooth and fun,” borne shared with EDM.com.

Listen to “Out Of Control” below.

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