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Your guide to 2022's biggest tours

From Billie Eilish and Bad Bunny to the Red Hot Chili Peppers and the Weeknd, here are all the artists who can't wait to get on the road again.

Lester Fabian Brathwaite is a staff writer at Entertainment Weekly , where he covers breaking news, all things Real Housewives , and a rich cornucopia of popular culture. Formerly a senior editor at Out magazine, his work has appeared on NewNowNext , Queerty , Rolling Stone , and The New Yorker . He was also the first author signed to Phoebe Robinson's Tiny Reparations imprint. He met Oprah once.

Remember live music? Enjoying a shared vibe in a crowd, a moment of familiarity and solidarity betwixt complete strangers, even having a $35 beer spilled on your person? Well, concerts are back, baby!

From Red Hot Chili Peppers and Smashing Pumpkins to the Weeknd, our fave musicians are ready, willing, and able to rock our collective socks off — with some artists making up for rescheduled shows from the past two years, established stars hitting the road again , and new acts striking out for the first time. Here, we've compiled a list of all the 2022 concerts and music festivals you'll want to keep an eye on.

September 2022

Stevie Nicks Tour: Live in Concert Dates: Sept. 2-Oct. 28

Lil Nas X Tour: Montero Tour Dates: Sept. 6-Nov. 17

Phoenix Tour: Alpha Zulu Tour '22 Dates: Sept. 6-Oct. 18 Opening act(s): Porches

Roxy Music Tour: 50th Anniversary Arena Tour Dates: Sept. 7-Oct. 14 Special guest: St. Vincent

Panic! At the Disco Tour: The Viva Las Vengeance Tour Dates: Sept. 8-March 10 Opening acts: Marina, Jake Wesley Rogers, Beach Bunny

She & Him Tour: Fall Tour Dates: Sept. 9-Sept. 16

Yola Tour: Stand for Myself 2022 Tour Dates: Sept. 9-Sept. 25 Opening act(s): Peter One

Post Malone Tour: The Twelve Carat Tour Dates: Sept. 10-Nov. 15 Opening act(s): Roddy Ricch

Gorillaz Tour: North American 2022 Tour Dates: Sept. 11-Oct. 23 Opening act(s): EARTHGANG, Jungle

Mary J. Blige Tour: The Good Morning Gorgeous Tour Dates: Sept. 17-Oct. 29 Opening act(s): Ella Mai, Queen Naija

Dry Cleaning Tour: World Tour Dates: Sept. 17-April 1

Carly Rae Jepsen Tour: The So Nice Tour Dates: Sept. 21-Nov. 5 Opening act(s): Empress Of

Ally & AJ and Ben Platt Tour: The Reverie Tour Dates: Sept. 22-Nov. 18

Lizzo Tour: The Special Tour Dates: Sept. 23-Nov. 18 Opening act: Latto

The Judds Tour: The Final Tour Dates: Sept. 30-Oct. 28 Opening act: Martina McBride

Festival: Primavera Sound Los Angeles City: Los Angeles Dates: Sept. 16-18 Headliners: Arctic Monkeys, Lorde, Nine Inch Nails, Cigarettes After Sex, Clairo, Darkside, James Blake, Kim Gordon

Festival: Portola Music Festival City: San Francisco Dates: Sept. 24-25 Headliners: Flume, Kaytranada, Charli XCX, The Chemical Brothers, James Blake, M.I.A.

Festival: Global Citizen Festival 2022 City: New York Dates: Sept. 25 Headliners: Mariah Carey, Metallica, Rosalia, Mickey Guyton, Charlie Puth, the Jonas Brothers

Festival: Ohana Festival City: Dana Point, CA Dates: Sept. 30-Oct. 2 Headliners: Stevie Nicks, Eddie Vedder, Jack White, Pink

October 2022

Smashing Pumpkins Tour: Spirits on Fire Arena Tour Dates: Oct. 2-Nov. 19 Special guest: Jane's Addiction Opening acts: Poppy, Meg Myers

Jessie Reyez Tour: The Yessie Tour Dates: Oct. 13-Dec. 4

beabadoobee Tour: North American Fall Tour Dates: Oct. 25-Dec. 4 Opening act(s): Lowertown

Lindsey Buckingham Tour: Fall 2022 Tour Dates: Oct. 26-Nov. 19

Festival: All Things Go Music Festival City: Merriweather Post Pavilion (Columbia, MD) Dates: Oct. 1 Headliners: Lorde, Mitski, Bleachers

Festival: When We Were Young City: Las Vegas Dates: Oct. 22 Headliners: My Chemical Romance, Paramore, Avril Lavigne, Bright Eyes

November 2022

The Smile Tour: North American Tour 2022 Dates: Nov. 14-Dec. 21

Modest Mouse Tour: The Lonesome Crowded West Tour Dates: Nov. 18 - Dec. 17

Harry Connick, Jr. Tour: A Holiday Celebration 2022 Tour Dates: Nov. 18-Dec. 24

Darren Criss Tour: A Very Darren Crissmas Dates: Nov. 29-Dec. 17

December 2022

LeAnn Rimes Tour: Joy: The Holiday Tour Dates: Dec. 2-Dec. 18

Mariah Carey Tour: Merry Christmas to All! Dates: Dec. 11, 13

January 2022

Kacey Musgraves Tour: Star-Crossed: Unveiled Dates: Jan. 19-Feb. 20 Opening acts: King Princess, Muna

The War on Drugs Tour: 2022 Tour Dates: Jan. 19-July 8

Courtney Barnett Tour: USA & Canada Tour Dates: Jan. 20-Aug. 28

Björk Tour : Cornucopia Dates: Jan. 26-Feb. 8

Big Thief Tour: 2022 Tour Dates: Jan. 31-June 21

February 2022

Waxahatchee Tour: Saint Cloud Tour 2022 Dates: Feb. 3-June 21

Billie Eilish Tour: Happier Than Ever: The World Tour Dates: Feb. 3-Sept. 30 Opening acts: Duckworth, Willow, Jessie Reyez

Sparks Tour: Tour 2022 Dates: Feb. 7-May 7

Spoon Tour: Lucifer on the Sofa Tour Dates: Feb. 8-June 4

Bad Bunny Tour: El Ultimo Tour Del Mundo Dates: Feb. 9-April 3

Lucy Dacus Tour: Winter Tour 2022 Dates: Feb. 9-Aug. 26

Dua Lipa Tour: Future Nostalgia Tour 2022 Dates: Feb. 9-Nov. 16

Tyler, the Creator Tour: Call Me If You Get Lost Dates: Feb. 10-Aug. 3 Opening acts: Kali Uchis, Vince Staples, Teezo Touchdown

Jazmine Sullivan Tour: The Heaux Tales Tour Dates: Feb. 14-March 30

Clairo Tour: 2022 Tour Dates: Feb. 16-Oct. 4 Opening acts: Arlo Parks, Widowspeak

John Mayer Tour: Sob Rock Tour Dates: Feb. 17-May 10

Justin Bieber Tour: Justice World Tour Dates: Feb. 18-March 25

Beach House Tour: Once Twice Melody Tour Dates: Feb. 18-Aug. 28

The Flaming Lips Tour: American Head American Tour 2021-22 Dates: Feb. 19-Nov. 22

Tame Impala Tour: Slow Rush Tour Dates: Feb. 27-Oct. 29

Festival: Bud Light Super Bowl Music Fest City: Los Angeles Dates: Feb. 10-12 Headliners: Machine Gun Kelly, Halsey, Gwen Stefani, Blake Shelton, Green Day, Miley Cyrus

Festival: Diplo's Higher Ground Cabo City: Cabo San Lucas, Mexico Dates: Feb. 17-21 Headliners: Diplo, Duke Dumont, Gorgon City, VNNSA, John Summit, Solardo

Festival: Dirtybird CampINN City: Orlando Dates: Feb. 25-27 Headliners: Chromeo, DJ Premier, Claude VonStroke, Dillinja

Nick Cave and Warren Ellis Tour: Live 2022 Dates: March 1-April 3

Khruangbin Tour: 2022 Tour Dates: March 2-July 31 Opening acts: Toro y Moi, Men I Trust

311 Tour: Spring Tour 2022 Dates: March 6-June 5

Animal Collective Tour: Spring 2022 U.S. Tour Dates: March 8-June 9 Opening acts: L'Rain, Spirit of the Beehive

Maren Morris Tour: Humble Quest Tour Dates: March 8-Dec. 2

Greta Van Fleet Tour: Dreams in Gold Tour 2022 Dates: March 10-Nov. 12 Opening acts: The Pretty Reckless, Houndmouth, Durand Jones & The Indications, Fruit Bats, Robert Finley, Crown Lands, and Hannah Wicklund

Eagles Tour: Hotel California Tour Dates: March 17-May 28

Chris Stapleton Tour: All American Road Show Tour Dates: March 17-Oct. 27

Coldplay Tour: The Music of the Spheres Dates: March 18-Oct. 29 Opening acts: H.E.R., London Grammar

Rina Sawayama Tour: 2022 Tour Dates: March 19-May 9

Summer Walker Tour: The Summer Walker Series Tour Dates: March 19-July 9

Perfume Genius Tour: Perfume Genius Tour Dates: March 20-Aug. 26

Kesha Tour: Kesha Live Dates: March 21-30 Opening acts: Kesha's Weird + Wonderful Rainbow Cruise, April 1-5

Bleachers Tour: the 2022 tour Dates: March 24-July 29 Opening acts: Allison Ponthier, Beabadoobee, Blu DeTiger, Charly Bliss, the Lemon Twigs, Wolf Alice

Dawn Richard Tour: Electro Revival Tour Dates: March 24-Aug. 28

Charli XCX Tour: Crash: The Live Tour Dates: March 26-June 9

Bon Iver Tour: 2022 Tour Dates: March 30-Nov. 11

Festival: CRSSD City: San Diego Dates: March 5-6 Headliners: Glass Animals, Sofi Tukker Live, 070 Shake, Blu De Tiger, Cautious Clay, Chet Faker Festival: Treefort Music Fest City: Boise, Idaho Dates: March 23-27 Headliners: Kim Gordon, Durand Jones & the Indications, Osees, Snail Mail

Festival: BUKU Music + Art Project City: New Orleans Dates: March 25-26 Headliners: Tyler, the Creator; Tame Impala; Tierra Whack

Bon Jovi Tour: Bon Jovi 2022 Tour Dates: April 1-30

Olivia Rodrigo Tour: Sour Tour Dates: April 2-July 7 Opening acts: Gracie Abrams, Holly Humberstone, Baby Queen

Lorde Tour: The Solar Power Tour Dates: April 3-March 18, 2023 Opening acts: Remi Wolf, Marlon Williams

Snail Mail Tour: Valentine Tour Dates: April 5-Sept. 9

Backstreet Boys Tour: DNA World Tour Dates: April 8-March 11, 2023

BTS Event: BTS Permission to Dance on Stage City: Las Vegas Dates: April 8-16

Lil Durk Tour: The 7220 Tour Dates: April 8-May 2

H.E.R. Tour: Back of My Mind Tour Dates: April 8-June 19

Jack White Tour: The Supply Chain Issues Tour Dates: April 8-Oct. 16 Opening act(s): Cherry Glazer, Cautious Clay, Glove, Zelooperz, The Paranoyds, Cat Power

Wilco Tour: Yankee Hotel Foxtrot 20th Anniversary Tour Dates: April 15-April 23

Mitski Tour: 2022 Tour Dates: April 17-Sept. 18 Opening act(s): Indigo De Souza, The Weather Station, Hurray for the Riff Raff

Modest Mouse Tour: The Golden Casket Tour Date(s): April 18-Aug. 29 Opening act(s): The Cribs

J Balvin Tour: J Balvin Presents Jose Tour 2022 Dates: April 19-June 4

Destroyer Tour: 2022 Tour Dates: April 22-Oct. 7

Brandi Carlile Tour: Beyond These Silent Days Dates: April 22-Oct. 22 Opening acts: Allison Russell, Ani DiFranco, Brittany Howard, Celisse, Indigo Girls, Katie Pruitt, Lake Street Dive, Lucius, and Sarah McLachlan

The Who Tour: The Who Hits Back Tour! Dates: April 22-May 28 (spring); Oct. 2-Nov.5 (fall) Special guests: Leslie Mendelson, Los Lonely Boys, Amythyst Kiah, the Wild Things, Willie Nile, Steven Page, Mike Campbell & the Dirty Knobs

Haim Tour: The One More Haim Tour Dates: April 24-July 27 Opening acts: Waxahatchee, Princess Nokia, Faye Webster, Sasami, Buzzy Lee

Interpol Tour: Spring Tour Dates: April 25-June 19 Opening acts: Tycho, Matthew Dear (U.S.), Dry Cleaning (Mex.)

Tori Amos Tour: Ocean to Ocean 2022 Tour Dates: April 27-June 16

Paul McCartney Tour: Got Back Tour Dates: April 28-June 16

Nine Inch Nails Tour: Nine Inch Nails Tour Dates: April 28-Sept. 24 Opening acts: Boy Harsher, 100 gecs, Yves Tumor, Ministry, Nitzer Ebb

Tim McGraw Tour: McGraw Tour 2022 Dates: April 29-June 4 Opening acts: Russell Dickerson, Alexandra Kay, Brandon Davis

Leon Bridges Tour: Gold-Diggers Sound Tour Dates: April 29-Sept. 8 Opening acts: Chiiild, Kirby (Europe), Little Dragon

Sigur Rós Tour: Sigur Rós World Tour 2022 Dates: April 30-June 18

Festival: Coachella City: Indio, Calif. Dates: April 15-17; April 22-24 Headliners: Billie Eilish, Harry Styles, Swedish House Mafia

Festival: Stagecoach City: Indio, Calif. Dates: April 29-May 1 Headliners: Carrie Underwood, Thomas Rhett, Luke Combs

Pearl Jam Tour: North American Tour Dates: May 3-Sept. 22 Opening act: Pluralone

New Kids on the Block Tour: Mixtape Tour 2022 Dates: May 10-July 23 Opening acts: Salt-N-Pepa, Rick Astley, En Vogue

Sylvan Esso Tour: Shaking Out the Numb Tour Dates: May 11-June 26 Opening acts: Moses Sumney, Vagabon, Yo La Tengo, Indigo De Souza, Little Brother, Mr Twin Sister

Dave Matthews Band Tour: Tour 2022 Dates: May 11-Sept. 20

Tiwa Savage Tour: Water & Garri North American Tour Dates: May 15-June 19

My Chemical Romance Tour: The Reunion Tour Dates: May 16-March 20, 2023 Special Guests: Devil Master, Dilly Dally, Badflower, GOSH, Kimya Dawson, Meg Myers, Midtown, Nothing, Shannon and the Clams, Soul Glo, Surfbort, Taking Back Sunday, the Bouncing Souls, the Homeless Gospel Choir, the Lemon Twigs, Thursday, Turnstile, Waterparks, Youth Code

Halsey Tour: Love and Power Tour Dates: May 17-July 9 Opening acts: Beabadoobe, Pink Pantheress, the Marias, Abby Roberts, Wolf Alice

Tears for Fears with Garbage Tour: The Tipping Point World Tour Dates: May 20-June 26

Norah Jones Tour: 20th Anniversary Come Away With Me Tour Dates: May 22-Aug. 4 Special guest: Regina Spektor

Belle and Sebastian Tour: 2022 Tour Dates: May 24-Nov. 30 Special guest: Divino Nino, Thee Sacred Souls, Tennis, Los Bitchos

Festival: Cruel World Festival City: Pasadena, Cali. Dates: May 14-15 Headliners: Morrissey, Bauhaus, Blondie, DEVO, Echo & The Bunnymen, The Psychedelic Furs, Violent Femmes, The Church

Festival: Hangout Music Festival City: Gulf Shores, Ala. Dates: May 20-22 Headliners: Post Malone, Tame Impala, Halsey, Fall Out Boy, Megan Thee Stallion, Zedd, Jack Harlow, Maren Morris, Phoebe Bridgers, Leon Bridges

Festival: Lightning in a Bottle City: Buena Vista Lake, Cali. Dates: May 25-30 Headliners: Glass Animals, Kaytranada, GRiZ, Chet Faker, Big Freedia, Black Coffee

Festival: Wilco's Solid Sound Festival City: North Adams, Mass. Dates: May 27-29 Headliners: Wilco, Japanese Breakfast, Bonnie "Prince" Billy, John Hodgman's Comedy Cabaret, the Sun Ra Arkestra

Robert Plant and Alison Krauss Tour: Raising the Roof Tour Dates: June 1-Sept. 12

Red Hot Chili Peppers Tour: Global Stadium Tour Dates: June 4-Sept. 22 Opening acts: The Strokes, A$AP Rocky, Haim, Beck, St. Vincent, Anderson .Paak, the Free Nationals

Yeah Yeah Yeahs Tour: 2022 Tour Dates: June 5-Oct. 6 Opening act(s): The Linda Lindas, TBA

Pavement Tour: 2022 Tour Dates: June 6-Nov. 11

Machine Gun Kelly Tour: Mainstream Sellout Dates: June 8-Aug. 13 Opening acts: Avril Lavigne, Blackbear, iann dior, PVRIS, Travis Barker, Trippie Redd, WILLOW, 44phantom

Alicia Keys Tour: Alicia: The World Tour Dates: June 9-Sept. 24

Stevie Nicks Tour: Live in Concert Dates: June 10-21

Rod Stewart Tour: Cheap Trick Tour Dates: June 10-Sept. 17

The Chicks Tour: Summer 2022 Tour Dates: June 14-Aug. 13

Tenacious D Tour: Summer 2022 Tour Dates: June 16-22 Opening acts: Puddles Pity Party

St. Vincent Tour: Daddy's Home World Tour Dates: June 22-Oct. 2 Opening act(s): Celya AB, Snail Mail, Big Joanie, Ali Macofsky

Father John Misty Tour: Chloë and the Next 20th Century Tour Dates: June 26-Oct. 8 Opening act(s): Suki Waterhouse

Fleet Foxes Tour: Shore Tour Dates: June 27-Sept. 11

Festival: Governors Ball City: Queens, N.Y. Dates: June 10-12 Headliners: Kid Cudi, Halsey, J.

Festival: Bonnaroo City: Manchester, Tenn. Dates: June 16-19 Headliners: TBA

Festival: Something in the Water City: Washington, D.C. Dates: June 17-19 Headliners: Pharrell; Pusha T; Lil Baby; Chloe x Halle; Lil Uzi Vert; Tyler, the creator; Tierra Whack; Run the Jewels; Jon Batiste; Dave Matthews Band

Festival: Glastonbury Festival of Contemporary Performing Arts County: Somerset, England Dates: June 22-26 Headliners: Paul McCartney, Kendrick Lamar, Diana Ross, Billie Eilish

Alanis Morissette Tour: Celebrating 25 years of Jagged Little Pill Dates: June 9-29 (Europe), July 10-Aug. 6 (North America) Special guest: Beth Orton (Europe), Garbage (North America)

Roger Waters Tour: This Is Not a Drill Dates: July 6-Oct. 15

Rosalía Tour: Motomami World Tour Dates: July 6-Dec. 18

The Weeknd Tour: After Hours Til Dawn Dates: July 8-Sept. 3

Rage Against the Machine Tour: Public Service Announcement Tour Dates: July 9-Aug. 14 Special guest: Run the Jewels

The Black Keys Tour: Dropout Boogie Tour Dates: July 9-Oct. 18 Special guest: Ceramic Animal, Early James, the Velveteers

The Shins Tour: Oh, Inverted World: The 21st Birthday Tour Dates: July 12-Sept. 16

Lady Gaga Tour: The Chromatica Ball Dates: July 17-Sept. 10

Kendrick Lamar Tour: The Big Steppers Tour Dates: July 19-Dec. 16

Sharon Van Etten, Julien Baker, and Angel Olsen Tour: The Wild Hearts Tour Dates: July 21-Aug. 21 Opening act: Spencer

Kehlani Tour: Blue Water Road Tour Dates: July 29-Oct. 21 Opening act(s): Rico Nasty, Destin Conrad

Wet Leg Tour: U.S. Tour Dates: July 29-Oct. 12

Maroon 5 Tour: 2022 World Tour Dates: July 30-Aug 20 (North American dates)

Erykah Badu Tour: The Digging Crystals in Badubotron Tour Dates: July 30-Sept. 11

Festival: Pitchfork Music Festival City: Chicago Dates: July 15-17 Headliners: The National, Mitski, the Roots

Festival: HARD Summer Music Festival City: San Bernardino, Calif. Dates: July 29-31 Headliners: Megan Thee Stallion, Lil Uzi Vert, Porter Robinson, Three 6 Mafia, Gunna

August 2022

Franz Ferdinand Tour: U.S. Tour Dates: Aug. 4-Sept. 1

Bad Bunny Tour: World's Hottest Tour Dates: Aug. 5-Dec. 9 Opening acts: Alesso, Diplo

Michael Bublé Tour: Higher Tour Dates: Aug. 8-Oct. 11

Alice in Chains and Breaking Benjamin Tour: Alice in Chains & Breaking Benjamin Tour Dates: Aug. 10-Oct. 8

Harry Styles Tour: Love on Tour 2022 Dates: Aug. 15-Dec. 13 Opening acts: Jessie Ware, Blood Orange, Gabriels, Madi Diaz, Ben Harper, Koffee

Kid Cudi Tour: To the Moon — 2022 World Tour Dates: Aug. 16-Sept. 17 Opening act(s): Don Toliver, Strick, Denzel Curry, 070 Shake

Duran Duran Tour: North American Tour Dates: Aug. 19-Sept. 11 Opening acts: Nile Rodgers and Chic

Beth Orton Tour: Fall 2022 Tour Dates: Aug. 19-Nov. 22

The B-52s Tour: Farewell Tour Dates: Aug. 22-Nov. 13 Opening acts: K-C & the Sunshine Band, the Tubes

Interpol and Spoon Tour: Lights, Camera, Factions Tour Dates: Aug. 25-Sept. 18 Opening act(s): The Goon Sax

Wu-Tang Clan and Nas Tour: N.Y. State of Mind Tour Dates: Aug. 30-Oct. 4

Festival: Outside Lands City: San Francisco Dates: Aug. 5-7 Headliners: Green Day, Post Malone, SZA

Festival: Let's Get Fr.ee Carnaval City: Queens, N.Y. Dates: Aug. 20-21 Headliners: Missy Elliott, Anderson .Paak , Jhené Aiko, Wizkid, Major Lazar

Please make sure to check back regularly for any updates.

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Upcoming Techno DJ’s Of 2022

Techno is a genre that has evolved and now officially rules the world.

The thumping that began in the Detroit warehouses is now heard in every club on earth. Music is not the only thing that has contributed to his success, but also the artists who carried the torch of music forward. The scene has been shaped by artists like Adam Bayer, Jeff Mills , Carl Cox , Nina Kraviz , and others.

It’s time to introduce the new people who will carry and carry the flag forward.

These upcoming techno artists deserve your attention. Here’s our list of the upcoming Techno Djs of 2022:

1. Space 92

A chart-topping French producer, Space 92 is the brain behind the best-selling Beatport Techno tracks and currently stands at No.1.

After discovering electronic music as a teenager, Space 92 began composing and producing. He mixes trancey Techno, distorted percussion, and a touch of Acid with underlying nostalgia and sensitivity – perhaps inspired by his passion for vintage 80s sci-fi.

His remix for Hungarian duo Twins Project, “Bass in your Face”, was an instant success, entering BP’s Top 10. Other releases followed such as “Dune” on Umek’s label 1605 and a collaboration with French techno duo Cosmic Boys. Space 92 & YellowHeads have released what would be the year 2020’s biggest Techno hit: “Planet X”, which sat four consecutive months at Number 1 and is still currently in the Beatport Top 100.

2022 will see many brand-new releases on major labels as well as collaborations & remixes with/for global electronic music artists.

Slovenian techno artist UMEK is a techno legend.

Through organizing illegal raves and becoming one of Slovenia’s most wanted export products, he is responsible for kickstarting the electronic music scene in his country. Now he is the world’s leading ambassador for techno music.

Throughout his career, he has played gigs at the most renowned festivals as well as dark underground clubs in Berlin. Every year, he travels around 100 times, visiting almost every continent. As well as making a name for himself in the DJ booth, he’s also an ardent producer. Many of his tracks land at the top of Beatport’s charts after being released on his own imprint 1605.

His experience and skills as a professional musician led him to pursue entrepreneurial endeavors after more than 25 years in the music industry. He founded Viberate ( www.viberate.com ) with his managers to build the world’s largest music platform.

Oliver Heldens’ HI-LO is the darker side , pushing the boundaries with futuristic sounds .

Oliver was awarded the coveted position as the #1 most supported dance artist platform-wide for his two 2020 tracks ‘Zeus’ & ‘Kronos’. Many of his releases inspired by the Greek Gods, like ‘Poseidon’, ‘Athena’, ‘Hades’, and most recently ‘Saw of Olympus’ and ‘Balearic Mornings’, contributed to HI-LO’s #6 spot on Beatport’s best-selling Techno chart last year.

In addition to a massive remix for Nina Kraviz’ ‘Skyscrapers’, HI-LO delivered his debut EP on Drumcode ‘Hypnos’, which includes the title track and the dance floor stomper ‘Hera,’ proving his relevance in the Techno scene.

4. ELI BROWN

Eli Brown is a standout artist in the world of techno and house music. With releases on Repopulate Mars, ViVA Music, Toolroom, Truesoul, Ultra, Big Beat, We Are The Brave, and more, it’s easy to see why he’s the best selling artist on Beatport. Carl Cox, Green Velvet, Fisher, Claude VonStroke, Black Madonna, Denis Sulta, Calvin Harris & Annie Mac are just a few of the big names that have endorsed his productions.

Eli Brown continued to build on his ever-expanding accomplishment list last year with releases on Relief Records, Sola Records, and Elrow. He has appeared at Miami Music Week, toured to South America including two separate runs in Ecuador & Brazil and also made his debut at iconic London club fabric (a personal highlight for the Bristolian).

The UK producer has been on a prolific streak with anthems like ‘Brazil’ (Repopulate Mars), ‘Inside My Head’ (Black Book Records) ‘Our Love’ (Truesoul) and ‘BS48’ (Big Beat) causing damage on the international club circuit.

A raw and caustic talent, Eli Brown continues to cement his reputation as one of dance music’s most innovative and forward-thinking DJ & producers heading above and beyond.

It is no secret that POPOF is one of the most well-known names in techno and house music.

As one of the most popular artists in his category, POPOF is very in demand for his remixes and has worked with a number of different artists, including Depeche Mode, Chemical Brothers, Moby, BookaShade, Vitalic, Tiga, Maetrik, Martin Solveig, among others. In addition to his early work on Turbo, Cr2 and Mistakes, POPOF also released on Sven Väth’s Cocoon outlet, Kerri Chandler’s Kaoz Theory, Jamie Jones’ Hot Creations, Nicole Moudaber’s Mood, Adam Beyer’s Truesoul, among others.

A string of remixes followed his two singles, “Words Gone” and “Going Back,” which were performed by Jamie Jones, Luciano, Magda, Kerri Chandler, Eats Everything, Lee Foss, Marc Houle, Oxia & Miss Kittin. Among the remixes for “Lidl Girl” were ones by Kerri Chandler, Shaun Reeves & Tuccillo and Carl Cox Collective.

After performing Strings of Resistance at Ultra Miami and Latin America, followed by other shows worldwide, it’s safe to say he’s a name to watch

Dj and producer T78 hails from Italy and is the founder of the techno label Autektone Records. With a weekly podcast featuring all the best new tracks for T78, Autektone has gained an impressive following.

In addition to being a highly skilled DJ, he is also an accomplished musician.

Combined with his outstanding production quality and unique way of approaching techno, he rose rapidly in the scene. It is exciting to listen to T78 sets, which include productions like Blast-Attack, Fisto, Acid Lick, and a remix of “All the hurts we made” by the legendary Moby, as well as exclusive tracks from friends in the industry.

He takes his audience on an intense musical journey with his high energetic grooves, which never fail to impress.

In rave circles, Rebuke is known as the ringmaster.

One of the most exciting new artists in years has emerged from the white-hot atmospheres of the Irish underground music scene over the past 18 months. Rebūke is a DJ and producer creating something new and genuinely exciting.

He creates his own sound by mixing techno, house, and rave records from the early ’90s. With a steady place in the Beatport Top 10, he has established his own ER* Music parties, kicking off with sold-out shows reflecting his huge popularity.

From Dubfire to Diplo, Sven Väth to Fisher, he has an ever-expanding fan base and Adam Bayer, Carl Cox, and Pete Tong are among his biggest supporters.

8. MARK BROOM

He discovered the delights of Chicago and Acid House when he landed in Tenerife on vacation in the summer of 1989. After returning to the UK, he immediately set out in search of this newfound music and bought a pair of turntables, birthing a musical career.

As a prolific artist, Mark Broom has worked with some of the biggest labels in the world, including Blueprint Records, Rekids, M-Plant, EPM, Cocoon, Bpitch Control, Warp Records and Ifach with Baby Ford. His name is always associated with Intelligent Techno.

Among the artists he has worked with are Robert Hood, Floorplan, Alan Fitzpatrick, and Gary Beck.

9. RENE WISE

By tapping into rhythm and groove, Rene Wise’s approach to music and DJing merges into one concept. Before discovering electronic music, Wise studied drum and percussion under the guidance of his Iranian father, a professional drummer. The techno he crafts is heavily influenced by this..

Using a raw but modern touch, Wise creates atmospheric soundscapes with a sense of knowledge and maturity, captivating the listener from beginning to end. Throughout his sets, he consistently demonstrates this, maintaining a strong sonic trademark while creating hip-shaking polyrhythms and multi-deck elements.

The ‘quality over quantity’ mindset Wise adopts has seen him work with some of the most respected names in music, including Mote Evolver and Beard Man.

Currently standing at No.1 on Beatport Techno Raw and Deep charts Marcal is a Brazilian artist from Goiânia who has been soaring up the South-American charts for the past few years with his consistent presence around the globe with his odysseys of spellbinding swing and haunting atmospheric sounds.

His impressive consistency has earned him accolades from some of the global techno scene’s big guns, including Ben Klock, DVS1, Rødhad, Freddy K, Luke Slater, Setaoc Mass and many more.

With club material of the finest quality, his trade of choice, hypnosis-inducing, sanity-combusting, bursts to even greater explosive effect throughout his performances. Marcal stakes out his territory in sheer badman style with his intense groove, intelligent rhythms, compl

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My love for New Edition runs deep. Since attending Usher’s residency at the top of the year, I’ve added Bobby Brown ’s Don’t Be Cruel back into my daily rotation while remaining consistent with my monthly rewatch of BET’s The New Edition Story. Back in November, weeks prior to the long-awaited tour announcement and confirmation, I was afforded the opportunity to speak with the Bad Boy of R&B himself alongside Johnny Gill ahead of their group’s highly-anticipated “reunion” at the 2022 American Music Awards.

Then, the moment arrived. After having lived in Los Angeles for almost a year, I’d never stepped foot inside The Staples Center (that new name will be ignored for the sake of this story) until Sunday, March 20—the night of The Culture Tour . 

The newly reunited Jodeci , Uncle Charlie Wilson , and all six members of New Edition shared the stage for one historic and magical night honoring each of their respective legacies in R&B. Despite the warm temperatures, it felt like Christmas. I practically ran through the crowds beaming with glee like a child getting lost among the sea of people and displays in a packed FAO Schwarz during peak holiday season.

New Edition Extends Las Vegas Residency For A Third Time

I anxiously sat in my seat as this would be my first (and maybe only) time seeing both Jodeci and New Edition live. I’d seen Charlie Wilson before, but overall, this felt different. The North Carolina-bred quartet took the stage first, decked out in matching gold and black bomber jackets and shirts that read ‘Jodeci’ across the bottom.

Witnessing them perform their classics like “Come And Talk To Me,” “Forever My Lady,” “Stay,” “Feenin’,” “Freek’n You,” and “Cry For You” was a moment for R&B purists, even Mr. Dalvin danced around as though it were still 1991. Their chemistry is something that can’t be duplicated by replacing members like how some other male R&B groups have done.

As production transformed the stage to make way for Uncle Charlie, the house DJ provided all sorts of vibes from the best of West Coast rap to Quiet Storm essentials that weren’t going to be performed live. In full energy, the 69-year-old crooner came out with his dancers in a bright gold jacket that never stopped shimmering as it hit the lights.

Despite recently coming out of surgery a few weeks ago and battling other ailments, he did a grand job of powering through and resting when needed during his 75-minute set. Gliding through his discography from his days in The Gap Band with “Party Train” and “Yearning For Your Love” to his solo hits including “You Are,” “There Goes My Baby,” and “Charlie, Last Name Wilson,” he commanded the audience’s attention with his vibrant performance, complete with suave, bouncy dance moves and eye-grabbing outfits.

He also slid in his guest appearances on timeless gems like Zapp’s “Computer Love” and Pharrell and Snoop Dogg’s “Beautiful” along with renditions of Guy’s “Let’s Chill” and Zapp & Roger’s “I Want To Be Your Man.” Wilson didn’t end his set without acknowledging his health journey, especially his sobriety and how blessed he was to still be standing and performing in front of us. Appropriately, what followed his testimony was a praise break and performance of his 2017 single, “I’m Blessed.” Closing out on a high note, as any great party should, Wilson wrapped things up with the dynamic 1982 jam, “Outstanding,” while wearing an all-white shimmering ensemble.

Ahead of the evening’s headliners, Omarion, Boyz II Men, Diddy’s children, Kelly Rowland, and Gabrielle Union were spotted among the attendees, which was pretty cool if you ask me. However, nothing could compare to my grown self smiling as wide as a Cheshire cat when New Edition Radio began to scan across the stage. The monitor flipped through a series of tracks that feature NE references—Jamie Foxx’s hook on Kanye West’s “Slow Jamz,” Drake’s verse on 2 Chainz’s “I Do It,” and LL Cool J’s “Around The Way Girl”—before the group jumped right into their debut single, “Candy Girl.”

The men kicked off their set wearing all black under white trench coats and matching white fedoras. Without missing a beat, they dove into “Mr. Telephone Man” and the iconic choreography of “If It Isn’t Love.”

For the next 90 minutes, the legendary sextet maintained that quick turnover throughout the duration of their show. What I loved the most was that they moved as one. Whether it was Bobby Brown being strategically placed in the cut to take necessary breaks or how they teased one another about a solo track of his (1988’s “Every Little Step”) that was initially supposed to be a New Edition record, their magic rested within their storied chemistry. These men are family. They were playful in between songs and it was beautiful to witness them healthy and together once again.

They also granted space for each of their individual careers to have a spotlight. Bell Biv DeVoe , naturally, had their collective moment, but also Ralph, Ricky, and Johnny all performed their solo records at center stage. And, not for nothing, what Johnny Gill said in The New Edition Story still holds true—“Give Johnny Gill Jr. a mic and I’ma turn that b***h out.” And that he did, hitting all sorts of high notes to keep the crowd in awe as his bandmates transformed their looks.

Additionally, I loved the balance of their set. There weren’t strict places for select songs or moments. It was as fluid as a playlist, transitioning from Ralph Tresvant’s “Sensitivity” to NE’s “Cool It Now” to Bobby Brown’s “My Prerogative” to BBD’s “Poison.” Mellowing out the mood in the most heartfelt way, the night came to an end to the sounds of NE performing “Can You Stand The Rain” in matching metallic raincoats.

By the end, I personally was very emotional. A lot of things are often categorized as once-in-a-lifetime, but The Culture Tour truly felt like a perfectly isolated moment in time. Knowing their story, who knew if this tour would’ve ever been possible had they not worked through their differences and evolved from boys to men? It all serves a reminder to never underestimate the power of growth and brotherhood.

Johnny Gill shared with VIBE that this tour, their AMA performance, and experiences alike aren’t reunions for them. “New Edition has been New Edition and it’s been all of us here,” he said. “We decided to come together now and join back forces and give our fans something that they’re looking forward to seeing. We’re gonna have fun and continue to do what we do and show them why we do what we do and why we are who we are.”

As far as their brotherhood goes, Gill also shared, “That’s something you can’t even manufacture. That comes from life, living, experiences, ups and downs, and the good and the bad and all of those things rolled up in one that causes us to create and have the type of brotherhood that we have. From many years of being around and being together, you grow together so it’s not something you can manufacture. It’s not something you can even describe. It’s just a connection that you have from just having family and brothers and knowing that we’re brothers. Regardless of what we go through, there’s always that foundation of brotherhood that’s undeniable.”

Bobby Brown later added, “We fight hard and we love hard.” And it’s really that simple.

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The 15 Top Live Acts Of The Year 2022

Live shows are enabling producers to create unique experiences for dancefloors

• Words: Patrick Hinton, Megan Townsend, Gemma Ross, Becky Buckle, Isaac Muk | NOSTRA FONT DESIGNED BY LUCAS DESCROIX
• 21 December 2022

You know it's been a big year for live acts in electronic music when even Carl Cox heavily hints he's soon to hang up his DJ headphone to focus on live performing for good. The more specialised style of performance is being utilised more and more by electronic producers who want to be able to curate a unique experience when playing their music dancefloors. From transformed tracks, off the cuff experimentation, light shows, custom soundsystems and even choreography, the results have been impressive.

We've brought you our DJs who defined the year and top breakthrough DJs who are shaking up the dance music landscape, and now it's time for our top live acts of 2022 (in alphabetical order).

1 BLACKHAINE

Melding together the worlds of rap, AV, theatre and electronic into an almost dissonant clash of forms, Preston-born multidisciplinary artist Blackhaine’s live offering at events such as No Bounds Festival, C2C, Unsound, Tresor and Corsica Studios is one we won’t be forgetting any time soon. He touches on themes of drug abuse and Northern poverty, and the shame and self-destructiveness that comes with it — employing blood-curdling noise riffs, his signature Lancashire accent and synths that never quite seem to hit the right melody to give you respite, all accompanied by his abrasive choreography.

[Photo: Natalie Curtis]

Making the transition from DJ to live act is often one of the most nerve-wracking moves an electronic musician can make. But to play your first live set just months after the release of your debut EP? and for said live set to be in Berghain? Sounds like a job for Kulør boss Courtesy . Indeed this apparently fearless Copenhagen-based producer rolled off the release of ‘ Night Journeys II ’ onto a bumper European live tour — with stops, alongside Bergz, at Amsterdam’s Paradiso Noord, Primavera and Village Underground. In contrast to the mania of her DJ sets, her live set is ambient and ethereal, bringing a calming energy to the dancefloor that's complemented by tailored lighting.

[Photo: Kasia Zacharko]

Back in 2021, Folamour graced the cover of Mixmag and told us: “Now I’m going to try to be a bit wiser when we go back to touring and take a bit more time for myself, even more so because I want to focus on improving my skills in terms of writing music.” And he stuck to his words. Playing with drum machines he has created more jazzy melodies and driving beats, reflected in his single ‘My People’ . Something that elevates his music is his ‘Power to the PPL A/V’ experience. Taking DJing to the next level, Folamour has combined audio and visuals to create an unmissable spectacle that has caught people by surprise, from Bristolians at Love Saves the Day to Parisians at Les Plages Electroniques. A vibrant energy pours out from the stage as Folamour proves he’s not just a DJ but also a performer.

[Photo: Koria]

4 Fred again..

If 2022 has taught us anything, it’s that dance music is on top, and Fred again.. could bat anyone out of the park when it comes to this year’s most influential live electronic acts. Considering he’s just a short 18 months into showcasing his live show, the new superstar gained a battalion of new fans following his debut Boiler Room in August which currently sits at some 10 million views on YouTube. His shows pair live vocals from the producer’s collaborators with impromptu keys, pads, and the occasional vocals from Fred again.. himself. Thousands upon thousands of fans have flocked to catch the artist at one of his global live shows , which included three consecutive sold-out nights at London’s Brixton Academy.

Catching HAAi is an unforgettable experience. Electrifying and frenzied, the Australian artist always keeps things energetic, playing at some of the world's most prestigious clubs and festivals and combining house, techno, acid, and more. Alongside releasing her debut album ‘Baby, We’re Ascending’ this year, HAAi reconnected with her passion for live performing, having previously spent years singing in bands. Her live show is fraught and impactful, with heavyweight beats, atmospheric vocals and dizzying lighting. A stand-out debut at Corsica Studios with live long in the memory.

6 Joy Anonymous

Straight from the shores of South Bank, London duo Joy Anonymous smashed 2022 both on the stage and in the studio. From their regular Thames-side events on the shores of London’s famous river to warm-up shows for Fred again.. and afterparties with Four Tet , this double act have claimed their crowns this year when it comes to live shows. What makes their performances most impressive is the ad-lib additions from crowd members, or perhaps the freestyle vocals from Joy Anonymous’ Henry - all performed comfortably from two deck chairs in an open-air setting on the riverside with minimal equipment.

7 Kiss Nuka

Emotive and evocative, Kiss Nuka mesmerises any dancefloor with her live wizardry. The audio-visual artist from Mumbai is an entirely live performer that uses soundscapes to tell stories. Keeping experimental, Kiss Nuka sculpts beats and synths to flow from track to track along with playing a mixture of released and unreleased work. Her Lab Goa set is a perfect example of this as she performed original work such as ‘I Love The Drive’ while also melting into improvised sounds and soft vocals. To end the year she performed her debut EP ‘Serpentine’ live at the Magnetic Fields Festival and 2023 will see her set off on a tour across India.

8 Loraine James

Loraine James’ live sets are always a mind-modifying exploration of electronic music that would be an injustice to try and fit into genre boxes. Her ability to blend frenetic beats with slower jams and ambient soundscapes is singular, and coupled with her jazz-informed improvisations, her shows are always an experience. As well as playing weekend-in, weekend-out in most cities a casual fan of geography would be able to list on the top their head, this year the Hyperdub-affiliated artist has stepped it up even more, having worked with the London Contemporary Orchestra in a special homage concert to composer Julius Eastman.

[Photo: Suleika Müller]

9 LUV NRG Soundsystem

It’s rare in 2022 for crowds to really experience soundsystems like they used to be experienced; from the early days of soundsystem culture in the Caribbean to the ‘90s free party movement — dance music was traditionally accompanied by giant, dominating speaker stacks carted from venue to venue, with artists being as associated with the hulking equipment they were accompanying on the road as much as with genre they were playing. Now, soundsystems are owned by clubs, festivals and venues; while we still get to experience their mind-bending impact on the music we love — there is part of us that has always wanted to experience them just like they were in the good old days. So it’s refreshing to see Eris Drew & Octo Octa , despite their joint and individual hectic tour schedules in 2022 - that have included stops across the entire planet - bringing it all back.

The LUV NRG Soundsystem is an eight-sub, 8.5 metre tall soundsystem created with the help of SBS Slammer — the engineer responsible for Nowadays’ impressive offering. Though they aren’t technically playing “live” in the traditional sense, seeing them in this format is truly a live experience like few others, and we think it deserve a place on this list for some good old fashioned vision. Having already debuted in three shows across Boston, Washington and NYC — Eris and Maya’s New Hampshire backyard project has created a one-of-a-kind event, getting back to the roots of dance music. Here’s to hoping this “Mother Beat-powered” soundsystem could soon be coming in the T4T box truck to a town near us in 2023!

10 Overmono

As our glowing live review in September gushed, it feels like Overmono are on the path of following the Orbital-Underworld-Chemical-Brothers-Bicep-pipeline of a live duo that will conquer the biggest stages in dance music and beyond. Their performances this year were tight and tons of fun, hitting that sweetspot of producing thrilling live renditions of their studio tracks and also throwing in little curveball moments such as the incorporation of cult classics like ‘Pulse X’ to fuel the mania.

[Photo: Rollo Jackson]

As the minds behind iconic party and label Butter Sessions , Corey Kikos and Maryos Syawish AKA Sleep D have been at the very forefront of Melbourne’s underground scene for over a decade. In that time, they have developed a taste for the refined across the spectrum of house, techno, and trance, as well as a suitably thoughtful live set that is always curated to the spaces and times that they are playing. Having long established their reputation as excellent selectors, in 2022 the duo took their live performances global – with tours taking them to Europe, the USA and East Asia – as well as kicking off the new year with a brand new audiovisual live show in their native Australia.

[Photo: Georgia Haynes]

12 Sofia Kourtesis

Berlin-based DJ and producer Sofia Kourtesis first performed her live show last year after the release of her breakthrough EP ‘ Fresia Magdalena ’, which plucked influence from her hometown of Lima, Peru. Incorporating her own peppy vocals into her sets, the producer also gained additional percussion from backing band members as she live mixed at stages across the world, including Paris’ Pitchfork Festival, Philadelphia’s Making Time, and an afternoon slot at Glastonbury Festival . In 2022, Sofia Kourtesis spent a stellar year touring alongside Caribou and Flume , made her debut on the cover of Mixmag , and prepared an up-tempo Essential Mix for BBC Radio 1 showing her versatility in house music.

[Photo: Iván Salinero]

13 Soichi Terada

The so-called “ smiliest man in Japan ”, it’s been a special kind of delight to have Soichi Terada back on the live circuit this year following the release of his critically acclaimed album ‘ Asakusa Light ’ last December, his first full-length project in 10 years. If Soichi’s enrapturing synths and invigorating percussion were the only thing we were given during his live sets, we’d still be falling over ourselves to catch them; but the Far East Recordings honcho’s infectious spirit and fondness for physically moving with his productions are the thing that has been pushing us to his festival sets all summer long. Whether it’s folding origami cranes on stage and then getting them to talk into a mic, asking audience members to use his midi controller or standing astride his equipment dancing — he’s been a constant delight, and a reminder of the joy dance music can bring. We never want this tour to end.

14 Space Afrika

Behind a knot of wires, Space Afrika produce dubbed-out beats, whispered vocals and airy sequences that are dripping with reverb, while backing visuals take you on meandering journeys through inner city landscapes. The Manchester duo’s ambient live sets are a transportative experience, simultaneously soothing and thought-provoking in their juxtaposition of sound, sights and subtitles. Sets everwhere from experimental hotbeds like Unsound and CTM to the rowdier Horst and Dekmantel reflect their ability to connect on multiple levels, while closing the year out at Berghain’s infamous 72-hour Silvester Klubnacht is sure to be nothing short of spiritual.

[Photo: Chloé Magdelaine & Timon Benson]

Singaporean singer and producer yeule has had a meteoric rise this year following the release of their acclaimed second record ‘ Glitch Princess ’ which gave an introspective look at identity and alienation. After its release in February, the glitch and synth pop musician set off on a live tour around Europe and North America from their current base of London, hitting spots including Barcelona’s Primavera Festival, a double bill at The Echo in Los Angeles, and a string of shows alongside Charli XCX on her ‘Crash’ tour. Their live show melds electronic elements with a live band as the producer switches between instruments and vocals, including their skilful piano intervals and solo moments with the electric guitar.

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The Best DJ Mixes of 2022 So Far

By Philip Sherburne

Our electronic music expert Philip Sherburne sifts through the internet’s bounty of DJ mixes to find only the best sets—because life’s too short to waste on stale beats. The following list is presented by release date, from newest to oldest, and will be updated throughout the year.

UK-based DJ/producer k means describes their Fact Mix in vivid terms: a descent “into a clattery percussive hellhole… getting trippier, more grungy, more amphibian, eventually ascending into a noisy, guttural climax.” They say that the mix was inspired by a recent closing set after Shackleton and Al Wootton, and you can hear the influence of those producers on the dank atmospheres and gnarled drum programming. k means starts off in woozy terrain where half-speed drum’n’bass feels like wading through a tar pit, then shifts into overdriven acid techno, haunted-sounding footwork, and the occasional dembow groove or post-punk cut. The fidelity is low, the energy is high, and a thrilling air of menace hangs like soot over the whole thing.

For fans of the deepest, most psychedelic strains of techno and ambient, no contemporary festival is more beloved than Japan’s Labyrinth , a boutique outdoor event held in the mountains of Gunma Prefecture. To celebrate the festival’s 20th anniversary, the promoters have published live recordings of 10 legendary performances, including one from Donato Dozzy, a Roman producer known for corkscrewing minimalism who is perhaps the most celebrated of Labyrinth’s repeat bookings. Never before released, Dozzy’s closing set from 2014 is a four-and-a-half-hour journey through intricately detailed, infinitely tunneling techno. As always, the Italian DJ favors dusky tones, dusty textures, and steadily thrumming percussion; the long, gradual blends only intensify the meditative vibes. No surprise that the promoters behind the Labyrinth are called Mindgames —Dozzy’s thoroughly trippy approach is a celebration of techno at its headiest.

“How to be happy during constant catastrophe?” asks FOQL , aka Justyna Banaszczyk, an experimental musician, radio broadcaster, and label head hailing from Łódź, Poland. That sense of unease comes across from the start of this mix: Beginning with the ominous tones of Jane’s “It’s a Fine Day,” a deceptively airy song released on Cherry Red in 1983, FOQL slips into a succession of dank drones, unsettling abstractions, wiry post-punk, and nervous free improv. In this context, even a comparatively beatific song like Sofie Birch and Antonina Nowacka’s “Pripugale” turns shadowy. The majority of the selections come from leftfield Polish musicians and labels—including FOQL’s own Pointless Geometry —which makes the set an excellent primer for the country’s underground sounds.

Not many DJs could convincingly fit Japanese noise minimalists Nisennenmondai and ’90s progressive house in the same set, but that kind of range and audacity is part of what makes Call Super such a joy to behold behind the decks. Perhaps the first indicator of just how fun the London DJ’s Dekmantel set is going to be comes scarcely eight minutes in, when Cardi B’s “Money” a cappella drops into a rubbery tech-house groove and goes bouncing along it for what feels like eons, earwormy as a playground chant. A while later—past a new cut from Daphni, an old one from Mathew Jonson, and an absolute chestnut from John Acquaviva—a wiggly acid remix of Kelis’ “Milkshake” is another unabashed crowd pleaser. The aforementioned Nisennenmondai cut makes for a scintillating blend with the Prodigy’s “Your Love,” of all things, before new releases from Pangaea, Nick León, and Floating Points bring us back up to date with bass music and UK techno. Like all the best sets, the bookends are what hold it together: an extended edit of Carl Craig’s “Domina” remix to blast us off, and the one-two punch of Bronski Beat’s “Smalltown Boy” and John Holt’s “ For the Love of You ” to bring us coasting gently back to earth.

Nikki Nair ’s productions are electrifying—like, fork-in-a-socket electrifying. Borrowing from footwork, electro, drum’n’bass, and techno, and fleshing out the hybrid grooves with ultra-hi-def synth detailing, the Atlanta producer is making some of the most thrilling dance music out there right now. His two-hour set for Resident Advisor draws from the same well as his productions, full of quick-stepping tempos and twitchy, syncopated drum programming. Stylistically, it’s all over the place, slipping easily between Kush Jones’ stumbling drum work , Mike Ink’s canonical minimal techno , and Drexciya’s sci-fi electro . And while you won’t find many other sets that range from Squarepusher to Caroline Polachek, it’s Nair’s own productions that glue everything together: There are at least 14 of them here , a high-voltage throughline.

Until Russia invaded Ukraine in February, Kyiv was developing a reputation for its rapidly expanding techno scene. After the invasion, DJ Oleg Patselya stayed behind and cofounded Kyiv Angels , a team of volunteers assisting military and civilians around the country, but he’s continued to make music when he can. His set for the ongoing podcast series from Cxema , a roving party at the vanguard of the city’s club culture, captures the white-knuckled energy of Kyiv’s techno scene in happier days: It’s fast and relentless, full of muscular rhythms and stern, metallic synths. Along the way, he takes minor detours—rattling breakbeats, jazzy electro—but for the most part it’s a focused blast of warehouse-shaking techno. In June, in a New York Times story about the Cxema community’s response to the war, Patselya admitted, “At the moment I don’t see the sense of electronic music. I feel nothing when I listen to it.” But judging from his Cxemcast, he’s again found something crucial in dance music: a sense of release, however fleeting.

To play directly after Nihiloxica , the raucous, Nyege Nyege-signed Bugandan drumming outfit, would be an unenviable slot for any DJ: How could you possibly match that energy? Taking up the baton from them at Sónar this summer, Ehua makes it seem like no big deal at all. Kicking off with a rattling percussive edit—the bridge between Nihiloxica’s sound and hers—the Italian-Ivorian DJ presses the pedal to the floor as she goes barreling through a selection of slamming techno, quick-stepping dembow, tightly coiled bass music, and a generous helping of hard drum, the London sound known for its gargantuan rhythm tracks. She keeps the energy levels elevated all the way through, but she also knows when to take a step back from the edge: Just witness the way she uses the slinky 2-step of Nouveau Monica’s “Be Greedy” to take the pressure off right before unleashing the big guns in a giddy footwork- and jungle-driven finale.

Assuming the existence of infinite universes, in one of them we can postulate that musical evolution ended with broken beat. And why not? Arising in the years before Y2K, the London-rooted sound melted together house, techno, breakbeats, R&B, jazz, and more into a gooey fusion of all things soulful. It certainly would make a logical, even utopian, endpoint for dance-music history. Of course, that didn’t happen. Broken beat largely faded from view, even though some of its pioneering artists are still out there keeping the faith. Count Kiernan Laveaux among the style’s acolytes.

Though she didn’t start playing out until around 2014, you can tell from the way she mixes the stuff that she’s deeply immersed in it. “Whenever I am having a weird day or don’t know what music to play at home, I bust out my stack of broken beat records and just start mixing,” she writes, calling her mix for New York’s Juanita’s series “very much a no thoughts, vibes only kinetic result of that.” Broken beat’s knotty syncopations and dense harmonies can make it tricky business to mix, but she carves an unusually elegant path through her selections, emphasizing tracks with crisp funk beats, aquamarine keys, and just enough vocal hooks to keep things catchy but never cluttered. It’s an exhilarating tour of a sound that never goes out of style.

Like all Lena Willikens mixes, this set recorded in a tiny kiosk in Brussels’ Royal Park is an invitation to travel great distances without leaving your chair. She begins, as she often does, deep in the fog, with distant blues guitar and nearer footsteps tracing an unsteady path. Stumbling rhythms and inky discord extend for half an hour, punctuated by the occasional beam of ambient synths. About halfway through, she locks into the groove that will carry her through to the finish: a methodical, 90-odd BPM chug. She puts the tempo through its paces, exploring every facet; here it’s a sullen zombie trudge, there a slippery acid sashay, there a grim industrial pogo. With 15 minutes left on the clock, it all snaps into vivid focus with the grueling proto-trip-hop of Leslie Winer’s “ When I Was Walt Whitman ,” then climaxes with an early, gloriously gloomy rarity from Ministry. Only Willikens could make closing with a gothic curveball feel like such a walk in the park.

A former tour manager for Hot Chip and Four Tet, Armenian-British producer Hagop Tchaparian recently stepped up with his debut album on Four Tet’s Text label. His Bleep mix extends his musical career’s friends-and-family vibe, peppered with tunes from pals and peers like Daphni, Chloé Robinson, Altrice, and Four Tet himself. It also makes for a pretty comprehensive cross-section of Tchaparian’s tastes, heavy on chunky breakbeats, skippy garage rhythms, and bright, chiming melodies. The San Francisco-based musician’s own tracks stand out for the way he works field recordings from around the world—Syrian street musicians, fireworks over a soccer match—into percussive dancefloor fare, and he’s got a similarly wide-ranging touch here: Just check the stretch that takes him from the controlled chaos of his labelmate Taraval’s “ Aardvark ” through the bhangra-ballroom fusion of Chandé & yourboykiran’s “ Pani Puri Pirates ” and into the blissful Ghanaian highlife of Pat Thomas & Kwashibu Area Band’s “Gyae Su.” From there, the screaming zurna of Tchaparian’s own “GL” propels him straight into vintage jungle from Goldie. It feels like an autobiographical scrapbook of where he’s been—and where he’s going.

Kelly Lee Owens spent the first seven or eight years of her career striking a careful balance between clean-lined techno and atmospheric electronic pop, but she took a sharp left turn with this year’s LP.8 . Conceived as the imaginary eighth album in her discography—in fact, it’s the third—it finds the Welsh musician abandoning her usual hallmarks in favor of stark, industrially tinged beats and ominously looped vocals. A similarly experimental spirit fuels her Resident Advisor mix , which opens with ghostly a cappella by the 11th century mystic Hildegard von Bingen before plunging into eerie soundscaping from Bernhard Günter, Throbbing Gristle, and Steve Roach; the set’s second half winds through ritualistic percussion and soot-smeared techno before a climax that smokes like a burning subwoofer. Many of her picks are unorthodox—this is surely the first time that Rosalía has ever been mixed with the late Editions Mego founder Peter Rehberg—yet Owens’ tonal sensibility carries the day. By the time that extended passage, which also runs through a Jim O’Rourke remix of Japanese noise legend Merzbow, spills out into Rhythm & Sound’s buoyant dub techno, it’s hard to imagine her selections playing out any other way.

UK duo Two Shell ’s Boiler Room appearance at Primavera Sound in June quickly became the year’s most controversial DJ set. For one thing, they appeared to be pantomiming to a pre-recorded mix. (For a dead giveaway, just watch the levels on the mixer when the camera switches to an overhead shot: They’re frequently seen tweaking the EQ on channels that no sound is passing through.) Not only that, but it’s been rumored that the two figures dressed in ridiculous getups—Halloween headwear, bug-eyed sunglasses, a burglar’s stocking face mask—aren’t Two Shell at all. Given that the duo’s members remain anonymous, there’s no way of knowing for sure, but the two people on stage sure acted like ringers. The mix, at least, is a ball—a high-energy highwire act that pirouettes along the line dividing bass music from hyperpop. Alongside cuts from the scene that birthed them (UK funky from Crazy Cousinz, atmospheric techno from Hodge, Facta, and K-Lone) and scads of Two Shell originals, there are a handful of real head-turners, like the duo’s own edits of Justin Timberlake, Sugababes, and a little-known emo musician named antonvstheworld. They close out the set with the effervescent bliss of “home,” a CHINAH-sampling , drum’n’bass-adjacent roller that sputters like a cotton-candy machine running on overdrive; in the video, a lone crutch bobs up from the heaving crowd while the DJs take selfies behind the decks. Getting trolled has rarely been quite so entertaining.

When a pair of homebuyers moved into their Fire Island beach house last year, they made a remarkable discovery left behind by the previous owners: milk crates full of hand-dubbed mixtapes from the 1980s and ’90s. Featuring sets from DJs like Roy Thode, Michael Jorba, and Richie Bernier, the trove of cassettes amounted to a snapshot of Fire Island at a crucial moment in its history. For decades, the Long Island beach resort has been a refuge for LGBTQ+ people; in the ’70s, at clubs like the Ice Palace and the Sandpiper , disco provided the soundtrack to queer liberation. But as AIDS decimated the community, Fire Island’s dancefloors took on more complicated roles, mixing celebration, hedonism, mourning, and perseverance over a 4/4 beat. More than 200 tapes have so far been digitized and uploaded to the Pine Walk Collection on Mixcloud. Spanning the late ’70s to the early ’90s, it runs the gamut of disco, hi-NRG, electro pop, and the woozy afterhours style known as sleaze. It’s hard to pick a favorite set, but I’m particularly partial to the first part of a marathon 1986 recording of Jim Burgess from the Saint , a members-only gay club on Manhattan’s Lower East Side that ran from 1980 until 1988. An acclaimed remixer, Burgess brings a producer’s careful sense of pacing to the decks: He begins with Debussy’s “Prelude to the Afternoon of a Faun,” then slips in Walter Murphy’s languid disco interpretation of the piece. Things quickly get weird, as the agonized funk of Robert Fripp’s “Exposure” morphs into the vocodered mechanics of the Android Sisters’ “Robots Are Coming.” You can hear how many sounds were in the air—proto-house, post-disco, new wave, and innumerable ephemeral ideas that never earned a name. Even at a time of grave uncertainty, Burgess’ set encapsulates a sense of promise—a belief in the transformative powers of the new.

Last time Mumdance was booked to play Primavera Sound, in 2019, he ended up dropping out and checking himself into rehab. More than three years sober , he’s back to playing gigs again, and from the sound of his 90-minute, four-deck set at the Barcelona festival, you can tell he’s feeling celebratory. From 4 ’til 5:30 in the morning, he treated intrepid ravers to a full-on party. The “ Mentasm ” stabs that so ominously open the session are a headfake: The apocalyptic scene-setting quickly gives way to much lighter fare, and over the next hour and a half, he switchbacks his way through acid, techno, grime, jungle, and vintage hardcore, rarely lingering on a single track for long. Both his selections and his quick-cutting mixes are primed for maximum dopamine release, and the finale is a heart-racing climax that pushes the tempo dangerously into the red. If one moment sums up the vibe, it’s around 53 minutes in, as blistering acid gives way to a moment of silence and then a brief snippet of Madonna’s “Like a Prayer.” Yet as the New York dance-pop icon launches into the song’s refrain (“I hear you call my name/And it feels like—”), a deftly spliced-in sample finishes her sentence for her: “Ecstasy.” Cartoonish rave stabs come bounding into the frame, and it’s off to the races. Mumdance’s 90 minutes behind the decks are as giddy as peak-time sets come.

Dance music and driving have a long history together. Detroit techno’s links to the city’s car culture are immortalized in records like Model 500’s “Night Drive (Thru-Babylon)” and Carl Craig’s Landcruising ; UK duo Orbital took their name from the ring road that funneled ravers to outer-London raves in the late ’80s and early ’90s; Galcher Lustwerk ’s Road Hog project is a love letter to the pleasures of taking the wheel. DJ Voices’ mix for Mixtape Club —a Patreon-funded project founded by Finn and Local Action—finds inspiration in a similar synchronicity of rhythm and road. “Listening to a mix in your friend’s car is likely where you start your relationship with dance music,” says the New York DJ, aka Kristin Malossi, whose Florida upbringing gave her an appreciation for the way repetitive grooves complement long stretches of freeway. Here, she turns to rolling, rippling strains of house and techno for a set that replicates the feeling of disappearing into your thoughts at 65 miles per hour. Her picks, both old and new, are steeped in classic sounds. Harry Mariani’s 2001 cut “Nagchampa” is a slice of Y2K-era progressive house at its most hypnotic; DJ Headshot & Matris’ “ Space Bells ” is from just last year, but it sounds like an old-school bleep-techno workout, kissed with a hint of Balearic warmth. Malossi’s selections display a singular focus across the entirety of the set, and the mixing is as smooth as the gearshift on a luxury sedan. Gas prices may have scuttled your road-trip plans for the summer, but DJ Voices brings the feel of the open road to life.

Peder Mannerfelt is no stranger to white-knuckled thrill rides , but not everything the mischievous Swedish electronic musician does is so intense. In a set for Stockholm experimental perfumers Stora Skuggan —makers of scents such as Moonmilk, Mistpouffer, and, um, Thumbsucker—he drops the tempo down to 100 BPM. But this is no garden-variety chill: Digging into woozy syncopations, rubbery acid modulations, and jittery double-time programming , Mannerfelt shows how dynamic this slow-moving zone can be. Mark Ernestus’ Ndagga Rhythm Force twists African percussion into elastic shapes; DJ Python exploits the springy qualities of dembow patterns. The tempo zone gives Mannerfelt the opportunity to dust off some classics you don’t typically hear mixed, like Tricky’s heartbreaking “Christiansands,” and bust out rarities from his collaborators Glasser and Fever Ray. Around 52 minutes in, keep your ears peeled for a gorgeous new track from Aasthma, Mannerfelt’s duo with Pär Grindvik, featuring HTRK’s Jonnine Standish.

Powder isn’t a flashy DJ. She tends to stick to a mixture of techno and house, from bleepy to deep; her selections often aren’t particularly radical or terribly obscure. But the Tokyo electronic musician has a way of blending tracks together that creates something entirely new out of them. If there’s a throughline in her set for London’s Mantissa mix series, it’s the rolling hand percussion that surfaces again and again, tying together muted chords with splashes of disco and dub. She covers plenty of ground, connecting sounds that have little in common (squelchy electro funk, minimal house, slinky disco) with understated blends: Around halfway through, a boisterous piano-house jam with yelpy vocals melts so gradually into a low-key drum track that you barely notice the transition.

Sometimes, you just wanna funk, and when Steven Julien and Shy One threw down at Amsterdam’s Lente Kabinet festival not long ago, they brought just the stuff for it. For two hours, the Apron Records boss (fka FunkinEven) and fellow Londoner Mali Larrington-Nelson lay down a dynamic mix of deep house, broken beat, electro, and jazzy techno mixed buttery smooth. Straight out the gate, they strike a heady but muscular tone with the carefully swung, high-stepping groove of Pablo Valentino’s “ Hum Hum ,” followed by Louie Vega’s more introspective “A New Day.” Rooted in classic strains of Black American and British dance music, the vibe throughout is timeless. The drum-machine workout of Julien’s own “POT808” flash back to lo-fi experiments of the 1980s; Pal Joey’s eternal “Party Time” injects a moment of levity about halfway through; and in the set’s final third, they even briefly dip a toe into freestyle, adding an extra dose of summery bliss to a set shot through with sunshine.

Trip-hop never really died—the slow-motion sound of ’90s chillout rooms lives on in today’s “lofi hip-hop” and music-to-study-to playlists. I was about to say “in diluted form,” but honestly? A lot of the original trip-hop was pretty aggressively mid: bland, inoffensive fare that took hip-hop beats and rave aesthetics and repackaged them for coffee shops and lifestyle compilations. Still, when it was good, nothing soothed the nerves quite like a hit of mad blunted jazz . As other ’90s styles come back into vogue , it’s only fitting that a trip-hop revival should be on the way too. New York’s Physical Therapy has already dipped his toes into the waters of downtempo with his Car Culture project; he goes deeper with this trip-hop special , digging out rarities like “Eso Lo Que Va,” a Latin rap curveball by Balearic mainstay A Man Called Adam in his Beach Flea guise, and Pépé Bradock’s “Peer Pressure,” an oft-overlooked B-side from the beloved French house producer. One hallmark of ’90s trip-hop was the strange, even mercenary collision between major-label acts and underground remixers—a phenomenon that turns up here in picks like James Lavelle’s unabashedly epic rework of the Verve’s equally unabashed “Bitter Sweet Symphony.” To listeners who actually lived the era, encountering that song here might be a hard pill to swallow; fortunately, Physical Therapy sweetens the deal with songs like Nobukazu Takemura’s “Crescent (Howie B. Mix),” period gems that are ripe for rediscovery.

In the four years since he began releasing music, Australia’s DJ Plead (Jarred Beeler) has become known for bass music grounded in tough, percussive club rhythms, often offset by samples referencing his Lebanese heritage. He’s recently been easing off floor-fillers to explore more melodic, R&B-influenced sounds, but his Truants mix drops him back into the dancefloor’s deep end. The set starts off mellow and muted—first acoustic guitar and Auto-Tuned vocals, then buoyant ambient dub techno—but it steadily picks up steam as it goes, going from flickering drum jams into psychedelic rollers , lavish sub-bass , and gothic grime anthems. Even at its heaviest, it moves with feline grace, stealthy as a fogbank.

By Madison Bloom

By Matthew Strauss

On April 1, the Ukrainian experimental electronic musician Heinali live-streamed a 30-minute performance from a basement in Lviv that doubled as a fundraiser for his country’s self-defense and humanitarian funds. Conditions were not optimal: To make the stream possible, he had to cobble together two 50-meter ethernet cables, run them out from the basement, and shield them from the rain with a plastic bag. More pressingly, just two hours before his set, an air-raid siren had driven city dwellers scurrying for cover; since Russia’s invasion of Ukraine at the end of February, the basement has doubled as a bomb shelter.

The violence being visited upon the country only makes the contemplative stillness of Heinali’s music that much more striking. For 30 minutes, seated before a compact modular rig, he coaxed airy figures based upon Baroque counterpoint into tangled thickets of arpeggios and rich, thrumming drones. In any other context, it would be profoundly beautiful; given the war raging outside, this quiet act of perseverance takes on even greater significance—part protest, part song of mourning.

Between 1989 and 1992, the psychedelic epicenter of the UK’s acid house scene was located at 11 Wardour Street, London, smack between Piccadilly Circus and Leicester Square. It was there, at a tiny club, bar, and gallery called the Brain, that artists like Orbital and Andrew Weatherall mapped dance music’s outer limits in DJ sets and—a rarity for the time—live performances on keyboards, samplers, and sundry bits of hardware.

Live at the Brain 1990 captures a characteristically heady session from the era, a collaboration between Paul Chivers’ Ramjac Corporation, who was responsible for a handful of brain-bending techno records around that time, and the Irresistible Force, better known as the psychedelic lifer Mixmaster Morris. These days, we tend to think of ambient and house music as opposites, but, much like the KLF’s 1990 classic Chill Out , Live at the Brain 1990 proves the genres’ fundamental compatibility, wrapping propulsive drum programming and basslines in looped chants, spiraling synth arpeggios, and even the occasional snippet of birdsong. It’s a guileless, wide-eyed look back at UK rave’s golden age.

The shift from commercial mix CDs to free online mixes has been a boon for listeners and DJs alike, but for the producers whose music actually fills all those sets, it’s been yet another instance where the value of their work has plummeted. Producers historically have received a licensing fee, however negligible, when their work gets placed on a mix CD, but placement in a streaming mix typically nets only exposure. Enter French producer Maelstrom, whose “Ensemble Mix” harnesses the blockchain as a potential solution to the problem.

In March, he uploaded the mix to sound.xyz , a web3 music platform, as an NFT in an edition of 150. The price tag was .1 ETH, or around $300, on the day of release. A smart contract written into the blockchain guarantees nearly 6 percent of each sale to each of the 14 producers with a track in the mix, while Maelstrom takes home 15 percent. (FWB, the crypto organization that helped him execute the concept, got 5 percent.) The only catch is that all the producers needed to have blockchain wallets to get paid, so Maelstrom ended up sourcing the mix from tracks he found on Nina , another blockchain music platform, along with others that he solicited on Twitter.

Listening to the set—which is also free to stream —you’d never guess that he was pulling from such a limited pool. Blending heavy hitters like Space Dimension Controller and Boys Noize with relative unknowns like Bagvs and Random Brothers (both, coincidentally enough, from Indonesia), his mixing flows naturally across an evolving selection of dark techno and electro.

Sales of the set raised 15.0 ETH—on the day it was released, the equivalent of a little more than $45,000, which meant a payout of about $2,266 for each artist involved. Whether this strategy is sustainable, of course, is another question—the number of buyers willing and able to plunk down hundreds of dollars on a single mix is likely to be limited. As a musical proof of concept, though, “Ensemble Mix” revealed the growing breadth of the blockchain music community, while underscoring a simple but provocative idea: Musicians deserve to be paid for their music.

On her new Dekmantel mix, the London NTS Radio resident (and co-curator of Hyperdub’s monthly  Ø club nights ) Shannen SP is intent upon tracing connections across dance-music history, pulling together rap, techno, electro, drum’n’bass, footwork, ghetto house, breakbeat hardcore, and more, both classic and recent. The set is so tightly wound that it seems ready to snap at any moment. That’s particularly true of the closing stretch, where rapid-fire breaks explode into Tanzanian singeli, a dizzyingly fast style that sounds a little like a merengue cassette played back with the fast-forward button held down. You can tell that she had a blast mixing it, too: The faster the rhythm gets, the giddier the mood.

Washington, D.C.’s James Bangura comes out kicking in this set for UK promoters Origins Sound , doling out booming drums, punchy basslines, and the staccato chords of classic Detroit techno. Bangura’s Interpretation of Sound EP for New York’s Mister Saturday Night label in 2020 balanced muscle with depth, and his mixing here does the same: The drums hit hard, but his textures are diaphanous and billowing. The opening of the mix blends Robert Hood-like squelch with a percussive workout from veteran producer Mark Broom and cavernous techno. The mood softens in the back half as Leon Vynehall’s “Brother” gives way to a 1996 deep-house track from a surprising source . He wraps up with Detroit producer Shigeto’s “There’s a Vibe Tonight,” which is, truly, a whole vibe.

In April 2019, French bass producer Simo Cell strapped in with German breakbeat polymath Skee Mask for a seven-hour B2B set at Nantes, France’s Trempo club, and in November 2020, Simo Cell’s TemeT label released a pair of particularly dynamic 45-minute excerpts from the night as TemeTape1 , the first edition in a new series of mixtapes. The cassette sold out quickly, but in late January, Simo Cell’s TemeT label posted the whole thing to SoundCloud, making it available for all to hear without ponying up silly money on Discogs. On the A-side, the two explore grinding EBM, electro, and gothic trap, finding unexpected connections between Drexciya, Autechre, and Ikonika. The B-side is a whirlwind tour of 160 BPM that’s heavy on footwork, breakbeat hardcore, and jungle; near the end, the mix of LSDXOXO’s Depeche Mode-sampling “False Idols” into a DJ Chap track that samples New Order collapses new wave into fast techno in a way you might not believe possible.

For the January installment of her monthly show on Guadalajara’s Internet Public Radio , Berlin-based musician Slowfoam mixed together a batch of material from Seattle experimentalist Ran Park—songs, snippets, stems—together with some of her own unreleased material. The results are foggy and formless in the best way. The opening passage plays glowing synthesizers off spritzes of static and radar chirps; intimations of electric jazz add depth, and the diffuse atmosphere clears to reveal a simple, poignant piece for piano and flute—one of the “unabashedly aspirational” nods to Ennio Morricone and Ryuichi Sakamoto that Park references in a note accompanying the mix. There’s much more, too: gentle chamber-jazz sketches; glowering reeds; ambient piano; and even, toward the end, a dreamy trip-hop breakbeat. There’s no tracklisting and no clue as to which parts are Park’s and which are Slowfoam’s. It’s best to just close your eyes and let it wash over you.

In January, experimental artist Laurel Halo celebrated the one-year anniversary of her monthly residency on NTS Radio. Her show tends to range widely—a typical episode might include classical minimalism, American primitive guitar, dub reggae, and Detroit techno, all mixed seamlessly together. This program is no exception: It begins with a psychedelic Orb bootleg, drifts across half an hour of ambient soundscaping, and eventually emerges into a sunlit clearing of spiritual jazz.

Even at its most diffuse, an understated lyrical sensibility connects its disparate parts. This shapeshifting through line takes various forms—the flowing chords of claire rousay and more eaze’s “An Afternoon Whine,” the plaintive vocal melody of Reiko Kudo’s “Son of Man,” or the foghorn-like tones of Joe Zawinul’s “ Arrival in New York .” The mood throughout is deeply meditative. Following such a sustained interior journey, the closing song—Ohio Penitentiary 511 Ensemble’s jubilant “Psych City,” from a private-press 1971 recording by a group of incarcerated musicians—feels like emerging into brilliant sunlight, spiritually cleansed.

As one of the organizers of underground Berlin night spots Paloma and Monarch, a former employee of the city’s Hard Wax record store, and a music journalist with decades of bylines to his name, Finn Johannsen is a veritable fountain of dance-music history. And he’s got the mixes to prove it.

In his ongoing Hausmusik series, now 14 installments strong, he’s been documenting the ’90s house and techno scenes in German, Austria, and Switzerland. Volume 10 is particularly engrossing, tracing the delicate balance of deepness and minimalism that held sway in the middle of the ’90s. It kicks off with an uncharacteristically downy selection from Kompakt’s Wolfgang Voigt in his Mint guise before veteran duo Alter Ego, under their seldom-used Primitive Painter alias, offer a deep-diving Detroit homage; ensuing selections offer interpretations of the stabbing organs that were ubiquitous in that era. The period Johannsen surveys here tends to get overlooked in histories of ’90s dance music, and listeners who weren’t there for it may be unfamiliar with a lot these tunes—all of which makes tracks like the shimmering “ Psycho Kinesis ” all the more revelatory.

At the very end of last year, Barcelona’s John Talabot —the city’s most celebrated DJ for over a decade now—settled in at Nitsa Club, his long-time stomping ground, to deliver a peak-time set of uncommon depth. Nitsa was a crucial cauldron of local dance-music culture in the ’90s, and Talabot flashes back to those years frequently here.

It’s not an expressly retro set; toward the end of the first hour, there’s a stretch of recent tunes that feels like a wide-angled snapshot of modern techno in all its nuance. And right around the two-hour mark, he drops Burial’s 2007 track “Raver,” pitched up slightly, in a spellbinding moment of dancefloor melancholy. But the majority of the set is steeped in the bright, brittle sound of the early-to-mid ’90s, in which sullen FM bass, rigid hats and claps, and flickering pads sketched out a hypnotic fusion of techno and trance. Those early European trance sounds have been coming back into vogue lately, particularly in Scandinavia and Eastern Europe, but Talabot never tips into the headbanging tempos of Copenhagen’s “fast techno” scene. Instead, he takes something of a Goldilocks approach to blending styles. At once driving and immersive, it’s a picture of classic European dance music at its most ecstatic.

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IP Orchestra , 25 March 2022

About concert IP Orchestra in Elektrostal

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About IP Orchestra

The 2009 year saw the birth of a new ensemble – the Symphony Orchestra conducted by Igor Ponomarenko, IP Orchestra. Over a short period of time, a grandiose work has been done to create the Orchestra’s unique repertoire: the ensemble performs film music by E. Artemyev, A. Zatsepin, A. Petrov, V. Dashkevich, I. Dunayevsky, E. Ptichkin, I. Schwartz, N. Rota, E. Morricone, classical pieces by W. Mozart, F. Mendelssohn, G. Verdi, G. Rossini, J. Strauss, M. Glinka, P. Tchaikovsky, D. Shostakovich, A. Khachaturian, as well as popular and dance music. From the very first year of its existence, the Orchestra had a full schedule of performances, along with executing important government projects both in Russia and abroad and participating in major events such as celebration of the 65th anniversary of the Victory, Russia Day, St.-Petersburg Kinoforum, the 300th anniversary of Tsarskoye Selo and Oranienbaum, the “Salnikow Cup” Opening Ceremony, a unique major multimedia show “Scarlet Sails”, the VI International Dance Sport Tournament (Governor’s Cup 2010), concerts of Soundtrack project, recording of music for motion pictures. A great success was the concert tour of the Orchestra under I. Ponomarenko in UAE with performances of music from the “Matrix” and “Transformers” motion pictures, as well as its concert tour of Estonia. Brilliantly organized by the ensemble were the author’s recitals devoted to V. Dashkevich, E. Artemyev and A. Zatsepin. In October 2010 the “LOVE” album was released featuring music of one of the most fashionable and sought-after composers of today – Eduard Artemyev. The Saint-Petersburg Symphony Orchestra conducted by Igor Ponomarenko is the only academic orchestra in Saint-Petersburg that uses modern acoustic systems (electronics) in addition to conventional symphony orchestra instruments. The Orchestra cooperates with the best DJs of Saint-Petersburg: Vlad Zhukov, Pavel Zavyalov and others. Among soloists performing with the Orchestra under Igor Ponomarenko are: Anna Netrebko, Iosif Kobzon, Emma Shapplin, Anastasia Maksimova, leading soloists of the Mariinsky and Mikhailovsky theatres.

DK im. Karla Marksa

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The most incredible, angelic, beautiful person to ever grace this earth. I've never been more stunned by a performance. SZA met and exceeded all of my expectations, I cannot put into words how amazing she is live. It's an experience you don't want to miss if you get the chance to see her. She was so happy and humble and was continuiously appoligizing for being sick and I honestly couldn't tell, that's how great she is. Also the experience brought me life not only because I got to see her preform but because everyone was singing every single word to every song with her. Truly incredible when you are surrounded in a room full of people singing your favorite songs at the top of their lungs. Needless to say I want a live version of ctrl after all of this so I can reminisce.

Ethereal, hopeful, humble, powerful... just absolute ART. The show was focused on everyone, a celebration of culture, love, identities, and struggle. I love that she made it more about the group on stage as a whole than just her- Tons of stage presence nonetheless. Beautiful band, beautiful backup singers. The lighting was amazing and the stage was so well done and simple. Solange holds her own and I cannot wait to see her when she comes back. You can tell she was feeling it when she got down on the left side of the stage and started singing to us, beautiful moment that reminds me why I love going to live shows/concerts. Flying Lotus was an absolute trip as well. I wish she would've brought Kelela out on this date... Scales is such a beautiful song and I'd of loved to see it live with them two.

Tyler, The Creator

I have been a fan of Tyler for a long time, as well as the whole group of OFWGKTA, and seeing him live was something I had on my bucket list. I went in with high expectations for his show, already knowing of how much energy and enthusiasm he puts into his live performances. What I got at The Forum went above and beyond anything I could have hoped for. The crowd was amazing, knowing every song and shouting and yelling along with unrivaled amounts of energy. Tyler was just as, or even more, energetic and knew how to work the crowd perfectly by interaction, be it between moments talking about random things or talking about his music and singing. I was blown away by the fact that at least twice he called to stop the song just to start it again because he loved how into it the crowd was and wanted to see it again. Of course we, the crowd, loved it and drained our lungs out with every lyric. I've seen the Arctic Monkeys, Sleigh Bells, Banks, Pendulum, Wolf Alice and others and can honestly say Tyler was the best overall. Everyone exited the venue with shirts soaked in sweat and with cracking voices, with grins on their face from having experienced something they'd never forget. If you like Tyler, or by extension OFWGKTA, you have to see him live if you get the opportunity, you can never anticipate how godly his live performances will be. I will definitely be waiting for his next visit to see him again.

Literally the best thing I have ever seen. The whole band sounded so tight, the light show was insane and they really played to the audience. Two full sets of material plus an encore was probably more than any of us expected. They played so many songs that I wanted to hear, even some really old material which was so unexpected. The whole audience was buzzing with energy and love for a band that are so good, but really don't tour enough. I'd waited 10 years for a chance to see them and now that I have, I'd have waited another 10 if I knew it was going to be that perfect. It was a privilege to be in that room and witness something so beautiful.

The War on Drugs

Grace is a highly underrated quality for a rock band to possess. When compared to other, more universal assets like rawness, volume and ability it might seem a little forgettable, but a band playing to the absolute best of their ability and making it look as natural as breathing can be the genesis of some truly unforgettable moments of live music. Not one band that I’ve seen sums this sight up as well as Philadelphia indie rockers The War on Drugs, and when it comes to their sold out show at the Koko, Camden’s most ornate venue, most traditional phrases describing a well played gig seem too violent to sum it up. They didn’t “smash it”, they didn’t “blow the roof off”, they didn’t “destroy the place”, they were far better than that. Make no mistake, Adam Granduciel and co played up a storm, their psychedelia inflected country-rock filling every inch of this beautiful venue but the atmosphere was unlike any gig I’ve been to in a very long time. The crowd lost themselves in the music in a way that didn’t lead to mindless moshing and crowd-surfing, the 1400 people were enraptured, moved by the music, not to the music. It was an experience as beautiful as it was exciting and anyone with a passing interest in this life affirming lunacy we call Rock and Roll should seek it out as soon as possible.

Jon Hopkins

Hands down the best live concert I've been to in a long time. The newest album is a dream to hear live and this was made even better by the Audio-Visual effects, which were amazing! The venue is a really great space with a stunning sound system and tech. at hand - but really the credit goes to a fantastic artist who performed amazingly. Most of the setlist was from his newest release, but his editing and remix of these tracks and sneak peeks of some newer tracks made it even better!

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Since launching our first app back in 2007, you guys - the fans, the concert-goers, the musical explorers - have been at the very heart of everything we do here. Our dream and our drive was always to bring Songkick members closer than ever before to the sounds they love, and the people who create them. Simply put, we pride ourselves on being your direct link to the greatest music artists on the planet.

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Best live artists

A quick glance at our Most Popular Artists chart might tell you a few key things about the sorts of music fans we vibe with. For starters, it shows just how varied our members' tastes are. Pop, rock, dance, hip-hop, indie/alt and R&B all feature heavily, alongside a whole bunch of underground genres and rising scenes.

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Maroon 5, Beyoncé, The Midnight, Red Hot Chili Peppers, Taylor Swift, Calvin Harris, Imagine Dragons, Justin Bieber - and that's barely looking outside the top 20.

After all, if the weekly race for a spot on our most popular charts tells us anything, it's that the whole concept of 'best live bands' is a tricky one to pin down. Everybody's looking for a completely different type of experience, every night of the year.

That's another thing we love about our users: you're incredible at keeping us on our toes. In return, we’ve made it our mission to help keep you on yours.

Find and follow your favorite artists on Songkick

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Songkick started out with the goal of helping you capture that moment as often as possible. Now, more than a decade into this, it's 100% what we're still about today.

New members visiting our site or downloading the app can use our powerful search tools to stay ahead of the game. Simply log in with a user profile to keep tabs on more than 6 million bands, shows, festivals and live streams. By joining them, you'll be sharing a platform with 15 million fellow music fans worldwide, all using Songkick to:

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Written by: AXEL BREITUNG, RENE BAUMANN

Lyrics © Peermusic Publishing

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Victor Mukhin

• Scientific Program

Title : Active carbons as nanoporous materials for solving of environmental problems

However, up to now, the main carriers of catalytic additives have been mineral sorbents: silica gels, alumogels. This is obviously due to the fact that they consist of pure homogeneous components SiO2 and Al2O3, respectively. It is generally known that impurities, especially the ash elements, are catalytic poisons that reduce the effectiveness of the catalyst. Therefore, carbon sorbents with 5-15% by weight of ash elements in their composition are not used in the above mentioned technologies. However, in such an important field as a gas-mask technique, carbon sorbents (active carbons) are carriers of catalytic additives, providing effective protection of a person against any types of potent poisonous substances (PPS). In ESPE “JSC "Neorganika" there has been developed the technology of unique ashless spherical carbon carrier-catalysts by the method of liquid forming of furfural copolymers with subsequent gas-vapor activation, brand PAC. Active carbons PAC have 100% qualitative characteristics of the three main properties of carbon sorbents: strength - 100%, the proportion of sorbing pores in the pore space – 100%, purity - 100% (ash content is close to zero). A particularly outstanding feature of active PAC carbons is their uniquely high mechanical compressive strength of 740 ± 40 MPa, which is 3-7 times larger than that of  such materials as granite, quartzite, electric coal, and is comparable to the value for cast iron - 400-1000 MPa. This allows the PAC to operate under severe conditions in moving and fluidized beds.  Obviously, it is time to actively develop catalysts based on PAC sorbents for oil refining, petrochemicals, gas processing and various technologies of organic synthesis.

Victor M. Mukhin was born in 1946 in the town of Orsk, Russia. In 1970 he graduated the Technological Institute in Leningrad. Victor M. Mukhin was directed to work to the scientific-industrial organization "Neorganika" (Elektrostal, Moscow region) where he is working during 47 years, at present as the head of the laboratory of carbon sorbents.     Victor M. Mukhin defended a Ph. D. thesis and a doctoral thesis at the Mendeleev University of Chemical Technology of Russia (in 1979 and 1997 accordingly). Professor of Mendeleev University of Chemical Technology of Russia. Scientific interests: production, investigation and application of active carbons, technological and ecological carbon-adsorptive processes, environmental protection, production of ecologically clean food.   

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