Sub Focus has shaped the trajectory of drum & bass for nearly two decades, bridging underground rave culture with global festival stages. After a banner year for the British producer, he’s now bringing his stunning “Circular Sound” live show to the U.S. in 2025, marking a new chapter for the genre’s growing foothold in North America.

The newly announced dates include two landmark performances at Los Angeles’ Shrine Expo Hall on October 3rd and the Brooklyn Mirage in New York on October 9th. The concerts mark Sub Focus’ biggest U.S. solo headline shows to date.

Elsewhere onstage, the influential producer recently sold out London’s famed Alexandra Palace in just 30 minutes before packing roughly 10,000 fans into the venue. He is also set to become the first-ever solo drum & bass artist to headline Colorado’s iconic Red Rocks Amphitheatre in late-October.

Now, these upcoming U.S. dates promise to be a watershed moment for not only for Sub Focus, but also drum & bass in North America. A pre-sale begins this Wednesday, March 12th at 10am local time before the general on-sale Friday, March 14th at the same time.

You can sign up for the pre-sale and find out more here.

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The algorithm that trained us to crave instant gratification is now feeding us its antidote, thanks to music producers like Øneheart.

Thanks to his breakout track “snowfall,” the teenaged beatsmith is on the cusp of joining Spotify’s elusive billion-stream track club, where electronic music greats like Avicii and Swedish House Mafia reside. Rooted in a nascent genre called “liminal ambient,” his haunting soundscapes have captivated a young audience still reeling from post-pandemic isolation.

Led by “snowfall,” which he created in collaboration with fellow Russian producer reidenshi, the genre itself occupies a deliberate space between comfort and discomfort. Many producers of liminal ambient music employ granular synthesis to create ghostly, stretched textures, evoking a dreamlike or distant quality. They also incorporate field recordings and elements of biomusic—like rustling leaves, empty hallways, HVAC hums and cassette tape hiss—to enhance the sense of vastness.

Somewhere between the eerie glow of a forgotten shopping mall and the warmth of a childhood lullaby, liminal ambient music marks itself as distinctly Gen Z. To that end, what makes the genre’s popularity so remarkable is its primary distribution channel, TikTok.

A platform designed for rapid consumption and constant stimulation, TikTok seems fundamentally incompatible with music designed to be absorbed slowly—but that tension might explain its appeal. It’s like a digital oxygen mask, offering meditative space amid an otherwise claustrophobic and overwhelming feed of brain-rot content.

Awash in reverb and languid soundscapes, liminal ambient’s rise on TikTok seems paradoxical. The platform thrives on rapid-fire dopamine hits, but the music demands patience. The faster we scroll, the more we seem to crave Øneheart’s digital slowness.

His “snowfall” audio has been used in nearly five million TikTok videos, generating billions of impressions and influencing young producers across the world’s bedrooms to craft soundscapes that feel like memories of places they’ve never been. The same goes for Øneheart’s sublime Vertigo project, his new EP produced alongside influential lo-fi hip-hop producer SwuM.

“I tried to ride various TikTok trends a few years ago,” Øneheart, whose real name is Dmitry Volynkin, tells EDM.com. “But now I realize it’s better to do what you really like because trends come and go, but your discography is eternal.” It’s a refreshing take from an 18-year-old artist who could’ve easily chased clout.

Regardless of commercial outcomes, liminal ambient stands as a fascinating cultural phenomenon, a sound specifically calibrated to provide relief from the very digital environment that made it possible. And in Øneheart’s hands, it’s evolving into something timeless.

We sat down with the electronic music prodigy to unpack how his eerie, contemplative beats have found a home in TikTok’s hyperactive digital metropolis, and where this genre might drift next.

EDM.com: Many artists in your position might have pursued more mainstream electronic genres with established audiences. What convinced you to venture into relatively uncharted musical territory at such a young age?

Øneheart: When I started making electronic music at 11, I never imagined so many people would end up listening to my tracks. Back then, I was inspired by EDM artists and dreamed of following in their footsteps.

Over time, I’ve realized that the most important thing is to create music that I genuinely enjoy making and can put my heart into. That shift really shaped my journey to where I am now.

EDM.com: Your music has been described as both nostalgic and futuristic—looking backward and forward simultaneously. Why do you think your sound has been so closely associated with the concept of escapism?

Øneheart: In my music, I try to reflect on my life’s memories, experiences and ordinary happenings. I think that people feel that in what I do, and that’s the reason it resonates. If my tracks help someone deal with or feel an emotion, even for a moment, that means the world to me.

EDM.com: The term “liminal” implies being caught between worlds, neither here nor there. In what ways do you see your generation existing in liminal spaces beyond just music, and how does this influence your sound?

Øneheart: Our generation is living in the information age. We are constantly stressing out at the endless hustle-and-bustle, overthinking, and feeling like we are everywhere and nowhere at once. That sense of disconnection is something a lot of people my age relate to.

For me, music is a way to translate those emotions into something tangible. And when people tell me my music has helped them navigate those feelings, it a reminder of why I do this.

EDM.com: TikTok has been crucial to the spread of liminal ambient music, yet the platform’s algorithm-driven, rapid-fire nature seems almost contradictory to the slow, contemplative nature of your soundscapes. How do you navigate those conflicting ideas?

Øneheart: I’ll be honest with you: I tried to ride various TikTok trends a few years ago, but now I realize that it’s better to do what you really like because trends come and go, but your discography is eternal. I’m grateful to all the people who use my music on there—without them I probably wouldn’t be close to where I am now.

EDM.com: Your rise coincided with a period of profound global isolation. If liminal ambient is a response to the loneliness of the modern world, where does it go next? Does it become even more isolated, or does it transform into something more hopeful?

Øneheart: I really hope these genres evolve rather than becoming repetitive or overly commercial. There’s so much room for this style of music to grow in unexpected directions, whether that’s through collaboration, new textures and sound or ways to make it feel even more immersive.

EDM.com: Your music exists in this fascinating space between comfort and discomfort. How much of this tension is intentionally crafted versus being an organic expression of your own emotional state during the isolation of the pandemic?

Øneheart: It wasn’t something I set out to create on purpose. I was just pouring emotion into the music, and that contrast happened naturally. I think music is a reflection of what we feel, even when we don’t fully understand what we feel or how that occurs.

EDM.com: The electronic music world often prioritizes club-driven sounds. Do you think the industry fully understands or respects the growing power of ambient and introspective electronic music?

Øneheart: Yes, yes and yes again! Lately I’ve been seeing more and more often that quite famous and important people in the electronic music industry release ambient albums.

For example, there is Secret Life, a collaborative album between Fred again.. and the father of ambient, Brian Eno; or Moby with his Long Ambients series of albums. I know ambient music is not for clubs—it’s music that you want to listen alone at home to relax. I know an example of cool live shows like Malibu does, so I’d really like to do a similar thing someday.

EDM.com: You’ve crafted a signature sound at just 18—how do you evolve without losing the identity that made you stand out?

Øneheart: For me the key is always staying curious and open-minded. I listen to a wide range of music. Lately, I’ve been really inspired by artists like Charli xcx, Instupendo, Jaron and Oklou.

As my sound evolves, I try to focus on keeping that emotional core consistent—I think thats what ties my catalog together.

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Kid Cudi once took us to the moon, but this weekend, he took us to the dancefloor alongside Dom Dolla.

Dolla cemented his place among the genre’s elite last night, headlining a sold-out Madison Square Garden in the first show of a doubleheader at the legendary venue. But the evening’s biggest surprise came when Cudi stepped onstage to unveil their stunning new collaboration.

Some moments in music feel destined for history, and when Dolla welcomed Cudi onstage at The Garden, the crowd knew they were witnessing one. They erupted as the artists embraced, celebrating a genre-defying moment that bridges hip-hop with house music in a dream collaboration.

With sweeping strings, euphoric synths and an anthemic refrain (“I want to stay forever”), the track is a bona fide house anthem built for stadiums, sunset raves and every moment in between. Fans are already clamoring for its official release, but neither Dolla nor Cudi has revealed a date at the time of this writing.

Watch a clip of the song’s debut at MSG below.

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As dusk settled over San Diego’s Waterfront Park on Sunday, the sky darkened and a light, unrelenting rain began to fall. Instead of sending festivalgoers scattering, however, instead it transformed the dancefloor into groove-soaked spectacle.

It was a fitting scene for the 10th edition of CRSSD Festival‘s spring showcase, which has not only endured, but flourished as a cornerstone of stateside electronic music culture on the West Coast.

Over the last decade, techno and house have moved from the fringes of the festival circuit to the center of global dance music culture. But CRSSD’s success hasn’t come from following the crowd. Instead, its identity is built on sharp, intentional curation, favoring artistry over hype. This year’s lineup embodied that philosophy, seamlessly blending pioneers and rising talents alike.

Few acts illustrate that balance better than Justice. The iconic French duo, whose Hyperdrama tour has been selling out international arenas, took the Ocean View stage on Saturday night, delivering a dazzling symphony of distortion, disco and maximalist electro against the backdrop of the Pacific.

CRSSD’s heart beats in the underground, and this year, that sentiment manifested in the form of Green Velvet, a surprise last-minute addition to the lineup. The Chicago house music legend felt like a natural fit for a festival that thrives on carefully curated selections, adding another layer of authenticity to a weekend that celebrated the genre’s origins.

Sunday’s programming leaned into techno’s darker, more relentless side, culminating in a feverish b2b set from Nicole Moudaber and EDM.com Class of 2023 star Anfisa Letyago at the City Steps stage. Their performance was a masterclass in momentum, each kickdrum landing in a rhythmic storm that mirrored the rain falling over the crowd.

Meanwhile, Poolside offered contrast, their breezy, sun-drenched house beats soundtracking a picture-perfect San Diego afternoon. If Moudaber and Letyago’s set was a sprint to the finish line, Poolside was a deep exhale, reminding “America’s Finest City” that CRSSD’s magic lies in a balanced blend of intensity and euphoria.

And at its heart, CRSSD is built on community, the kind of festival where a shared love for a four-on-the-floor beat is enough to form a bond. That spirit was never more evident than on Sunday night, when Kavinsky closed out the festival with a sweeping set that spanned synthwave and cinematic electronic music. 

A decade in, the festival has proven that it is an institution. And in a world where dance music continues to evolve at a breakneck pace, CRSSD remains exactly what it’s always been: a place where the music matters most.

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Hard dance isn’t just knocking at the door of mainstream appeal anymore—it’s kicking it down at 150 BPM. 

With their new single “Good Enough,” GESES, Charles B and Jerome are doing their part in propelling the ascendant hard dance wave, fusing the unrelenting cadence of hard techno with the soaring euphoria of trance and nostalgic charm of Eurodance. Pitched-up vocals cut through a storm of pummeling kicks, throwing down an ultimatum: “Are you good enough?”

As stewards of the “Nu World Rave” mix series, GESES and Charles B have been instrumental in redefining the boundaries of high-energy club music, bridging the underground’s raw intensity with the polish needed to resonate on a global scale. Their latest effort alongside Jerome is a testament to that vision, channeling a combination of electronic sub-genres that have previously existed on the fringes into a force now too powerful to be ignored. 

Listen to “Good Enough” below and find the track on streaming services here.

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Contradictions have long plagued the music industry, where creative freedom meets relentless pressure. A new study examines the devastating reality beneath the surface: musicians are at a significantly higher risk of suicide than most other professions across the world.

Published in Frontiers in Public Health, the epidemiological data found that musicians in England have one of the highest suicide rates of any occupational group, ranking fourth behind construction workers, tradespeople and agricultural workers. In the US, the broader occupational category that includes musicians had the highest female suicide rate of any profession in multiple years, and the third highest for men (138.7 per 100,000).

The study suggests that the industry is, in the words of co-author Dr. George Musgrave, “demonstrably unsafe.” It cites as cautionary tales Avicii and The Prodigy’s Keith Flint, who died by suicide in 2018 and 2019, respectively.

“Occupational mortality data in the US and the UK should make all of us who love and care about music stop and pause,” Musgrave said.

Roughly 70% of musicians are freelancers, meaning they have no benefits, no sick pay and little safety net, per The Guardian. Even those who achieve recognition often find themselves in a cycle of economic uncertainty, forced to tour relentlessly or take on multiple side jobs just to sustain themselves.

Despite growing awareness of mental health struggles in the music world, real change has been slow. Some major record labels have introduced mental health initiatives and organizations like Help Musicians and Music Minds Matter offer critical support, including crisis hotlines and financial aid.

But Musgrave and his colleagues argue that far more must be done. They are calling for the industry to implement a “zero suicide framework,” a structured approach that has successfully reduced suicide rates in other high-risk professions.

You can read the full study here.

Some songs define a moment while others, like “Titanium,” define a generation. More than a decade after their timeless 2011 collaboration “Titanium,” David Guetta and Sia have rekindled their creative spark with “Beautiful People,” a soaring dance anthem that channels their signature blend of euphoria and emotional intensity.

Guetta took to social media to confirm the long-awaited reunion prior to its release, calling Sia “one of the greatest voices and songwriters of our generation.” And the synergy they forged in the alchemy of “Titanium” remains evident as ever.

A track that had once circulated in the shadows of internet leaks, “Beautiful People” now emerges in its fully realized form, polished and primed for dancefloors worldwide. The track builds with quiet anticipation, an instantly memorable chorus and a cascading drop. Sia’s unmistakable vocals, equal parts raw and resilient, rise above Guetta’s production with anthemic urgency.

Guetta, whose influence on the evolution of mainstream dance music is unparalleled, has never been one to shy away from a radio-ready smash. With “Beautiful People,” he returns to a sound that embodies the spirit of the early 2010s with modernized production. As he prepares to kick off his residency at LIV Beach in Las Vegas, the new single serves as a reminder of his ability to craft anthems that bridge generations.

You can listen to “Beautiful People” below and find the track on streaming services here.

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Picture this: It’s 2008, the iPhone is barely a year old, there’s this new movie Twilight that everyone’s talking about, and Passion Pit just released their debut single, “Sleepyhead.”

Now, nearly two decades later, SOFI TUKKER have joined forces with Passion Pit to release a reimagined version of the indietronica band’s ageless earworm. “Sleepyhead 2025” interpolates frontman Michael Angelakos’ unmistakable vocal chops through a blissed-out four-on-the-flour beat, showcasing the production prowess of the genre-defying duo.

“We didn’t want to change the direction of the song too much, just modernize it and sonically bring it into the SOFI TUKKER world,” they said in a press release. Listen to the new track below.

SOFI TUKKER’s Tucker Halpern said the original “Sleepyhead” was one of his all-time favorite songs back in high school and “soundtracked so many pivotal moments with [his] friends.” 

“I recently met Michael Angelakos and we instantly connected,” Halpern recalled. “I told him how much his music had inspired me. After talking about how much the industry has changed since he released Manners [the album featuring [‘Sleepyhead’], we decided to bring the track back in 2025 for a new generation.”

“Sleepyhead 2025” also marks the first release of the year on SOFI TUKKER’s own label, Animal Talk Records, effectively marking a relaunch. It started in 2018 as a way to introduce the world to promising artists, starting with their friend LP Giobbi, who released her first songs on the imprint before blossoming into a dance music superstar.

In other SOFI TUKKER news, you can catch the duo at one of their 10 headlining performances in Las Vegas this year. Their Wynn Nightlife residency comprises appearances at Encore Beach Club and its nighttime offshoot as well as XS Nightclub. Their tour also features performance at BottleRock, Tomorrowland, Shambhala and Elements, among other festivals.

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

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

EDM.com Fresh Picks

Øneheart, Scarlxrd – running xut xf dxubt

Jaxon Wild – Badman Dub

Hidden Face – Not so bad

phritz – Pods

CloudNone – From Here

Bronze Whale – Opposites

AMNES, artemis orion – Stamina

DJ Carpenter, Kasbo, Izza Gara – GarraGarra

WINK – TELLMEWHY

EMBRZ – Someone To Lose

Whereisalex – Ashes

Laurent Iacomucci – Deep in Your Love

HIFEELINGS – Hear It

EDM.com is gearing up for another epic Miami Music Week with the return of its open-air kickoff networking party, “EDM.com & Friends,” on Wednesday, March 26th.

Following successful events in Miami, Amsterdam, Tulum and other cities around the world, we’re bringing together key players from all corners of the electronic dance music scene for a networking event and party. This year’s event will take place on the C-Level Rooftop of the iconic Clevelander South Beach, in the heart of Miami’s Art Deco District on Ocean Drive, from 11am to 9pm.

Attendees will groove to performances by Henry Fong, Kaleena Zanders, Sunday Scaries, Myles O’Neal, Rich DietZ, PLS&TY, Sherm, MARTA, R3WIRE and Not Available. A special performance from a secret guest headliner is also on tap. They’ll all be DJing on the sleek Clevelander rooftop, which offers panoramic views of the Atlantic Ocean coupled with historic 1938 Art Deco design.

While the music sets the tone, the event is designed to open doors like none other. Attendees will be able to connect with DJs, promoters, artists, label representatives, venue owners, booking agents, media, content creators and more. Whether you’re looking to collaborate, seek career advice or you’re simply interested in learning more about the scene, “EDM.com & Friends” is annually designed to fostering meaningful industry relationships.

Artists can maximize these opportunities with a producer meet-up and exclusive demo drop from 11am to 12pm. This session will give producers direct access to A&Rs from renowned labels such as Tchami’s Confession, James Hype’s Stereohype, Hood Politics Records, House Hats and Peak Dial, among others. They will be able to share their work, receive constructive feedback and potentially walk away with a signed record. Arriving early is recommended for those looking to take advantage of this experience.

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As the day unfolds, the rooftop will transform into the ultimate Miami Music Week setting, where great dance music and great company go hand in hand. As the sun dips below the skyline and the night creeps in, the excitement will only reach new heights, creating yet another unforgettable event in Magic City.

Admission is free with the code EDMFRIEND, and $19 without the code. Table reservations are also available starting at $200. Tickets and tables can be reserved here.

Also, now through March 30th, readers of EDM.com can use the code EDM25 for a 25% discount on their stay at the Clevelander or its sister property, Essex House, on any dates through the rest of the year. The offer is subject to blackout dates.