It’s hard to believe we’ve breezed through a whole decade since 2015—an era that sparked an uproarious debate over the color of a viral dress, reignited the box office force with Star Wars: The Force Awakens and turned Drake’s “Hotline Bling” into an inescapable meme. But through it all, one thing remains constant: the power of a great electronic track to capture a moment in time.
In the spirit of nostalgia—and perhaps a mild existential crisis, if we’re being honest—we’re revisiting the most iconic dance music anthems that are turning 10 in 2025.
Some fueled major festival rushes and topped global charts, others quietly reshaped the future by establishing the blueprint for breakout stars to come. All, however, set hearts and minds ablaze in their own way, making 2015 a year that bridged pop, dance, hip-hop and everything in-between.
The Chainsmokers — Roses (feat. ROZES)
Jack Ü (Skrillex & Diplo) — Where Are Ü Now (feat. Justin Bieber)
Galantis — Peanut Butter Jelly
Zedd — Beautiful Now (feat. Jon Bellion)
Avicii — Waiting For Love
Major Lazer & DJ Snake — Lean On (feat MØ)
Martin Garrix — Don’t Look Down (feat. Usher)
Calvin Harris & Disciples — How Deep Is Your Love
Alesso — Cool (feat. Roy English)
Tiësto & KSHMR — Secrets (feat. VASSY)
Alan Walker — Faded
Good Times Ahead — Red Lips (feat. Sam Bruno) [Skrillex Remix]
Kaskade — Disarm You (feat. Ilsey)
DJ Snake — Middle (feat. Bipolar Sunshine)
NGHTMRE — Street
Eric Prydz — Opus
Louis The Child — It’s Strange (feat. K.Flay)
Disclosure & Lorde — Magnets
NERO — The Thrill
Alison Wonderland — Run
23 Dec, 2024 | Admin | No Comments
Inside Netflix's Gut-Wrenching Avicii Film, an Ode to the Fragile Genius of a DJ Who Couldn't Escape
“I didn’t like having to be Avicii, and then having to be Tim.”
That heartbreaking line from Avicii captures the gnawing duality of the legendary DJ, who posthumously narrates his own tragic journey in the upcoming Netflix documentary Avicii – I’m Tim.
Due out December 31st on Netflix, the film is set to release in tandem with Avicii – My Last Show, which revisits the night he graced the stage of Ibiza’s storied Ushuaïa club for what would be his final performance. The prolific songwriter and dance music producer, whose real name was Tim Bergling, died by suicide less than two years later in 2018.
“I was a lot happier before I was famous than after I was famous,” Bergling says in the documentary, of which EDM.com viewed an advance screening. “I started feeling kind of very empty and unhappy. So I was just on autopilot mode. I started really f***ing wondering why I was feeling like this. I hadn’t been honest to myself, what I was feeling… And my tempo also didn’t really give me much time to explore it either.”
Many have spun the last vestiges of Avicii into multimedia experiences in the wake of his death, but none have achieved the level of intimacy as Avicii – I’m Tim. Director Henrik Burman said he absorbed “thousands of hours” of private archival footage, audio recordings and even ultrasound scans and babyhood memories captured on family VHS tapes, many of which appear in the film.
Netflix
It’s a poignant retrospective examining the gradual deterioration of a generational artist grappling with the unrelenting weight of the music industry’s demands, and in desperate need of an escape. When Bergling’s inner demons finally became too loud to ignore, his father Klas arranged an hours-long intervention attended by the DJ’s siblings, friends and management team, he reveals in the film. His son was “furious” and refused to give in at first, but ultimately agreed it was time to change.
“It was excruciatingly painful to see the look in his eyes,” Klas recalled with a wince.
Avicii’s musical collaborators shared similar concerns at the time. It was agonizingly clear the haunting lyrics that now define his discography were a window into his soul as his struggles took a turn for the worse.
Speaking in the documentary, Aloe Blacc ponders Avicii’s state of mind when writing the first lines of their collaborative song “SOS,” which ultimately appeared in 2019’s posthumous album Tim. Exploring themes of persistent hope against despair, the lyrics (“Can you hear me? SOS / Help me put my mind to rest”) left breadcrumbs of his inner turmoil that now reverberate with devastating clarity.
“It seemed as though we had this call for help, and I’m receiving this letter from Tim way too late,” said Blacc, who is also the featured voice in Avicii’s most-streamed song, the timeless “Wake Me Up.”
The film also features interviews with David Guetta and Coldplay’s Chris Martin, among various other Avicii collaborators, as well as his former manager Arash Pournouri, who played a pivotal role in his rise to fame.
Avicii – I’m Tim will release on Netflix December 31st, 2024. You can watch the trailer below.
The EDM community has proven, time and time again, that truth doesn’t just rival fiction—it remixes it into something much wilder.
Redefining weird in the best possible way, we danced our way through a year of improbable moments that seemed too outlandish to be true—but somehow were. Though at times tough to believe, they remind us that the line between performance art and unintentional comedy in the EDM world remains delightfully blurry.
From robot sex music videos to mosh pit diapers to Rebecca Black’s Boiler Room DJ set, the scene once again proved it thrives on the unexpected. As we turn the page on another year, read on to discover 24 of the most absurd stories that actually happened in 2024.
A Swedish festival built an “IVF stage” to play headliners’ music for unfertilized embryos
Prospective attendees of August’s Way Out West Festival, in the form of sperm and eggs, were incubated to the sounds of the event’s headliners, including Fred again.. and Peggy Gou. In collaboration with the renowned designer Love Hultén, the festival developed a miniature “Future Fan Stage” at an IVF clinic in Stockholm.
“This year, we’ve added an additional stage to help create future fans of great music by ‘injecting’ live recordings by the headlining artists into their DNA at the earliest stage possible—before they even develop into fetuses,” Way Out West’s organizers said at the time.
View the original article to see embedded media.
Balenciaga sold a €3,500 “Raver Bracelet”
Gone are the days, apparently, of earning your festival stripes through actual experiences. In 2024, you could buy the look of a seasoned raver without ever having to endure fan-clackers or “woo-woo” chants, thanks to Balenciaga.
The glitterati reared its ugly head back in July, when the brand released a “Raver Bracelet” at the astounding price of €3,500 (roughly $3,789 USD). Where haute couture meets dumpster dive, this overpriced piece of wrist candy is distressed “to imbue it with a worn and aged look” as if you’ve been marinating in sweat, glitter and questionable life choices at EDC.
For the price of a trip to Europe, you too can sport this scrap of fabric, which featured in Balenciaga’s Autumn/Winter 2024 catalog and also came in a virtually indistinguishable version with metallic threading for €4,500.
View the original article to see embedded media.
Nicole Kidman said she’s a raver
Proving that even the most influential Hollywood icons crave the release of the dancefloor, Nicole Kidman revealed her secret passion for raving and techno music. Who knew the Moulin Rouge star, who usually keeps us all eyes wide shut with her elegant demeanor, could trade her corsets for a brat jumpsuit?
“I’m a small party person, but I do like a rave,” she said in a recent red carpet interview, adding that she enjoys listening to techno.
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Liquid Death launched a leather diaper to relieve yourself in mosh pits
Liquid Death recently took “staying hydrated” to a wild new level. Teaming up with a manufacturer of adult incontinence products, the water brand launched a $75 adult diaper for diehard concertgoers who refuse to leave the mosh pit—even for nature’s call. Dubbed the “Pit Diaper,” it sold out within 24 hours.
Deorro threw a rave in a Chuck E. Cheese
Deorro took the phrase “kids at heart” to a whole new level by turning Chuck E. Cheese into the rave venue we never knew we needed.
The family-friendly experience tapped into the early aughts nostalgia with which longtime fans of the DJ grew up. He performed live from inside a custom car DJ booth, turning the venue into a club dancefloor where attendees could grab a slice of classic Chuck E. Cheese pizza, play retro arcade games and meet the mouse mascot himself.
c/o The Exclusive Agency
Boban Marjanović, the NBA’s tallest player, DJed a Berlin rave parade
What is it about playing center in the NBA that turns you into a DJ?
Most by now are familiar with the electronic music career of Hall of Fame NBA center Shaquille O’Neal, fans of whom affectionately call DJ Diesel. This year we saw 7′ 4″ Houston Rockets star Boban Marjanović, who stands tied with two others as the NBA’s tallest player, follow in his gigantic footsteps.
After releasing a techno track, “I Just Wanna,” this summer, Marjanović performed a supersized DJ set during this year’s “Rave The Planet” parade, a massive celebration of techno culture doubling as a spiritual successor to Berlin’s iconic Love Parade.
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Rebecca Black DJed for Boiler Room
And not even on a Friday.
An artist used a squijeeblion to make a bizarre cover of Skrillex’s “Scary Monsters and Nice Sprites”
Have you ever heard of an instrument called a squijeeblion? Neither had we—until we discovered this bizarre cover of Skrillex’s “Scary Monsters and Nice Sprites.”
The eccentric instrument was invented by Leonard Solomon, who performs the cover himself and recreates Skrillex’s dubstep classic with a zany, whimsical touch. The air-powered squijeeblion sounds like a mixture of wind instruments, an organ and a foghorn, but the “bass drop” was the most surprising sound of all.
Knock2 and ISOxo headlined a festival DJing in a shipping container suspended by a crane
In a daring spectacle, ISOKNOCK—the collaborative powerhouse of ISOxo and Knock2—turned heads at North Coast Music Festival over Labor Day Weekend when they performed from a DJ booth suspended in a shipping container by a crane. The high-flying setup was a perfect metaphor for their meteoric trajectory thus far: elevated, risky and absolutely thrilling.
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A photographer was fined after his drone nearly crashed into Fatboy Slim
Back in January, a UK court ordered a photographer to pay over $1,100 in fines after he nearly crashed a drone into Fatboy Slim.
The incident took place on July 22nd, 2022 as the legendary electronic music producer was DJing for a crowd of 8,500 at Brighton Beach. Roughly 15 minutes before Slim’s performance ended, an amateur drone pilot flew his DJI Mavic Mini onto the stage and narrowly missed both the DJ and members of the crowd.
Electronic music legend Jean-Michel Jarre went airborne in a revolutionary flying car
Jean-Michel Jarre became the first-ever passenger to ride in a groundbreaking flying car, which its developers called “a new era of transportation with a touch of magic.”
That’s according to Stefan Klein, an inventor, pilot and the Founder and CEO of KleinVision. The company’s AirCar, which transforms from a sports car into a plane in minutes, was certified to fly in 2022 and its proprietors reportedly hope to bring it to market next year.
Justice released a music video with a robot sex scene
2024 was the year of Justice. Their comeback album, Hyperdrama, was one of the year’s best. Back in February the iconic duo released an astonishing music video for “Generator,” which comes with a disclaimer on YouTube: “This video may be inappropriate for some users.”
Depicting a sexual “dalliance” between two humanoid robots, the video explores sexuality through a transhumanist lens as they tear one another’s skin with their teeth to reveal the circuitry within.
Miami got hit by the most rain in the history of the city on the first day of Ultra Music Festival
Although it was clear and sunny for Ultra’s remaining two days, Miami on Friday received 2.34 inches of rain, a daily record for the city. White shoes turned into mud bricks as Ultra’s free-spirited ravers frolicked through the flooding, partying and bellyflopping in the streets.
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Someone bought Avicii’s guitar for over $25,000
Back in October, an extremely rare auction of Avicii’s personal belongings raised over $700,000 in support of his family’s efforts to advocate for suicide prevention. 267 of the late EDM icon’s personal items hit the auction block and all proceeds benefitted the Tim Bergling Foundation, a philanthropic organization launched in the wake of his death.
The most expensive item? Avicii’s custom Martin X Series acoustic guitar, which fetched over $25,000.
Sean Eriksson
A man climbed to the top of the Las Vegas Sphere, the world’s biggest spherical structure
Turns out, scaling massive structures without permission isn’t as glamorous as it looks on Instagram. A content-creating activist was arrested back in February after climbing to the top of the $2.3 billion Las Vegas Sphere, the world’s largest spherical structure, which stands 366 feet tall and 516 feet wide.
The Las Vegas Metropolitan Police Department called the man’s actions a “publicity stunt” ahead of Super Bowl LVIII. After reportedly causing $100,000 in damage, he got a different kind of “high” to enjoy: the view from a jail cell at the Clark County Detention Center.
deadmau5 caught a drone with a butterfly net onstage at EDC Las Vegas
In a bizarre mid-set maneuver at EDC, deadmau5 went full entomologist and used a butterfly net to ensnare a wayward drone. Ironic since he wasn’t performing under his TESTPILOT alias, but we digress.
View the original article to see embedded media.
Spotify execs cashed out the same amount of money it would take an artist 314 billion streams to make
Spotify executives reportedly cashed out over $1.1 billion in company stock in 2024, a figure that would take artists an astronomical 314 billion streams to match through royalties. That’s according to Music Business Worldwide founder Tim Ingham, who bemoaned the disparity after the outlet reported Spotify CEO Daniel Ek sold 875,000 shares of Spotify for a total of $283 million this year.
That figure pales in comparison to the cash amassed by Ek’s co-founder, Spotify ex-Chairman Martin Lorentzon, who sold 1,488,364 shares for a staggering $556.77 million. The numbers underscored the ongoing tension between Spotify and musicians, who have long argued that the streaming giant’s compensation structure is fundamentally broken as they struggle to earn a living wage from the royalties generated by their music.
Tesla’s Optimus Bot said Daft Punk is its favorite artist
When a robot says it loves Daft Punk, you know the future has arrived.
Back in October, we discovered a video in which Tesla’s Optimus bot surprised a group of inquisitive attendees at the company’s “We Robot” event with its top music pick: Daft Punk. Speaking with the group, the bot also said electronic dance music is its favorite genre before referring to the legendary duo by name.
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A 9-year-old DJ became the youngest to ever perform at Tomorrowland
DJ Archie, 9, once again proved that age is just a number after becoming the youngest to ever DJ at Tomorrowland, taking the world’s leading EDM festival by storm in July. The impressive milestone followed his record-breaking achievement at Glastonbury, where he became the youngest DJ to grace the legendary UK fest the summer prior.
Archie’s journey into the world of music started almost as soon as he could walk, guided by his father, DJ Essex. By the age of four, he had already set a Guinness World Record as the world’s youngest club DJ.
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Someone developed technology that lets plants play music with bionic arms
The far-fetched concept of plants performing live music became a reality in April, thanks to the Manchester-based duo Bionic and the Wires. Their inventive apparatus equips plants with bionic arms, enabling them to produce music from a traditional steel handpan drum and even a violin.
At the core of their performance, the duo uses sensors attached to the plant’s leaves to detect bio-signals generated during photosynthesis. The signals are then converted into electrical inputs that power the robotic limbs, enabling the plant to interact with musical instruments.
Those iPhone ringtones? They were created by Flying Lotus
This was certainly better than the time Apple forced a U2 album on everyone’s iPhones.
An August episode of the podcast Twenty Thousand Hertz revealed that two iPhone ringtones were secretly written by Flying Lotus. Released in 2019 as a part of Apple’s iOS 13, “Daybreak” and “Chalet” have been available to all iPhone users.
Flying Lotus reveals he wrote two of iPhone’s ringtones: “Daybreak” and “Chalet” pic.twitter.com/McUO7FxZMn
— Modern Notoriety (@ModernNotoriety) August 21, 2024
Will Ferrell became the 4th member of Swedish House Mafia for a night
Who knew Ricky Bobby was into house music?
Saturday Night Live icon Will Ferrell hosted Chicago’s “Ultimate DJ House Party,” a charity event to support Cancer For College. Described as a “unique and wild celebration of house music,” the philanthropic show in October saw Ferrell take the stage with the legendary Swedish House Mafia trio.
Self-driving cars stalled and blocked traffic out of Portola Festival
The future of transportation hit a speed bump in late-September, when a handful of Google’s self-driving Waymo vehicles malfunctioned and blocked traffic outside San Francisco’s Portola Music Festival. The company, which is considered among the world’s preeminent autonomous vehicle companies, uses a combination of AI, lidar and machine learning to navigate city streets.
One irate attendee couldn’t care less, urging Portola’s organizers, Goldenvoice, in a contentious Reddit thread to ban Waymo from the festival’s grounds.
On our way out of @PortolaFestival we got mega stuck behind two confused @Waymo cars. Thanks guys, great work letting them loose when there’s a major music festival going on in the city ❤️ pic.twitter.com/39TBSQuVh5
— Nima (@heythereitsnima) September 29, 2024
A GoFundMe campaign raised over $500 to replace DJ decks drenched in urine
After a DJ’s decks were “soaked in pee” during a party, he launched a GoFundMe to replace the damaged equipment. The electronic music community rallied, proving once again that nothing brings people together like a good cause—and a bit of, well, unexpected bodily fluid. Donations flooded in, and by January 2024, he’d raised over $500.
Streams of drum & bass music have increased by a whopping 94% since 2021, according to a report from Spotify.
It’s no secret that drum & bass has been soaring in popularity, particularly stateside. Tracks like Chase & Status’ “BACKBONE,” which was named one of EDM.com’s best songs of the year, dominated festival sets throughout 2024 and propelled the genre’s footprint.
Considering 68% of listeners are younger than age 34, per Spotify, time will tell if drum & bass artists continue to position themselves at the forefront of electronic music in 2025 and beyond. The report follows the streaming giant’s release of a mini-documentary, DnB: In for Life, which “serves as a love letter” to the global drum & bass community.
“We’ve seen a real explosion of drum & bass within the mainstream,” DJ Flight explained in a press release. “It’s really amazing to see the new wave adopting the music, putting their own spin on things, doing things for themselves.”
Charlie Tee, Flight, Kanine and others vividly recount the journey of the genre in the short, showcasing how a community emerged from underground raves to dominate electronic music’s largest platforms.
Watch DnB: In for Life below.
Editor’s Note: EDM.com proudly publishes four installments of annual year-end coverage: Industry Leaders, Performances & DJ Sets, Music Producers and Songs.
2024 was a year that saw the global artist community push the boundaries of electronic music like never before, flooding the scene with more releases than anyone could keep up with.
It would be unfair to its diverse range of creators to publish a one-size-fits-all list, so EDM.com annually breaks down the year’s best music by honing in on 10 key sub-genres and spotlighting 10 essential tracks in each. From underground bangers to festival anthems, these songs defined the dancefloor in 2024.
Check out a playlist of the year’s best electronic music below, followed by a breakdown of each release.
House
Sebastian Ingrosso — Flood
One of the best songs to release in the illustrious career of Sebastian Ingrosso, “Flood” sweeps listeners into propulsive currents of dark house music and leaves them breathless in the aftermath.
A masterclass in tension and release, the track’s undeniable highlight is its break, a moment of eerie calm punctuated by the haunting lyric, “Only for the flood to rip through you.” It’s here where the Swedish House Mafia luminary’s production truly shines, with writhing arpeggios that warp as the tension ratchets up through a claustrophobic build. But just when you think your lungs might burst, the drop hits, a euphoric release valve unleashing waves of pent-up energy.
Words by Jason Heffler.
Jackmaster — Don’t You Want My Lovin’
The electronic music community came together to honor Jackmaster after the virtuosic DJ and producer passed away in October. Before this tragedy, he shared a rare release, “Don’t You Want My Lovin’,” an instant house classic. The aching track calls upon the sounds of Jomanda’s 1989 hit “Don’t You Want My Love,” interpolating its soulful vocals through an intricate, flowing beat that fans won’t soon forget.
Words by Nick Yopko.
Carlita — Time
Back in April, Carlita stirred the souls of her fans with “Time,” a stunning house track akin to a lucid dream on the verge of unraveling. Its minimalist lyrics—raw and searching—float like echoes in an empty room as her production pulses with restrained urgency. Channeling her love of Turkish psychedelic rock, it’s a sonic swim through quiet desperation where the concept of time is both an ache and a release.
The song had been a fan-favorite after appearing in Carlita’s Tomorrowland 2023 set before she dropped it as a single ahead of her debut album, Sentimental, which released under the venerable Ninja Tune banner in November.
Words by Jason Heffler.
Dom Dolla — girl$
A conversation with a friend about her ill-fated adventures in today’s dating scene inspired Dom Dolla to produce what ultimately became one of 2024’s most popular dance releases: “girl$.” Pulsing with the electric angst of those shared experiences, it was inescapable from the moment it dropped, quickly becoming the defining house track of the summer.
Speaking directly to femmes everywhere (“Girls don’t need nobody”), the fiery house anthem struck a perfect balance between irresistible groove and lyrical charisma, delivering a rallying cry to gather your crew and hit the dancefloor. “girl$” not only solidified Dolla’s position as one of the genre’s most dynamic hitmakers, but also proved that his ability to capture a moment and bottle it into an instant classic is no fluke.
Words by Rachel Freeman and Cameron Sunkel.
Adam Port, Stryv & Orso — Move (feat. Malachiii)
Keinemusik had an enormous influence on the house music scene in 2024—just walk into any show and you’ll spot someone wearing the signature hat, silk scarf and glasses donned by its members. The collective’s biggest release was “Move,” a track that catapulted the Afro-house genre on a global scale with its infectious groove and irresistibly smooth vocals. It was the most-played track of Tomorrowland’s final 2024 weekend
“Move” is one of those rare sun-kissed anthems that not only puts a smile on your face but lights a fire on the dancefloor. Spearheaded by Keinemusik’s Adam Port,, the track evokes this kind of unbridled energy by blending afro-beats with melodic house. Malachiii’s impassioned vocals are the icing on the cake, soaring above a soundscape of simple yet striking elements—gentle keys, sustained bass and rhythmic percussion.
Words by Saad Masood, Brooke Bierman and Jarett Lopez.
Honorable Mentions:
PAWSA — PICK UP THE PHONE (feat. Nate Dogg)
deadmau5 — Strobe (Layton Giordani Remix)
VNSSA, Walker & Royce — I Don’t Remember
DJ Susan & Rich DietZ — Everything Off (Ante Up)
Kaleena Zanders & Tchami — DADDY KEEPS CALLING
Dubstep
Moody Good — Bite Your Lip pt. 2
There exists no music producer quite like Moody Good, the London-born bass beatsmith whose distaste for genre boundaries knows no bounds. Five years after releasing the fan-favorite “Bite Your Lip,” he returned to Zeds Dead’s Deadbeats for a sequel, a beast reborn—hungrier and nastier than ever. With its razor-sharp sound design, hip-hop swagger and snarling dubstep wobbles, it’s a filthy evolution of the original where each drop feels like it’s daring you to keep up, blurring the line between head-nodder and full-body banger.
Words by Jason Heffler.
Distinct Motive — Mellow Man
Unavoidable even months before its release, Distinct Motive’s “Mellow Man” went from sleeper hit to bona fide festival favorite throughout 2024. The track is minimal by design, but it has enough punch to send your speakers through the wall. With a huge smile and infectious onstage energy, Distinct Motive channeled his authenticity through an arrangement with goofy samples and filthy, face-scrunching bass. “Mellow Man” received support from dubstep icons like Zeds Dead and Caspa, the latter of whom released an official remix.
Words by Nick Yopko.
Skrillex, Hamdi, TAICHU & OFFAIAH — Push
No song ignited dancefloors in 2024 quite like “Push,” a track that evolved into a global hit before it even reached streaming platforms. With intoxicating vocals by TAICHU and signature production from ascendent superstar Hamdi, the track’s hype bubbled over after Skrillex dropped it in his historic Coachella headlining set alongside Fred again.. and Four Tet. Beyond its immediate impact, however, “Push” helped propel 140 dubstep as it surged from the underground and into the mainstream gaze, like when it featured in Apple’s iPhone 16 Pro commercial.
Words by Rachel Freeman and Brooke Bierman.
Charli xcx — Von dutch remix with skream and benga
America was sadly robbed of seeing two of dubstep’s most important artists take the stage in 2024, as visa issues kept Benga away from Coachella and his planned tour. Fortunately, he and Skream got to work in the studio for their contribution to the year’s biggest album campaign: Charli xcx’s Brat.
Embracing her club roots, she called upon the deeply influential production duo for a remix of the Grammy-nominated “Von dutch.” Skream and Benga weaponized Charli’s vocals and interpolated them in a gargantuan dubstep drop that you can feel drip out of your headphones. Explosive yet intricate, the production could have only been conceived by artists who were there from the beginning, treating dyed-in-the-wool dubstep fans to another hit—and pop listeners a lesson they’ll never forget.
Words by Nick Yopko.
Subtronics & LEVEL UP — Power (feat. Grabbitz)
In a collaboration that goes beyond the studio, spouses Subtronics and LEVEL UP teamed up to deliver one of the year’s most popular dubstep bangers, “Power.” Blending the former’s intricate sound design with the latter’s potent bass, the track more than lives up to its name as its high-octane drops bass and ear-tickling trills stomp through a haunting vocal performance from Grabbitz.
Words by Madison Berg and Andrea Nguyen.
Honorable Mentions:
Levity — Front to Back
Alison Wonderland & Subtronics — No One Does It Like
Zingara — The Stars Are Calling Me (feat. Jessica Chertock)
Seven Lions, Trivecta & Wooli — Light In The Dark (feat. JIM)
Tape B & Mersiv — Trippy Land (feat. Juicy J)
Drum & Bass
Chase & Status, Stormzy — BACKBONE
If 2024 had a backbone, Chase & Status undoubtedly broke it. One of only two singles released by the storied duo this year, “BACKBONE” was an influential driver of drum & bass’ global boom, particularly in America, where it helped shift the dynamic of electronic music consumption. Featuring Stormzy’s commanding presence alongside frenetic drums and screeching basslines, the track quickly emerged as a festival mainstay and the year’s defining drum & bass anthem.
Words by Mikala Lugen and Rachel Freeman.
NERO — The Unknown
NERO’s track “The Unknown” introduced us to the dystopian universe of the iconic band’s long-awaited third album, the final installment of a trilogy. When their signature drum & bass finally erupts, it’s like watching the Matrix’s code mutate through 2024—vintage NERO weaponized for today’s ravers. The cinematic banger serves as both a homecoming and a harbinger, a cyberpunkian prayer howled into an abyss that howls right back.
Words by Jason Heffler.
Skellytn — Darkside (feat. Crystalline)
Furiously rising through LA’s rave underground, Skellytn lured us into her psychoactive drum & bass sound through the March release of “Darkside.” Dark and unhinged, her production feels like being chased through a cyberpunk version of The Purge where every drop feels like a corner turned too late.
Equal parts seductive and menacing, Crystalline’s vocal performance chills spines with threats you can’t outrun (“I’ll make your pain feel alive”). Skellytn follows suit with a filthy beat awash in neuro-bass, delivering a banger for anyone who knows their demons are faster than they are.
Words by Jason Heffler.
Sub Focus — Wildfire
Sub Focus’ “Wildfire” is a blazing testament to the unfiltered energy and creativity that defined drum & bass in 2024. Released during a year when the genre rose to new heights—making significant inroads from its European roots to a growing stateside audience—the track captures the essence of a wild, untamed love story.
The song’s driving rhythms and euphoric melodies beam with the intensity of being the fire in someone else’s heart, channeling the thrill of something that burns brightly but remains impossible to resist. A stalwart of drum and bass, Sub Focus has consistently pushed the drum & bass genre forward, and his work in 2024 reinforced him at the forefront of its expanding cultural presence.
Words by Cameron Sunkel.
Kabin Crew & Lisdoonvarna Crew — The Spark
How could a group of Irish children possibly go this hard? Giving Kidz Bop a run for its money, “The Spark” is an objectively good time, even if you ignore its adorable charm. Shocking the drum & bass community back in May, Kabin Crew and Lisdoonvarna Crew showed they’re capable of making bangers from a young age—and it certainly won’t be the last time.
Words by Shakiel Mahjouri.
Honorable Mentions:
Anaïs — Never Seen Never Heard (feat. Scrufizzer)
Nia Archives — Crowded Roomz
Lens, Diagnostix & Jman — Dubplate SZN
Alix Perez — Elastic Soul
DNMO & Wolfy Lights — Bombalaya (Blooom Remix)
Trap/Bass
ISOxo, Knock2 & RL Grime — SMACK TALK
DJing side by side at Ultra Miami, RL Grime and Knock2 shocked the crowd by bringing out ISOxo to debut their first-ever collaboration, “SMACK TALK.” The song quickly took the trap world by storm, bridging the genre’s generational gap through an innovative banger with tinctures of rawstyle and a “rude boy” vocal throwback. “SMACK TALK” remains a staple of each producers’ festival sets, igniting crowds with its thunderous drops and genre-bending brilliance.
Words by Andrea Nguyen.
Saka & Of The Trees — Ghoul
Saka and EDM.com Class of 2024 breakout Of The Trees stunned with their summer release of “Ghoul,” which drags trap music through the darkest corners of nature. The duo produced a minimalist arrangement with maximalist energy, its distorted bass stabs piercing the mix like icy winds rolling through empty exoskeletons on a forest floor. Nature’s own horror show threads between their production through the brilliant use of biomusic like crickets and distant wails, turning that floor into a dance of the damned.
Words by Jason Heffler.
INZO — Young Majestic
INZO briefly departed from his cerebral sound in 2024 to produce what he called “possibly the wubbiest” track he’d ever produced. Ingeniously interpolating a fluid hip-hop vocal, “Young Majestic” is a woozy, glitched-out odyssey that pulses with guttural bass and a ribcage-rattling low end. It became one of the year’s most popular bass tracks amongst fans and DJs alike, garnering support from LSDREAM, Of The Trees, Louis The Child and countless others.
Words by Mikala Lugen.
Nitepunk — Steps On You (Peep My Style)
“Steps on You (Peep My Style)” is a bold statement that solidifies Nitepunk’s place at the bleeding-edge of bass music. As his first release of 2024 and a follow-up to his groundbreaking debut album Human, the track brims with the raw intensity of an artist determined to outdo himself. Blending trap and dubstep with tinctures of garage rock, its grungy influences and churning, distorted production create an unrelenting storm. Punchy vocals cut through the chaos while Nitepunk’s wild synth work and soaring melodies reflect his ability to turn the genre on its head.
The track feels like a reflection of everything he learned during a year his career hit meteoric new heights. Having stunned the industry in 2023 with his creative range, navigating seamlessly between drum & bass, trap and other subgenres, “Steps on You (Peep My Style)” proves that Nitepunk’s hunger hasn’t waned. Instead, it’s sharpened.
Words by Cameron Sunkel.
LSZEE — NIGHTHAWK
Standout moments are crucial to any great body of work or live performance. LSZEE’s “NIGHTHAWK” is exactly that. The third track from CloZee and LSDREAM’s self-titled debut album is a psychedelic blend of hypnotic vocal chants and stunningly creative sound design, and one that fans won’t soon forget.
Words by Shakiel Mahjouri.
Honorable Mentions:
Eastghost — Burning Doghouse
Zingara & Elephant Heart — Welcome Home
WINK & nikko — LOOKIN FOR U
VCTRE & OkayJake – Rise
KDrew — Hysteria
Techno
Boys Noize, Trent Reznor & Atticus Ross — Pre Signal [MIXED]
When Nine Inch Nails approached Boys Noize to rework their score for the Zendaya-led Challengers, it felt like a collaboration written in the stars. The influential electronic music producer distilled the film’s tempestuous romance into a techno track that churns with industrial menace and raw sensuality. Metallic clashes and distorted rave synths snake through a vintage Boys Noize soundscape, beautifully conjuring the tension of director Luca Guadagnino’s twisted love triangle.
Words by Jason Heffler.
Loofy — Last Night (Anyma & Layton Giordani Remix)
Anyma and Layton Giordani’s remix of “Last Night” is a masterstroke of modern techno, merging the former’s signature rhythmic intensity with the latter’s rising creative prowess. Together, they crafted a remix that feels both cinematic and visceral, a reminder of techno’s power to evoke emotion while commanding movement.
Breathing new life into Loofy’s release on Nervous Records, the track dominated dancefloors in 2024 and became the year’s defining techno anthem. Haunting vocals weave through the mix with a ghostly touch, pairing effortlessly with the dark, mechanical thrum of its heavy-handed pluck synths. The result is an atmospheric yet propulsive soundscape, minimal in its production yet maximal in its ability to captivate and ignite a crowd. No matter where the track is played, as soon as its distinctive line, “If I told you once, I told you twice” hits, the energy explodes.
Words by Cameron Sunkel and Rachel Freeman.
Mind Against & Sideral — Colossal
A tense, spine-chilling melodic techno odyssey, “Colossal” is true to its name. Ominous pads and slithering synths welcome listeners into the arrangement’s haunting atmosphere before giving way to thick, viscous bass and jagged synth stabs. There’s a reason Tale Of Us had armed “Colossal” as their go-to opener this year—it’s sure to ignite any crowd.
Words by Saad Masood.
Floating Points — Key103
“Key103” is one of those tracks that completely envelops you from the moment you press play. Floating Points has a knack for melodies that unfurl and expand, seemingly giving listeners the ability to temporarily experience synesthesia.
That inimitable production is on full display in “Key103,” which released alongside a magical visualizer featuring liquified colors swirling amidst the song’s driving bassline. It was created by Tokyo-based artist Akiko Nakayama, a frequent collaborator of Floating Points who is revered for her “alive paintings.”
Words by Nick Yopko.
Lilly Palmer — New Generation
Lilly Palmer’s New Generation EP was emblematic of an artist fully aligning with their creative potential. Following her landmark record deal with Armada Music and Kontor, the groundbreaking three-track project further established her as one of today’s leading producers of techno music.
With its thumping bassline and gritty vocals, the EP’s titular track found Palmer embodying her self-described “gangsta techno” style and turning any venue into an underground warehouse rave. Blending old-school techno influences with a sleek, modern edge, “New Generation” bottles the essence of the genre’s evolution while paying homage to the progenitors of its past.
Words by Mikala Lugen and Andrea Nguyen.
Honorable Mentions:
Brutalismus 3000 — badthiings (rip avicii)
Nicole Moudaber — Reasons to Love You (Space 92 Remix)
Mha Iri — Take My Love
Nico Moreno & Warface — 2 Be High
Sara Landry & Shlømo — Play With Me
UK Garage
Oppidan — MR. SANDMAN
Vintage barbershop meets underground rave in Oppidan’s “MR. SANDMAN,” wherein the Bristol-based breakout reimagined The Chordettes’ ageless 1954 hit of the same name. The iconic female quartet once swayed in perfect doo-wop synchronization, but Oppidan took their pearls and smashed them on a warehouse floor with her filthy UK garage rework. The track emerged as a festival hit last summer before its official release in January 2024 via the venerable fabric Records.
Words by Jason Heffler.
Sammy Virji & Interplanetary Criminal — Damager
London-born beatsmith Sammy Virji become a staple of the global electronic music scene in 2024, leading a wave of young, hungry producers bringing UK garage into its bright stateside future. His show-stopping collaboration with Interplanetary Criminal, “Damager,” is a shining example of his creative firepower. Sampling Apathy’s turn-of-the-century hip-hop track “Just Begun,” the pair of breakout UK producers delivered one of the year’s biggest club records.
Words by Brooke Bierman.
Champion & Bushbaby — We Multiply (feat. Killa P)
UK garage is riding the high of a breakout season stateside thanks to an all-star lineup. Champion, who is perhaps known for “Talk To Me”—his collaboration with Skrillex, Four Tet and Naisha—is among the first-string players. The bass-fueled swagger he contributes to that track dons a pair of brass knuckles in “We Multiply,” a braggadocious banger with Bushbaby and Killa P that’ll have the shyest introvert puffing out their chest.
Words by Shakiel Mahjouri.
Sensu — Faded Hearts
Back in September, Swiss DJ and producer Sensu dropped her stunning Pieces EP, a song-cycle of emotive bangers that redefined dancefloors as hubs for shared experiences. “Faded Hearts” is a gleaming standout, a track that pulses with a wounded intimacy and invites you to wade through its emotional wreckage.
Layers of Sensu’s textured production bloom and crackle underneath dynamic breakbeats and soulful vocal sampling. She didn’t just produce here—she built a world, and it’s one you might never want to leave, even if it hurts to stay.
Words by Jason Heffler.
MPH — North LDN (feat. Subten)
If there was one thing that MPH mastered this year, it was the art of storytelling through his music. Triumphantly returning to Night Bass with his massive 15-track album Refraction, the virtuosic producer bulldozed genre boundaries with shapeshifting finesse through UK garage, jungle, deep house and 140 dubstep.
One of its undeniable standouts is “North LDN,” a collaboration with Tottenham-based MC Subten that delivers a gritty, bass-driven homage to the North London underground. It all came full circle when MPH threw down a high-profile DJ set in the city earlier this month, performing alongside Notion and 33 Below at Drumsheds for UKF’s biggest London show yet.
Words by Mikala Lugen.
Honorable Mentions:
Lu.Re — Take Me Up
Joy Anonymous & Sammy Virji — JOY (By My Side)
KING BOOO! — Tunes Since ’89
msft – Bonker.s
bullet tooth — YOUR LOVE
Dance-Pop
Petit Biscuit — Cruel Heart
Emotional demolition is the name of the game in Petit Biscuit’s “Cruel Heart,” a stunning track he co-wrote with Madeon and released back in June. Biscuit’s tortured vocals quaver with ache, cutting through his radiant production like a blade wrapped in velvet. One of the year’s best dance records, it’s electronic music for beautiful disasters, where pain becomes pleasure and self-destruction feels like liberation.
Words by Jason Heffler.
Zedd — Lucky (feat. Remi Wolf)
Despite “Lucky” clocking in at just two minutes, Zedd and Remi Wolf managed to permeate each second with the sort of effervescent energy and infectious lyricism that distinguishes a dance-pop classic. Appearing on Zedd’s long-awaited Telos album, the dazzling track is a microcosm of his long-standing dedication to his production craft.
Words by Madison Berg.
Porter Robinson — Cheerleader
If we’ve learned anything about Porter Robinson over the years, it’s that running the emotional gauntlet of his music is unavoidable. His albums are few and far between, but when they do come, we all willingly plunge into his bitcrushed universe of unfiltered nostalgia. That’s exactly what happened when he released “Cheerleader,” the lead single from his third album, in which he belts tortured lyrics atop a fizzy synthpunk beat and delivers an unforgettable song that earned its place among his best.
Words by Jason Heffler.
Charli xcx — 365
Brat summer, lime green, 365 party girl—you know the drill by now. Charli xcx formed a Brat army in 2024, unapologetically leading the charge for dance-pop with an edge only she could bring. Her groundbreaking sixth album took the world by storm and became an iconoclastic bastion of club culture.
Most listeners are familiar with the album’s opener, “360,” but its closer deserves equal attention with its infectiously brazen vocals. “365,” a club-focused reimagination, is a wonderful callback that not only captures the entire album’s DIY spirit, but also sends the message that the release of the dancefloor is accessible to all.
Words by Brooke Bierman and Shakiel Mahjouri.
The Chainsmokers — Tennis Court
The Chainsmokers’ “Tennis Court” is a wistful nod to the duo’s meteoric mid-2010s breakthrough while charting new ground in today’s dance-pop landscape. Both nostalgic and forward-thinking, the track appeared on their No Hard Feelings EP, their first since 2016’s Collage, which gave us timeless hits like “Closer” and “Don’t Let Me Down.”
While the EP was innovative in its approach, “Tennis Court” provided a standout moment of familiarity, reminding fans why The Chainsmokers remain masters of crafting unforgettable dance-pop anthems in the first place. With sweeping melodic synth textures and vocoder-inflected vocal one-shots, the track found the duo rekindling the magic of their earlier sound while embracing fresh, dynamic elements. With the sort of melodic grandeur only they can conjure, the production strikes an emotional chord that’s likely to echo with both longtime fans and newer listeners alike.
Words by Cameron Sunkel.
Honorable Mentions:
Calvin Harris & Ellie Goulding — Free
Kiesza — I Go Dance
Oliver Heldens, David Guetta & FAST BOY — Chills (Feel My Love)
Tiësto & Alana Springsteen — Hot Honey
Afrojack, Pitbull & Ne-Yo — 2 The Moon
Future Bass/Wave
Xavi — Round Again
Xavi landed on Hex Cougar’s Alter/Ego label this summer with “Round Again,” a glitched-out breakup anthem for the neural network age. Beautiful and brutal in equal measure, it’s a masterclass in contrast where euphoric Wave beats provide an ironic backdrop to bitter pills of truth about time wasted and trust betrayed.
Words by Jason Heffler.
Trivecta — Leave The Light On (feat. sød ven)
Inspired by the organic energy of nature, “Leave the Light On” masterfully blends sød ven’s heartfelt vocals with Trivecta’s signature, folk-infused bass sound. This emotive electronic ballad, enriched by Trivecta’s seasoned production palette and diverse musical influences, is a soul-stirring masterstroke that promises to leave a lasting impression.
Words by Andrea Nguyen.
ROSSY & Pauline Herr — HOLY
ROSSY and Pauline Herr’s “HOLY” is proof of the magic conjured by best friends when they make music together. Layered over ethereal yet bruising production, the gnawing question, “Do you think of me?” eerily floats through the void of the track’s dynamic future bass drops. The song’s genius lies in how the duo captures the paradox of feeling completely alone while surrounded by endless ways to connect—a uniquely modern emptiness we’ve all felt at one time or another.
Words by Jason Heffler.
barnacle boi — Roku City
barnacle boi’s signature, emotive style continues to set him apart from the rest, and “Roku City” only served to reinforce his standing as a defining producer of Wave music. With its textured, cinematic production, the track captures the evolution of the genre in 2024 and proves that barnacle boi isn’t just riding the wave—he’s leading it.
Words by Rachel Freeman.
Elephante — Don’t Turn Back (feat. Linney)
Elephante recently returned with his third album COPE, and with it came a bevy of anthemic dance records, but none more potent than “Don’t Turn Back.” Driven by a stentorian vocal performance by Linney, the track palpitates with a kind of kaleidoscopic urgency. Her lyrics hit with pangs of raw vulnerability as the Asian-American beatsmith unfurls a beat bubbling with iridescent future bass production, a sonic rollercoaster where heartache and hope tangle in a dizzying loop.
Words by Jason Heffler.
Honorable Mentions:
limedisx. & Baeldorf — Spirit
ONHELL & Mad Zach — Floating On Louds
Silcrow — Come Alive (feat. Sobachiy Lie)
Hex Cougar & VARI — Ultra
Kaivon — You Make Me Feel
Trance
Andrew Bayer & Oliver Smith — Be Kind Rewind
The versatility of trance music never ceases to amaze us. One minute you can be soaring through the skies with euphoric melodies and uplifting vocals, and then suddenly you’re back on solid ground, jumping up and down as heavy bass and lingering synths infiltrate your body.
One such track managed to do both in 2024, all while advancing the sounds of progressive trance by way of an unexpected partnership. Anjunabeats mainstays Andrew Bayer and Oliver Smith released their first collaborative EP, Be Kind Rewind, which saw the longtime friends embrace their love of the UK bass scene and blend it with their forward-thinking soundscapes.
Harkening back to the era of big room house circa 2010s, the project’s titular track offers a euphoric journey by way of two hands-in-the-air drops, culminating in a progressive banger that stands out as a testament to the thrill that trance can bring.
Words by Ulises Vargas.
Susana – Hope For The Hopeless
Vocal trance icon Susana returned in September with “Hope For The Hopeless,” a propulsive anthem of hope, heartbreak and healing distilled into four transcendent minutes. Navigating the icy silence of a love slipping away, her lyricism is an unfiltered snapshot of vulnerability, pairing perfectly with a driving trance beat that feels like running toward something you can’t quite reach. The tension is palpable and there’s a cinematic pull to the melody, a relentless forward motion that mirrors the fragile hope anchoring the hopeless.
Words by Jason Heffler.
Felix — Don’t You Want Me (KI/KI Remix)
What was a 1992 dance classic by Felix mutated into an electrifying trance rendition, courtesy of Dutch breakout KI/KI. She breathed new life into the timeless track but remained true to its unmistakeable, synth-driven melody. The remix, a fixture in her standout performances at Glastonbury, Sónar Barcelona and Kappa FuturFestival, quickly become a fan-favorite festival anthem. With its blistering tempo, dreamlike textures and seamless fusion of nostalgic charm and futuristic rave energy, it’s a hypnotic journey that left us wanting more.
Words by Andrea Nguyen.
Above & Beyond — Heart of Stone (feat. Richard Bedford)
The ageless Above & Beyond reunited with Richard Bedford, the voice behind a pair of their most prized tracks, “Sun & Moon” and “Thing Called Love,” for this late-summer masterstroke. The trio’s vintage trance synths chisel away at “Heart of Stone,” flowing into the cracks of our own hardened exteriors and reminding us that we’re never truly trapped behind walls of our own making. A return to form for Above & Beyond, the track had emerged as a fan-favorite after appearing in their sets at EDC Las Vegas and London’s iconic Printworks.
Words by Jason Heffler.
Aaron Hibell — morning light
At a time when much of dance music leaned into darker, rhythmically minimal territories, Aaron Hibell’s “morning light” broke through like a sunrise after a long night, bringing vibrancy and warmth back to the forefront. With a sound reminiscent of trance’s euphoric roots yet inventive in its execution, the track offers a luminous spectrum of arpeggiated melodies, driving four-to-the-floor rhythms and soaring vocals that long for connection. The lyrics carry a yearning intimacy that perfectly complements his radiant production, creating a moment that feels deeply personal yet universally stirring.
He weaves a masterful crescendo in the build, letting the vocal rise on a wave of tension before releasing into an invigorating catharsis. Wrapping up a breakout year for Hibell, “morning light” showcases trance’s enduring brilliance and his potential to shape its future.
Words by Cameron Sunkel.
Honorable Mentions:
Billy Gillies & Betsy — Fair
Gryffin & Armin van Buuren — What Took You So Long
ATB — Future City
Gareth Emery & LSR/CITY — KILLSHOT
Giuseppe Ottaviani & LEA KEY — In The Silence
Synthwave
Fury Weekend — Don’t Change the Rhythm
From Belarus comes Fury Weekend, an electrifying synthwave artist who leaves a trail of neon in his wake. His beginning-of-summer anthem, “Don’t Change the Rhythm” calls upon all the sounds of rock-infused retrowave that’s created this incredible niche.
You know a synthwave song is hitting when you close your eyes and feel like you’re Ryan Gosling. Robotic vocals, starry keys and a driving beat make you feel like you’re speeding down a highway that feels like it’s from the 1980s vision of the future. While Fury Weekend is no small fry in this realm, don’t be surprised when you hear your uninitiated friends listening next year.
Words by Nick Yopko.
NERO – Nowhere to Hide
A standout from NERO’s long-awaited third album, “Nowhere to Hide” encapsulates the legendary group’s profound ability to tell stories through electronic music. On the production side, the band’s Dan Stephens and Joseph Ray channel synthwave through the lens of survival instinct, crafting a cinematic yet urgent beat that feels like you’re running from shadows while reaching for stars that died long ago. Meanwhile, NERO’s frontwoman Alana Watson brilliantly compliments their retrofuturistic sound with vocals dripping in desperation, pulling the yarn of a dystopian romance for the end times.
Words by Jason Heffler.
Kasablanca & Lane 8 — Remission
Kasablanca and Lane 8’s “Remission” aptly captures the essence of triumph and transformation. Debuted by Kasablanca at Ultra Music Festival amidst an unforgettable performance, the booming track suddenly became a rallying cry of resilience as band member Micky battled cancer with courage and determination. Each soaring chord seemed to carry the weight of his journey.
Weeks later, news of Micky’s remission imbued the song with even greater meaning, making it a celebration of victory and renewal. The title, once a hopeful aspiration, became a reality. With its impeccable production and heartfelt narrative, “Remission” stands as a shining example of how dance music music can encapsulate life’s most profound moments, leaving an indelible mark on both the genre and its listeners.
Words by Cameron Sunkel.
Lucy In Disguise & Rogue VHS — Skybeam
Synthwave is a beautiful form of escapism. its retro sci-fi elements eliciting fond memories or posing questions too big to answer. The expansive soundscape of “Skybeam” is a marvelous example of that—it’s a song for daydreamers. It might have you pondering or reflecting. Whatever journey it takes you on, trust Rogue VHS and Lucy In Disguise to guide you safely.
Words by Shakiel Mahjouri.
Waveshaper & Oscillian — BIOS
The sounds of computer programming are usually just clicks of the keyboard and jarring error message popups. That was until Waveshaper and Oscillian began writing to the motherboard on “BIOS.” Robot voices teach us what makes their PCs hum while the Swedish duo lay down mechanized mayhem.
The track is arranged in such a precise way, it feels as if it was handled by a sorting algorithm. The final result is an unforgettable synthwave tune with a surprisingly intense, guitar-filled bass drop that will leave you wondering if being a software engineer is less boring than it seems.
Words by Nick Yopko.
Honorable Mentions:
NINA & Ricky Wilde — Living in Sin (Brigitte Bardini Remix)
VIQ — ghost
The Midnight — Chariot
7DD9 — Sleep Paralysis
Lucy In Disguise — Digital Campfire
Editor’s Note: EDM.com proudly publishes four installments of annual year-end coverage: Industry Leaders, Performances & DJ Sets, Music Producers and Songs.
DJing and music production are different. But the difference between the two is like a wallflower—it hides in plain sight, and it’s vastly misunderstood.
Publishing a “Top DJ” list would undermine the originality, creativity and unbridled imagination of the artists who dedicate their lives to music production. To honor their profound commitment to the art, the EDM.com staff annually recognizes 10 of the year’s best.
In no particular order, discover the best electronic music producers of 2024 below.
ISOKNOCK
Armed with generational production skills and an unapologetic disregard for convention, ISOxo and Knock2 proved in 2024 that some artistic combinations are simply written in the stars.
Through reconstruction by deconstruction, their deliberately provocative artistry cut through the formulaic noise of today’s EDM with both industrial precision and visceral intimacy. In a year marred by TikTok-fueled predictability, they smashed the playbook with nail-spiked baseball bats and brought anarchy to the algorithm, proving that unfiltered creativity still has a place in today’s fractured streaming sector.
The duo, collectively known as ISOKNOCK, shocked fans back in August when they surprise-released their debut album, 4EVR. Equal parts beautiful and belligerent, the project is a song-cycle of raw dance bangers that lock horns with punk’s snarling spirit. One of the year’s best albums, it’s an experience that left us feeling like we’d been through some kind of metaphysical car wash—battered and soaked in sound, but somehow cleaner for the experience.
ISOKNOCK’s music also translated like clockwork to their 2024 live shows, which transformed dancefloors into middle-fingers-in-the-air battlegrounds that demanded physical and emotional surrender. The duo debuted at Coachella, demolishing the festival’s legendary Sahara Tent before daring gravity at Chicago’s North Coast Music Festival by performing in a shipping container suspended by a crane.
Words by Jason Heffler.
PAWSA
There’s a running joke in the house music scene that PAWSA’s USB is like a genie’s lamp—every track feels like a wish granted. The UK producer is notorious for teasing fans with unreleased music in his live sets for years before officially releasing it.
In 2024, however, a number of PAWSA’s hotly anticipated tracks hit the airwaves. The common thread between his releases—like “DIRTY CASH (MONEY TALKS)” and “TOO COOL TO BE CARELESS”—is a hedonistic mix of old-school dance music and modern tech house. He effortlessly blends timeless ’90s vocals with thumping drums and basslines.
Less is more for the minimal house virtuoso, and that’s the best part. His stripped-back style eschews intricate melodies and busy, over-produced beats in favor of raw grooves. It’s not just music you hear, but music your body feels—a direct line to the pulse of the dancefloor.
Words by Saad Masood.
Martin Garrix
In a banner year for electronic dance music, Martin Garrix reminded us that the future of the genre belongs to those bold enough to reimagine it. As it rapidly evolved throughout 2024, he remained a lighthouse—brilliant, influential and perpetually in motion.
Garrix’s music has always managed to engineer ageless memories in the minds of his fans, but this year, he returned to his progressive house roots and fired up the nostalgia machine more than ever. He was a force of nature, proving that sometimes the most groundbreaking moments come from rekindling the spark that first lit the fire.
Every week it seemed like fans had a vintage Garrix banger to look forward to, born from his ability to weave his roots into a new and electrifying vision. He started with the unforgettable “Carry You,” an anthem of hope released in February alongside Third Party, Oaks and Declan J Donovan. Then came three consecutive singles in as many weeks, a succession that culminated in the release of IDEM, a rapturous EP featuring larger-than-life collaborations with DubVision, Mesto and more.
The euphoria then bubbled over this summer when Garrix released “Wherever You Are,” a soaring festival favorite showcasing both his technical mastery and lyrical depth. But it might not end there—after Coldplay featured his song “Breakaway” in their viral Glastonbury set, he hinted that an original collaboration with the iconic band could come in 2025.
Words by Jason Heffler.
Jamie xx
2024 brought the revival of the inimitable Jamie xx, whose release of In Waves—his first studio album in nearly a decade—led to one of the year’s most compelling electronic music projects.
It was worth the wait. In a year where songs were churned out faster than a ChatGPT prompt, In Waves stands as a testament to taking your time in the pursuit of a bold creative vision. It’s sometimes joyful and sometimes hauntingly introspective. A project covering such a range risks feeling cluttered or disjointed, but not in the skilled hands of this English beatsmith.
A raw love letter to club culture, In Waves told an exhilarating narrative through unforgettable tracks like “Baddy on the Floor” (with Honey Dijon), “All You Children” (with The Avalanches) and “Waited All Night,” the lattermost of which Jamie produced alongside his former bandmates from The xx, Oliver and Romy. By design, it’s difficult to box these diverse tracks into a single genre classification.
Jamie’s music also left quite a cultural footprint in 2024. Before he even released In Waves, he returned to his home of London to host a curated event, “The Floor,” and manifested his dream of opening his very own club. It was a snapshot not only of his boundless creativity, but also his deep-rooted appreciation of the UK underground.
Words by Rachel Freeman and Shakiel Mahjouri.
LP Giobbi
LP Giobbi has built her career on a foundation of innovation and empowerment, but she took them to new heights in 2024.
Her infectious energy and genre-defying sound crept into the bedrock of Dotr, her hotly anticipated sophomore album. The record stands as a tour de force, blending her signature piano-driven house beats with soulful contributions from a compelling roster of collaborators, including Alabama Shakes, Portugal. The Man, Panama, Jacob Banks and Holly Bowling. Tracks like “Feel” and “Bittersweet” became instant hits, encapsulating Giobbi’s unparalleled ability to bridge the gap between classical musicianship and modern dance music.
She also remained steadfast in her commitment to fostering inclusivity in the electronic dance music community through her beloved FEMME HOUSE community, organizing workshops, mentorship and resources to combat industry disparities. The organization in March teamed up with Insomniac Records to release a massive compilation featuring music by Mary Droppinz, Lisbona Sisters, ZOF, Bexxie and other promising women in dance music.
Words by Mikala Lugen.
Pretty Lights
Pretty Lights’ comeback demonstrated that true innovation takes time, introspection and a fearless leap into the unknown.
Dual Fusion Unity, his first new original music in seven years, humbly reminded fans why he remains one of a kind. The radiant EP is vintage Pretty Lights, a kaleidoscopic journey through glitchy electronic textures, soulful vocal samples, funky brass flourishes and moments of pure analog warmth.
On its opening track, “Road to the Stars,” Pretty Lights’ reflective monologue serves as a poignant emblem of his extraordinary journey, crystallizing the return of a beloved artist seemingly at peace with creating art for its own sake. “I’ll fly a starship across the universe… and I’ll be back again,” he crooned.
Touring once again with a live band, Pretty Lights picked up where he left off, elevating his live compositions into something even more dynamic by fusing raw instrumentation into his performances. In a genre often seen as saturated with pre-programmed sets, his music once again stood out as deeply human.
Words by Cameron Sunkel.
John Summit
Just when you think John Summit can’t outdo himself, he does. If 2023 was his crescendo, 2024 was his symphony.
He sold out massive arenas, like New York City’s Madison Square Garden and LA’s Kia Forum; performed at the world’s biggest festivals, like Tomorrowland and Coachella; and curated bespoke events for his Experts Only imprint, including a ski trip in Colorado and a luminous Lake Tahoe mountain party.
2024 was the year Summit unveiled his debut album, Comfort In Chaos, an anthemic yet intimate masterstroke in which he took his songwriting to new heights. His HAYLA-assisted festival anthems “Where You Are” and “Shiver” remained staples, but he also took risks, wading into the waters of drum & bass (“palm of my hands” with venbee), breakbeat (“Stay With Me” with Of The Trees) and techno (“Resonate” with Kaskade and Julia Church).
However, he didn’t stop at Comfort In Chaos. He emerged as a Renaissance man, one day remixing The Temper Trap, the next Green Velvet. He even dropped one of the year’s best dubstep tracks alongside Subtronics and Tape B.
2024 wasn’t just another chapter for John Summit—it was the year he rewrote the rulebook on what an electronic music artist can achieve.
Words by Saad Masood.
c/o AEG Presents
Sara Landry
There are many, many reasons why Sara Landry holds the nickname “High Priestess of Hard Techno.”
But the most convincing one—even in a year that saw her etch her name in Tomorrowland’s history book as the first hard techno DJ to play its storied Mainstage—was Spiritual Driveby. Posing life’s greatest questions at blistering BPMs, Landry’s remarkable debut album effectively crystallized one of the most explosive electronic music breakouts in recent memory.
Just like her ferocious DJ sets, the EDM.com Class of 2024 superstar dragged us into a vortex of brutal euphoria with her uncompromising approach to techno production. Teetering on the edge of avant-garde and vocal-driven techno, the 12-track opus saw her team up with a compelling group of collaborators, like Nico Moreno, Shlømo and the illustrious Mike Dean. The album even features a haunting soliloquy from her personal hypnotist.
Landry soared to new heights and emerged as one of the most in-demand names in music, incinerating dancefloors and cementing herself as the undeniable “It Girl” of techno in 2024. And as she weaponizes her arsenal for her Coachella debut next year, all we can do is hold on for dear life.
Words by Mikala Lugen and Jason Heffler.
c/o Press
Justice
From the opening bars of Hyperdrama, Justice’s first new album in eight years, the duo reminded us why we fell in love with their timeless electro in the first place.
While it’s still anchored in the gritty analog tones that made them icons, the album found Xavier de Rosnay and Gaspard Augé exploring uncharted territory with a renewed sense of adventure and emotional depth. They transcended the simple pleasures of body music to speak to the tragedies, triumphs and bittersweet complexities that loom over the dancefloor’s euphoric release.
Eschewing the aloof electronic stoicism that defined Justice’s earlier works, Hyperdrama bleeds candor and restless yearning without abandoning their roots. Tracks like “Generator” and “Neverender” (with Tame Impala) have already earned their place as modern dance classics, reinforcing Augé and de Rosnay’s ageless knack for crafting generational music.
But it’s not just the music that made Hyperdrama stand out. They are said to have spent months working with a team of computer scientists to produce the album’s accompanying live show, ultimately elevating it into a groundbreaking, multi-sensory experience that captivated crowds at Coachella and the Hollywood Bowl, among many others.
Words by Jason Heffler and Rachel Freeman.
LSZEE
Good luck finding a more unique, yet refined, electronic album this year than LSZEE’s self-titled debut.
Fusing CloZee’s globe-spanning sound with LSDREAM’s spiritual funk and bass, the album is a transformative experience. There exists no collaborative partnership in the electronic music scene quite like this one; LSZEE sounds distinctly like LSZEE.
The album’s songs cover a lot of ground sonically, but flow seamlessly together with an overarching sense of wonder. Pay special attention to “NIGHTHAWK,” an absolute showstopper at the duo’s live sets throughout the year.
LSZEE are now embarking on what they claim to be their only tour in 2025. Do yourself a favor and see them before it’s too late.
Words by Shakiel Mahjouri.
Honorable Mentions:
Rezz
Peggy Gou
Odd Mob
Coco & Breezy
Syzy
Jon Casey
Eptic
TSHA
longstoryshort
Sammy Virji
Editor’s Note: EDM.com proudly publishes four installments of annual year-end coverage: Industry Leaders, Performances & DJ Sets, Music Producers and Songs.
Each year, EDM.com highlights the most daring and innovative sets, amplifying the artists whose boundary-breaking work is reshaping electronic music on a global scale.
From intimate underground showcases to massive festival spectacles, these performances are celebrated not only for their technical mastery, but also for their ability to influence cultural movements. This isn’t about popularity or ticket sales—it’s a recognition of artistry that cultivates moments fans will remember for decades.
In no particular order, discover the best DJ sets and performances of 2024 below.
ODESZA — “The Last Goodbye” Finale, Gorge Amphitheatre
ODESZA’s swan song for their “The Last Goodbye” era was a triple-header at Washington’s breathtaking Gorge Amphitheatre. The duo built a universe unto itself in the Pacific Northwest, the perfect setting for their farewell performance before an indefinite hiatus.
An immense amount of planning and coordination goes into bringing any ODESZA experience to life, but they took it to another level in the cradle of the Gorge’s grandeur. Soul-stirring string renditions, powerful live vocalists and exhilarating mashups took the crowd on a journey that somehow felt both cathartic and deeply intimate.
Meanwhile, fans turned into puddles of emotion as they walked through “Echoes,” a surrealist, tech-driven art installation moonlighting as a monument to their unparalleled connection with ODESZA’s Clayton Knight and Harrison Mills. The duo had shared an anonymous phone number and asked fans to leave voicemails containing their favorite ODESZA memories, which were played in 4D audio around the installation’s gleaming towers and transcribed on their LED panels.
Transforming the concerts into hubs for immersive storytelling, ODESZA proved that technology can facilitate the emotional release of their music when wielded with intention and purpose.
Words by Saad Masood and Jason Heffler.
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Skrillex — Lollapalooza, Chicago
When Lollapalooza announced that one of its most iconic stages would be renamed after Skrillex for one night only, you knew something special was coming.
Fans attending the storied Chicago festival in 2024 were treated to two performances from Skrillex at Perry’s Stage, which officially transformed into “Sonny’s Stage” on Saturday. He opened Saturday with an early performance under the Windy City sun before closing the night with a spectacular headlining set.
As you might expect from an artist of this caliber, the performance was not only one of the festival’s best, but one of the year’s best. Skrillex used his stage takeover to offer fans a career retrospective that celebrated all his groundbreaking chapters as well as the enduring legacy of Perry’s Stage and its namesake, Lollapalooza co-founder Perry Farrell.
From his ageless remix of Avicii’s “Levels” to his collaborations with Justin Bieber, Damian Marley and Boys Noize, Skrillex reminded us why he remains one of the industry’s most prolific artists.
Words by Nick Yopko.
Arca — Boiler Room: Caracas
From the shadows of systemic erasure in her native Caracas, Arca took on the pressure cooker of Boiler Room and threw down a homecoming DJ set for the ages.
“This set should be studied by at least 20 anthropologists,” one awestruck fan commented on YouTube.
Amid the ongoing, catastrophic Venezuelan refugee crisis, Arca returned home and rebuilt in sound what had been fractured in spirit. Her larger-than-life Boiler Room headline in March reunited a group of DJs who hadn’t performed in the country for over a decade, according to local photographer Augusto Silva Alliegro, who called the show “a historic moment for Venezuelan music and the country.”
Arca vogued and vibed as she threaded a latticework of distorted bass and ambient textures, curating a set that was simultaneously disruptive and deeply intimate. Highlights included spins of “Rain (I Want a Divorce)” by the late electronic music legend Ryuichi Sakamoto and Arca’s woozy remix of Frank Ocean’s “Little Demon.”
Flexing her thrashing beats and signature unpredictability behind the decks, it was a form of radical storytelling—a transgender artist reclaiming space in a challenging cultural terrain.
Words by Jason Heffler.
Keinemusik — Pyramids of Giza, Egypt
There’s no doubt that Keinemusik started a cultural movement in 2024. You were bound to spot someone sporting the collective’s “uniform”—hat, silk scarf and glasses—at any house music show this year.
However, their set at the legendary Giza Pyramids in Egypt hit different. Bringing along their signature “kloud,” Keinemusik’s Adam Port, &ME and Rampa delivered a rave experience for the ages on April 19th.
Perfectly matching the mystique of the pyramids, the oldest of the Seven Wonders of the Ancient World, the rare performance helped further propel Afro-house music globally.
Words by Brooke Bierman and Jarett Lopez.
RÜFÜS DU SOL (DJ Set) — Mayan Warrior, Burning Man
The Burning Man community was devastated by last year’s heart-wrenching loss of the beloved Mayan Warrior art car, a symbol of unity and magic that set the stage for unforgettable musical moments on the playa. But it rose from the ashes in 2024 and—reborn as Galaxyer—ushered in a new era with RÜFÜS DU SOL leading the way.
After a five-year hiatus, the group returned to Burning Man for an instant-classic DJ set. The way they captured the alluring energy of the playa was magnetic and their curation impeccable, stacking beloved RÜFÜS acapellas (like “Treat You Better” and “Underwater”) atop modern melodic house jams (like “Nothing On Me” by Maz, APACHE and Maxi Meraki). The hotly anticipated performance also featured aching remixes of “Lately,” “Music is Better” and the timeless “Innerbloom.”
Add Galaxyer’s outer space-themed production and a striking sunset on the playa to the mix, and you’ve got an audiovisual feast. Black Rock City came alive.
“The energy we felt during the Mayan Warrior set was unlike anything we have ever experienced,” RÜFÜS DU SOL said at the time.
Words by Rachel Freeman, Saad Masood and Jarett Lopez.
Justice — Coachella
Seven years after their last performance at Coachella, Justice returned to the desert in breathtaking fashion in 2024.
Closing out the Outdoor Theatre, the iconic French duo unraveled a set comprising almost entirely unreleased music. It was dazzling showcase of Hyperdrama, their first album in nearly a decade, which released just a few short weeks later.
Bold, glitzy and undeniably dynamic, Justice’s Coachella set was a masterclass in live electronic music performance that bubbled over with the retrofuturistic electro that made them icons. It was one of those rare sets where you couldn’t decide whether to stand in awe or lose yourself on the dancefloor.
Words by Andrea Nguyen.
TSHA — “In The House” Defected Ibiza Summer Sunset Boat
Sun, soul, summer, saltwater and TSHA: the perfect storm for an instant-classic DJ set.
TSHA in 2024 released her long-awaited sophomore album, Sad Girl, but first she cruised the Mediterranean Sea on a yacht and threw down one of the year’s best DJ sets. Back in April, the influential house music producer became the first artist to perform for Defected Records’ revamped “In The House” mix series, which relaunched this year as part of the label’s 25th anniversary celebrations.
TSHA’s touch was fresh yet reverent, a perfect tribute to the iconic series. She dropped a handful of her own hits, like “Sweet Devotion,” as well as sun-kissed dance records by Amine Edge & DANCE, Monki and Todd Terry, among others. Each track felt like a conversation, where soulful vocals and dynamic production spoke to your emotions while brisk percussion propelled your body—and the boat—forward.
To that end, the radiant DJ set is a microcosm of TSHA’s artistry. It invites you to move, but compels you to listen—and in that balance lies her magic.
Words by Jason Heffler.
Michael Bibi — One Life London
It’s tough to identify an artist who had a more impactful year than Michael Bibi, the house music icon who triumphed over a rare form of cancer and made DJing history.
His journey from survival to celebration reached its pinnacle at One Life London, a totemic and dramatic performance that marked Bibi’s return to the stage after becoming cancer-free. He played for over 45,000 fans in his hometown, setting a new record by headlining the largest electronic show in London’s history.
The show was an emotional whirlwind, with poignant visuals showing clips of his time in the hospital and scenes from his childhood. Bibi bangers like “Got The Fire,” “Different Side” and his remix of “Eyes on Fire” heated up the crowd for over three hours, and his father even joined him onstage for a mesmerizing guitar solo.
Bibi’s historic performance wasn’t just a concert—it was a testament to the power of dance music to heal, ultimately bringing to life a vision that he said kept him inspired during his time in the hospital.
Words by Rachel Freeman.
LSZEE — Red Rocks Amphitheatre
LSDREAM and CloZee make up the genetic code of their brainchild, LSZEE, but the project is distinctly its own.
The renowned Red Rocks Amphitheatre was a picture-perfect venue to unleash the full creative force of their self-titled LSZEE album, a record about curiosity, spirituality, nature and the exploration of a vibrant world. The duo’s two-night spectacular was an immaculate example of frequencies in perfect harmony, LSDREAM’s contagious enthusiasm bringing CloZee out of her shell and CloZee’s culturally rich music adding fascinating layers to LSDREAM’s wubs.
Maybe it was the organic surrounding nature of Red Rocks, sending LSDREAM and CloZee back to Joshua Tree where the LSZEE project was conceived. Maybe it was the palpable vibrancy of the crowd. Whatever the case, LSZEE’s remarkable doubleheader is etched in the memories of their fans forever.
Words by Shakiel Mahjouri and Madison Berg.
G Jones b2b EPROM — DEF Detroit
While the techno world flocked to Detroit for the storied Movement Festival over Memorial Day weekend, the DEF team cooked up one of the most intimate and incredible DJ sets of the year.
Sweat and hot breath filled the air like a fog machine gone haywire as fans took up every centimeter of Big Pink, a tiny venue that used to be a hot water tank manufacturing warehouse, for a chance to witness G Jones share the stage with EPROM.
Together, the virtuosic producers threw down hours of experimental bass, live acid originals, unreleased tracks and incomprehensible sounds that left everyone stunned after the house lights came on.
Words by Nick Yopko.
Honorable Mentions
ISOKNOCK | North Coast Music Festival
Porter Robinson | Hollywood Bowl
Sara Landry | III Points Music Festival
Of The Trees | Red Rocks Amphitheatre
Martin Garrix | Ultra Music Festival
ALLEYCVT | Lost Lands
Kenya Grace | Coachella
Maddy O’Neal | Shambhala Music Festival
John Summit b2b Green Velvet | EDC Las Vegas
Swedish House Mafia | Tomorrowland
Editor’s Note: EDM.com proudly publishes four installments of annual year-end coverage: Industry Leaders, Performances & DJ Sets, Music Producers and Songs.
More often than not, year-end coverage published by the music industry’s vast pool of media outlets is limited to its artists and performers.
To honor the extraordinary work of the industry’s unsung people and brands, EDM.com annually recognizes a group of leaders whose contributions redefined dancefloors and helped shape the future of electronic dance music.
Record Label: Experts Only
Forged in the crucible of a late-2023 rebrand, John Summit’s Experts Only imprint emerged with a clarity of vision that few could match this year.
From releases like Max Styler’s “Lights Out” and Chris Avantgarde and Kevin de Vries’ “Killa,” the label was a primary driver of the conversation about the ever-evolving boundaries of tech house music. Summit’s own debut album, Comfort In Chaos, arrived mid-year as a tour de force of emotion and experimentation, bolstered by standout remixes like Cassian’s stunning take on “Shiver” and YDG’s transformative remix of “Go Back.”
The label’s ambitions also extended far beyond its music, with the Experts Only Ski Weekender in Vail curating a groundbreaking fusion of slope-side adventures and dancefloors. Inspired by Summit’s own passion for skiing, the event brought the label’s ethos to life: bold, unflinching and deeply connected to its audience.
In one short year, Experts Only emerged as a creative force that respects the roots of house music while fearlessly carving out its own future, setting a high bar for what it means to lead with vision and purpose.
Words by Cameron Sunkel.
Honorable Mentions: Memory Palace | HypnoVizion | Defected Records
Experts Only
Club: Club Space
A cornerstone of global club culture, Miami’s Club Space isn’t an ordinary venue—it’s a rite of passage.
In 2024, the venue’s ethos of “the party never ends” was tested and proven when it closed for three months of structural renovations. Even in its absence, the Space legacy loomed large as Factory Town held down the scene while fans restlessly waited. When the fall finally arrived, Space’s reopening party, headlined by Peggy Gou, reminded us why this 2,000-capacity spot holds an outsized influence in the dance music community.
From a marathon 36-hour Miami Music Week closing party featuring Carlita, Marco Carola and more to a 24-hour Art Basel closing party with 23 DJs from 13 countries, Space was a seedbed of club culture. The venue isn’t just about major festival weekends—it snaps into action for cultural events like Formula One Race Week, when Black Coffee and MEDUZA dazzled behind the decks. Now, Tiësto is primed for a rare “Sunrise” set in January 2025.
Club Space’s significance transcends its size, earning its place as a destination where DJs from around the globe gather to create something extraordinary. And in 2024, its organizers continued to live up to their prevailing tenet: whether it’s 3am, sunrise or mid-morning, they’ve got your back.
Words by Cameron Sunkel.
Honorable Mentions: Cloud 9 Fiji | Ushuaïa Ibiza | Drumsheds
Music Company: Vita Motus
For the idealistic minds behind the producers of music festivals, one question often gnaws like a spider in the brain: can a stage be more than just a platform? For Vita Motus, the design studio behind Coachella’s groundbreaking Quasar stage, it’s a resounding “yes.”
Led by its ambitious founder and CEO, Heather Shaw, Vita Motus has executed phantasmagoric stages for EDC, Electric Forest and Lightning in a Bottle, among other major festivals. But she found herself in a three-month pressure cooker ahead of Coachella, where the studio was tasked with building a universe unto itself.
The stage’s monolithic LED walls, Shaw told EDM.com back in April, were designed “to push the boundaries of what’s possible at music festivals.” Her team ultimately delivered, establishing a bastion of iconoclastic festival design within Coachella’s hallowed desert metropolis.
The stage became the epicenter of EDM at the nation’s most iconic music festival, which in 2024 teemed with unforgettable rave moments. Fans willingly plunged into the rabbit holes of innovative three-hour DJ sets by RÜFÜS DU SOL and a cancer-free Michael Bibi, among other influential electronic acts. Eric Prydz and Anyma, two of the industry’s most subversive creators of visual displays, also performed together for the first time as the sun set.
To that end, Quasar dissolved the boundaries between electronic music and performative spectacle, reimagining the inert concert stage as a living, breathing organism.
Words by Jason Heffler.
Honorable Mentions: End Overdose | Playtime Engineering | WavMaker
Music Executive: Cindy Charles
Cindy Charles didn’t just change how we hear electronic dance music this year. She changed how we feel it—both together and apart.
Charles tragically died in October following a traffic accident during the Amsterdam Dance Event, the world’s leading electronic music summit. But before we lost Twitch’s trailblazing Head of Music, she led the development of the platform’s pioneering DJ category, a breakthrough that established it as the first to provide a long-term home for DJs to legally livestream.
Charles, a visionary agent of change in the intersection of music and technology, redefined how artists and creators engage with audiences online. She remains revered for leading Twitch’s label relations and music licensing operations, fostering an ecosystem that enables DJs to build fanbases and achieve financial freedom on the platform.
In addition to fiercely championing rave culture, Charles was also an unshakeable advocate for women in the music industry. She co-founded the San Francisco chapter of She Is The Music as well as Women In Digital, a community of over 1,500 members with a mission “to help women define a limitless future for all by shining a light on careers in digital and technology.”
Words by Jason Heffler.
Honorable Mentions: Christine Thomas (Dolby) | Adam Russakoff (Ultra Worldwide) | Jeff Abel (Excision Presents)
Twitch
Event Organizer: Breakaway Music Festival
Breakaway didn’t just host music festivals in 2024—it created destinations at scale.
Breakaway lived up to its name in 2024, leaving competitors in its dust as it became the nation’s preeminent traveling EDM festival. The event’s organizers are now poised to expand to a bevy of new markets in 2025, swelling to a staggering 12 cities.
That kind of growth was a white whale for independent festivals in 2024, a time when inflationary pressures hiked operating costs to prohibitive levels. Nevertheless, Breakaway managed to become the fastest-growing music festival brand in the country, due in part to their knack for blending high-profile headliners with undiscovered talent in lineups that felt both elite and accessible, a rare feat in a crowded market.
Breakaway’s influence, however, is greater than the sum of its dozen parts. The brand supercharged its sustainability efforts by partnering with Zero Waste Event Productions, a leading provider of recycling, composting and waste management services, to divert from landfills over 25,000 pounds of recyclable materials, including harmful plastics.
Breakaway’s proprietors also recently announced that all of their 2025 festivals will accept cryptocurrency as payment, mirroring its ethos of progress and inclusivity to foster a new kind of freedom on and off the dancefloor. “As the music industry continues to evolve, we’re committed to adapting to the needs of our fans and staying ahead of the curve,” said co-founder and CEO Adam Lynn.
Words by Jason Heffler.
Honorable Mentions: DEF | House Calls | FIVE Music
Visual Artist: Tobias Gremmler
Tobias Gremmler’s larger-than-life artistry was impossible to ignore in 2024, imbued with an almost intangible quality that connected deeply with Afterlife’s broadening global audience.
His work with Anyma on the superstar DJ’s tour and sophomore album, Genesys II, transformed towering LED screens into portals, immersing fans in haunting spaces where the boundaries between performer and participant disintegrated. Blending Afterlife’s iconic dual themes of robotics and nature, Gremmler’s awe-inspiring visual concepts captivated audiences in high-profile venues from Los Angeles to Miami to Amsterdam, threading an ineffable emotional connection amidst the grandeur of stadium-scale productions.
Anticipation is now building for Anyma’s historic Las Vegas Sphere New Year’s Eve show and residency, “The End of Genesys,” which will see Gremmler’s transhumanist visual designs envelop the record-breaking venue for its first-ever electronic music shows. His creative direction is ambitious by all accounts, and it’s reshaping how we experience and engage with EDM’s most transcendent performances.
Words by Cameron Sunkel.
Honorable Mentions: DR01D VISUALS | Wesley So | Neurite
YouTube Channel: Book Club Radio
What do butterfly houses, Y2K vampires, frat parties, robot uprisings, Florida men, murder mysteries and 2010s EDM all have in common? They’re all themes for Book Club Radio’s epic parties—err, “meetings”—in 2024.
Each theme is truly immersive: the DJs curate mixes to fit each, the crowds dress up for the part and the backdrops are filled with madcap props often hand-built by the Book Club Radio crew. The feverish fandom around their YouTube channel is a testament to the fresh perspective that the Brooklyn-based collective, founded by the inimitable Jojo Lorenzo, is bringing to dancefloors.
Words by Saad Masood.
Honorable Mentions: Flavour Trip | Tracklib | putyouon. by Steve Cardigan
Audio Engineer: A. G. Cook
When Charli xcx recorded her global hit “360” and said, “You gon’ jump if A. G. made it,” she was sending a message.
One of hyperpop’s most influential producers, A. G. Cook has made a name for himself crafting music for international superstars like Beyoncé, Hikaru Utada and Caroline Polachek. While that pedigree is impressive in its own right, his brilliant work on Charli’s viral sensation, Brat, may go down as his finest.
Serving as an executive producer of Brat and vocal engineer of most of its tracks, Cook propelled his longtime collaborator’s latest album not only to the top of the charts, but also to the lime green-colored pinnacle of pop culture. There would be no “brat summer” without him.
Cook’s work on Brat led the album to a staggering seven Grammy nominations, including Album Of The Year, Best Dance/Electronic Album, Record Of The Year (“360”) and Best Pop Solo Performance (“Apple”).
Words by Nick Yopko.
Honorable Mentions: Cassian Stewart-Kasimba | Emily Lazar | Sonny Moore
c/o Press
Artist Management: Metatone
In an impressive seven-year period, Metatone founders Holt Harmon and Parker Cohen have built an independent management powerhouse. And in 2024, the firm set new standards for driving success in the house music world.
Their secret? A results-driven, holistic approach and wealth of resources that help DJs reach new audiences. Since bringing John Summit aboard during the company’s formative years, Metatone has cultivated a formidable roster of producers that includes Max Styler, Ranger Trucco, Deeper Purpose and Layton Giordani.
Its commitment to fostering both the wellness and creative freedom of its roster remains at the heart of its philosophy. Through the expansion of Metatone Media, the company provided its artists with tailored support in branding, touring logistics and content creation, empowering them to focus on crafting groundbreaking house music.
And that they did. From Summit’s stratospheric debut album Comfort in Chaos to Giordani’s rare official remix of deadmau5’s “Strobe” to Max Styler’s prolific run of tech house hits, Metatone broke out this year. Its proprietors also worked diligently to position their artists at the cutting-edge, like when Summit sold out Madison Square Garden.
Words by Mikala Lugen and Rachel Freeman.
Honorable Mentions: 2+2 Management | Club Class | Kompass Music Group
Music PR: Falcon Publicity
In just five years, Falcon Publicity has managed to become one of the leading forces in media relations within the mercurial world of electronic dance music. It’s the brainchild of PR vet Alexandra Greenberg, whose decades of expertise have led her to acquire a remarkable roster of artists, brands and events in that short time.
Influential electronic artists like deadmau5, Kraftwerk, Jean-Michel Jarre and Subtronics all call Falcon home. The firm had its talons on the pulse of dance music in 2024, executing a slew of innovative, high-profile campaigns that propelled it to the industry’s corps d’elite.
One was HAYLA, whose stentorian vocals dominated playlists and music festivals all year. After collaborating with John Summit, Kx5, Kygo and MEDUZA, the surging singer-songwriter broke out as a solo artist with the help of Greenberg, who ran press for her scintillating debut album, DUSK.
And then there’s techno superstar Anyma, who in 2024 announced he’d be the first electronic music artist to perform inside the record-breaking Las Vegas Sphere. What started out as a single New Year’s Eve performance quickly snowballed into a historic DJ residency with enough audiovisual specs to change the fabric of Sin City raving—and Falcon is shaping the narrative.
Words by Ulises Vargas.
Honorable Mentions: Bampire | MP3 PR | JSloane Creative
11 Dec, 2024 | Admin | No Comments
EDMA's and IDMA's Announce Partnership Ahead of 2025 Winter Music Conference
The Electronic Dance Music Awards (EDMAs) are returning to Miami with a twist, joining forces with the resurgent International Dance Music Awards (IDMAs) to host an “elite experience for music industry professionals and fans” in 2025.
Touted as the longest-running awards ceremony dedicated to the electronic music industry, the IDMAs have long been a focal point of Miami’s Winter Music Conference. They’re now returning alongside the beloved summit for the first time in five years, torpedoing an indefinite hiatus precipitated by the impact of COVID-19.
The 2025 Winter Music Conference is scheduled for March 26-28 at the Eden Roc Hotel in Miami Beach. ULTRA Worldwide, the world’s most international festival brand and organizer of the ensuing Ultra fest at Bayfront Park, is stewarding its development, according to a press release shared with EDM.com.
c/o ULTRA Worldwide
The EDMAs and IDMAs are set to join forces on the final day of WMC, March 28th. What exactly the collaboration entails remains to be seen, but electronic music enthusiasts can expect a lavish, star-studded event in celebration of the storied conference’s 35th anniversary.
“The EDMAs have always been about celebrating the fans’ choice, and the energy of the electronic music community,” said iHeartRadio’s Sean “Hollywood” Hamilton, Executive Producer of the EDMAs. “By collaborating with the IDMAs, we are bringing a new dimension to the awards, one that now honors the behind-the-scenes talent that shapes the industry.”
Driven by a fan-based voting system, the MTV-style EDMA ceremony dishes out unique trophies as mementos, which resemble DJ decks and feature a functional jog-wheel. Last year’s winners included Martin Garrix, David Guetta, HAYLA, Kx5 (deadmau5 and Kaskade), Armin van Buuren and FISHER, among other dance music luminaries. Mark Knight, the influential founder of Toolroom Records, won the EDMA Icon Award.
WMC 2025 tickets are on sale now. Readers of EDM.com can enter the code ‘EDMWMC’ for a $25 discount.
3 Dec, 2024 | Admin | No Comments
Juliet Fox's DJ Sets Are More “Powerful” Than Ever—Thanks to Her Pregnancy
Creating life while creating music, Juliet Fox is proving that motherhood isn’t a limitation for DJs—it’s an amplifier.
The Australian techno producer and label boss is dismantling music industry myths about pregnant women, proving that maternal power and musical prowess aren’t just compatible, but combustible. From the radiant shores of Ibiza to the towering skylines of New York City to the misty canals of Amsterdam, she’s blowing up and DJing all over the world.
And she’s coming into her own. Fox’s hormonal changes are making her “more driven and determined,” she tells EDM.com, and helping her deliver the best DJ sets of her career.
c/o Press
Touring while pregnant, however, comes with challenges. The loud acoustics of nightclubs and the circuitous logistics of music festivals can be taxing, so Fox has learned to treat wellness and self-care as integral parts of her routine.
For her, balancing physical demands with the grind of a global touring schedule is a calculated strategy. It’s also a clear message to the music industry: motherhood isn’t a barrier to success, but an opportunity to grow.
We caught up with Fox to discuss the pressures, changes and triumphs that come with touring as a pregnant DJ.
EDM.com: Many artists feel pressured to keep pregnancy private in the entertainment industry. What influenced your choice to be open about your journey, and how has the electronic music community responded?
Juliet Fox: I’ve always believed in being authentic and showing the true version of myself, plus this journey is a huge part of who I am right now, something really special in which I want to be able to share with everyone. I wanted to be open, not just for myself but for others, especially women in the industry who might feel the pressure to keep such a personal experience hidden.
The response from the music scene has been great, and its also been so nice to connect with people I hadn’t before to share their own stories—which for me shows others want to be more open to conversations about being a woman in this space, especially during pregnancy.
EDM.com: Many pregnant women in demanding careers struggle with societal pressure to “slow down.” How do you balance listening to your body’s needs while maintaining your professional momentum?
Juliet Fox: I have always been very in tune with my body, so I use this as my driving force while keeping a strong mind focus. It’s all about balancing, and since being pregnant I have not only listened to my body more, but also respected it to another level. In the past I definitely pushed through exhaustion and used to challenge myself to run on hardly any sleep, but now I’m much more aware of what my body is telling me.
I’m not afraid to slow down when I need to, and I’ve surrounded myself with people and a team that understand my needs and respect my boundaries. It’s not about slowing down as such, instead about having a smarter and more strategic approach, which in turn allows me to show up with the energy and focus needed for my performances.
EDM.com: From late nights to loud acoustics, the club environment presents unique challenges for pregnant women, who have to DJ and stand for extended periods. How have you adapted your performances and approach to protect both yourself and your baby? Could you walk us through the physical modifications you’ve made to your DJing routine?
Juliet Fox: As mentioned before, I had to not only listen to my body but I had to now respect the growing little human inside of me. So even though I had no trouble playing a few extended sets while pregnant, I would ask to limit the time to 2-3 hours as the maternal instinct would set knowing I should rest and not push myself. I took less gigs over the summer especially to make sure I had time to rest between shows, and was very careful to take earlier flights sometimes even coming in the night before so I had time to rest, or stay on the next day.
Then of course most importantly was the booth monitor levels, with frequency and bass, which was adjusted to ensure there was no high vibration. And I had full control of the sound level, which I kept off through most of my sets and mixed as much as I could in my headphones. After the gigs I would make sure I had extra food already in the hotel, or if time was an issue the promoters were always great at organizing healthy options for me.
EDM.com: Tech riders and hospitality requirements are standard in our industry. What specific pregnancy-related requirements have you added to yours?
Juliet Fox: Well this got switched straight to a sober rider, and funny enough no one even questioned this at all, even before I announced I was pregnant. I made sure to include extra hydration options, like coconut water, fruit and healthy snacks. We requested more comfortable seating in the green room or backstage area for when I need a break, and more flexible timeframes for sound checks or rehearsals, as I might need additional rest in between.
It’s not just about physical comfort, but mental comfort too and making sure I had a quiet, relaxing space to recharge when I’m not performing.
EDM.com: What infrastructural changes would you like to see venues and festivals implement to better support pregnant artists?
Juliet Fox: Honestly I found all promoters really accommodating, and as soon as everyone knew they made sure I had a place to rest and helped where needed. There were some venues that didn’t have a huge back area or green room, or where people were smoking, but if so they would ask those to stop and give me the space needed to ensure the health and safety of me and my little one.
Pregnant artists aren’t something that is happening so often, but I hope that with people like myself and other females that were recently pregnant—and have spoken out about it—will help shape the way for more to come.
EDM.com: Jet lag and irregular sleep patterns are challenging enough for any touring artist. What wellness strategies have you developed to maintain healthy sleep cycles and energy levels while pregnant?
Juliet Fox: I have always been pretty good with random sleep patterns, and rarely got jet lag. I’m great at napping, so this came in very handy over the last six months. I’ve had to become even more disciplined with my sleep, especially during long tours. I prioritize rest as much as possible, making sure to take naps when I can and adjusting my sleep schedule gradually to sync with the timezone I’m in. I also make sure I do some form of exercise between gigs, and would often get to the hotel gym or go for a walk outside—fresh air and nature work wonders.
For flying I use compression socks, and would sit on the aisle to make sure I could get up and move about often, plus making sure I always have a bag of healthy snacks with me at all times—although if anyone knows me I always have snacks on me so nothing new here! I am also very fortunate to have my partner travel with me, as really I think this would be impossible without him to help with lifting bags and making sure no one bumps into me. Not to mention the support he gives just being there and handling any extra requests I need. He’s been amazing throughout all of this!
c/o Press
EDM.com: Pregnancy comes with hormonal changes and the altering of those energy levels. Has it affected your music selection and the energy you bring to your DJ sets?
Juliet Fox: I think if anything it has made me want to listen to harder, more energetic music. My sets have been even more powerful this year and I feel they have flowed so well being totally present and sober, a new type of connection. The hormone changes have been there, but they make me more driven and determined to do all I can for this life inside of me. It’s such an incredible feeling actually, as you are not just doing this for yourself anymore—you have someone else to think of and is my driving force.
What’s really amazing is when I prepare my sets, listen to music or make music at home, I get little kicks from him. I know he loves techno already! While I am playing it puts him to sleep, and it’s only after I stop and sit down he starts to kick and move about again.
EDM.com: What message would you share with other women in electronic music who might be hesitant to pursue pregnancy while maintaining their careers?
Juliet Fox: I want other women out there to know that it’s all possible. You don’t have to choose between your career and motherhood. You can do both, but it takes patience, flexibility, a willingness to prioritize your well-being and most importantly someone who can be your rock—your main support in this—and who understands every part of you and the music industry.
The electronic music scene is evolving and more women are speaking out about their experiences, which is creating space for others to follow. You deserve to have both, and by being open about your journey, you might even inspire the next generation of women in music to pursue their dreams without fear of judgment or sacrifice. I know I have been inspired by other women myself, and I am sure this will be a ripple effect to help strengthen that bond of motherhood even more.
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