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The year is 2011. I’m at the Natural History Museum in LA for a field trip during my sophomore year of high school, and I’m staring at this old ruin.

A ruin that has a significant history in the city where I was born. A ruin with the words “Los Angeles Memorial Coliseum” displayed in massive letters on the front.

As I stared at this historic building, which had been mostly deserted at that point, I was unknowingly combining two pieces of history as I was simultaneously listening to “I Remember” by Kaskade and deadmau5 on my iPod shuffle because a boy I liked said it was his favorite.

I had no idea standing there, discovering dance music for one of the first times in my life, that I had just missed a pivotal time in dance music history: the LA Coliseum hosting their last raver mecca, EDC, in Los Angeles.

Growing up, many of my peers and I had been deprived of the dance music culture that apparently used to thrive in LA. Gone were the days of massives, raves, and underground events, swept away in the anti-rave sentiments that followed EDC 2010.

When an alumnus from my middle school who is now known as Skrillex made a remix for a fun song called “Cinema,” it spread through my high school like wildfire. I thought to myself after hearing it ad nauseam, “I’ve never heard this kind of music in LA.”

By the time LA youngsters like me began to develop our own tastes alongside the desire to rebel and focus on individuality, the dance music scene had been snuffed out.

So when the news dropped that Insomniac would be returning to the Los Angeles Coliseum for the first time in over ten years with HARD Summer, it was a big deal.

While many ravers simply felt an internationally iconic venue was returning to its roots, LA natives felt a rush of emotion flood back: the nostalgia from their first events; the excitement to have a massive back in their hometown; and trepidation as this meant all eyes would be back on their city.

But the historical significance of HARD Summer heading back to the Coliseum cannot be overstated as it represents more than just an electronic festival returning to LA, but of a city once so opposed to their culture finally reaccepting the community that used to call it home.

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EDC 2010: Tragedy & Ecstasy

Almost one year before my field trip to the museum, in June of 2010, EDC’s 13th edition was set to make waves once again at the LA Coliseum.

Local and international ravers alike flocked to the electronic music haven to see artists like Afrojack, A-Trak, Dada Life, Avicii (RIP), Swedish House Mafia, and more and to connect with other outcasts where Peace, Love, Unity, and Respect flourished.

2010 was when many of us millennial/Gen Z ravers discovered dance music. Kaskade’s Dynasty, Skrillex’s Scary Monsters & Nice Sprites EP, and David Guetta’s “Memories” were the soundtracks to our EDM-fueled childhoods that culminated in the Los Angeles mecca that was EDC 2010.

And this could be felt in every aspect of the landmark festival.

We spoke with Interstellar performing artist and longtime dance music veteran, Anakim, real name Riccardo LeBron, about that very fateful EDC, who said, “Back then… it was the purest love energy I’ve ever felt in my life. And that’s really what attracted me to the culture and to the scene…Some of the people that I’ve met back then are still my friends today.”

LeBron says the love, culture, and music at EDC 2010 really kicked off his connection to the music and the scene, eventually inspiring him to become a DJ after experiencing a sea of people on the same wavelength and feeling the same energy.

But despite this overwhelming love, not everything about EDC 2010 could be perfect. Videos began to surface showing crowds surging toward the field after the main stage was shut down due to weather issues.

LeBron said about the scary moment, “I was literally ten feet away from them and I remember they were all jumping over the fence. There was this one area right next to the staircase off the side of the bleachers where there was a big bottleneck funnel and all the kids were getting crushed. I remember those images very vividly.”

An even more harrowing tragedy struck after a 15-year-old girl died from drug-related complications that same night, sending the community into chaos and government officials into action.

EDC 2010 was 16+, so IDs and age verification were extremely difficult to enact, and from there, the impression of raves in Los Angeles was akin to riots. Wild. Out of control. And most of all, dangerous.

In 2010, government official Fiona Ma proposed an “anti raves act” which would ban raves from publicly owned venues, citing, “Raves foster an environment that threatens the health and safety of our youth. The introduction of AB 74 is the first step toward eliminating these dangerous events. Raves are a statewide problem and require a statewide approach. It’s time that the Legislature says enough is enough and (provides) law enforcement with the tools to shut down events that have displayed a pattern of fostering youth drug use.”

The Coliseum immediately enacted a temporary ban on new contracts with rave organizers, and while the ban was quietly lifted a few months later, there had not been any major EDM events at the same scale as EDC 2010 since.

LA was once a thriving center for raves, massives, and electronic music but major festivals from Insomniac and other promoters were forced to move to other regions like San Bernardino or Las Vegas.

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More Order, More Mainstream, But Still Elusive

The loss of EDC from Los Angeles shook the rave community and left many without a place to call home. But the dance music wave that had taken hold of so many outcasts was growing into a tsunami that would soon take over the mainstream airwaves.

Those ravers who had their passions sparked by Kaskade, Skrillex, and David Guetta quickly became obsessed as 2011 was the year that many names still on the top of the EDM charts today began to take control of mainstream music.

Calvin Harris‘ “Sweet Nothing” and “Feel So Close” alongside “Levels” by Avicii turned “electronic music” into “EDM,” a term that picked up speed and was racing through the music industry.

“I think the overall shift was that it just became more and more mainstream. A lot of the fratty guys who were super anti-rave that we went to school with, suddenly we’d be walking in a rave and they’d be like, ‘Oh, what’s up?’ And if all of these kids that we knew to be super anti-anything dance music are now front and center at main stage, we thought this was going to be something bigger than we could ever imagine,” LeBron says.

Around 2013, Live Nation, the world’s largest concert promoter, bought a 50% stake in Insomniac, the company behind EDC. They added a sense of legitimacy to the once old-school rave company and turned it into a trustworthy, full-time business.

And with this partnership, Insomniac was able to expand its festivals and highlight dance music in a way that breathed life back into the scene, with Nocturnal Wonderland, Beyond Wonderland, their acquisition of HARD Events, and new events on the East Coast, the Midwest and eventually an expansion into Europe, Asia, and South America.

But once again, Los Angeles was a dance music desert.

In 2013, I had just turned 18 and a friend of mine who was a bit older than me was talking about going to Electric Daisy Carnival. The lineup looked incredible but how could I convince my parents to help pay for a trip alone as a barely adult to attend a multi-day concert in sin city?

EDM-forward concerts at the Coliseum became scarce after 2010 when tragedy struck, and there was a large gap in concerts overall between 2018 and 2021 for huge renovations of the venue built in 1923.

Until 2021…

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Embraced & Supported

Around 2021, a new resurgence of electronic music at the Coliseum began. Sofi Tukker and LP Giobbi played shows in 2021 before huge players like Framework brought The Martinez Brothers to the torch in front of the Coliseum.

At the end of 2022 Kx5, the collaborative project from deadmau5 and Kaskade, played, according to Pollstar, “the largest single-day concert headlined by an electronic music artist ever in North America” at the Coliseum. 

I remember reading about the Framework show and thinking, “Oh ya, the Coliseum used to be a venue.” My LA peers and I had never seen the Coliseum in its glory days, been to an event there, or even been allowed to step foot inside during our school field trips.

And finally, during the 100th anniversary of The Coliseum, HARD Summer announced its return.

Teresa Guy, Director of Booking and Partnerships at USC, the owners of The LA Coliseum, explained the shift in attitude towards the genre:

“There’s definitely been an evolution of electronic dance music in the last 10 to 13 years. I would say that a decade ago it was still probably an underground movement and something that you would see in warehouses and in clubs. Now at this point, dance music is popular music.”

The decision to bring back HARD, according to Guy, was a call back to the glory era of dance music in LA, meant to instill nostalgia for those who longed to return to its inaugural edition in 2007.

The LA community sees this as an opportunity for dance music to return to the city it was once shunned from. LeBron said, “I feel like there’s this whole generation that grew up not having anything in their own hometown. There’s this huge culture of not only dance music veterans but also people who are just discovering dance music that I think really need some sort of a massive in Los Angeles to call home again.”

But this time, festivals are not as free and unpoliced as they once were. They’re a serious business. Guy elaborated that “the Insomniac of a decade ago isn’t the Insomniac of today” with the new HARD Summer working with security, LAPD, medical teams, and more to make sure that safety is the top priority.

And for the future of dance music, artists, fans, and organizers only see it growing as Flume, Subtronics, and Kazyo headline arenas in LA like the Kia Forum, SLANDER sells 22,500 tickets in less than two hours as the only music act ever to do two shows at the LA Convention Center, and festivals become more and more common for the everyday music fan.

As someone who grew up in LA without any big electronic events in my backyard, seeing the once-empty Coliseum as more than just a part of the Science Center and Natural History Museum while heading back to its glory days with the genre I love, I feel more connected than ever with the city I called home for so long.

HARD Summer takes place August 5-6, 2023 at the LA Coliseum and BMO Stadium. Tickets are completely sold out.

All images provided by Rukes.

The post From Gutted To Glory: HARD Summer’s Homecoming To The LA Coliseum appeared first on EDM Maniac.


By: Danielle Levy
Title: From Gutted To Glory: HARD Summer’s Homecoming To The LA Coliseum
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Published Date: Fri, 28 Jul 2023 21:07:10 +0000

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A State Of Trance Top 1000 #1 Is Revealed!

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After 30 years of nothing but Trance excellence, with all the feels, and all the incredible talent, Armin van Buuren‘s legacy prevails. A State of Trance Top 1000 Award revealed the number one track of the label. We can’t imagine how hard it was to pick their top track ever. Cue the drum rolls please… The award goes to none other than Dutch Trance producer RAM and German DJ Jorn van Deynhoven. The honorary title is thanks to their remix of the 2009 masterpiece ‘RAMsterdam’.

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A post shared by ☆ R A M ☆ (@ramofficial)

The Duo took it on their social medias to showcase the plate they received to commemorate the award. We can’t forget the track has earned over 10 million streams on spotify. The track embodies Trance in its rawest form. Its true nature and drive summarize the power the genre carries from decade to decade. Naturally, ‘RAMsterdam’ (Jorn van Deynhoven Remix) reigns supreme over 999 other songs that have moved millions of people since the inception of A State of Trance. Furthermore, RAM mentioned on his Facebook post that after he earned the title, DJ Mag announced his residency in the number one Trance club in China for 2024.

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Both artists are one of a kind, and the award deeply recognizes the mark they continue to leave on a State of Trance and the scene itself. ‘RAMsterdam’ (Jorn van Deynhoven Remix)paved the way for more unique sounds to evolve and develop to this day. RAM and van Deynhoven have what it takes to carry the title of worldwide phenomenon.

Congratulations to these two legends! Now, go ahead and leave ‘Ramsterdam’ (Jorn van Deynhoven Remix) on replay. After all, it is the number 1 ASOS Top 1000 track.

The post A State Of Trance Top 1000 #1 Is Revealed! appeared first on EDMTunes.


By: Jay Seabrook
Title: A State Of Trance Top 1000 #1 Is Revealed!
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Published Date: Tue, 30 Apr 2024 13:54:55 +0000

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[EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too

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The large ‘U’ festival celebrated a fantastic return to South America recently.

When you think of Ultra Music Festival, you likely gravitate towards Miami straight away. But we’re lucky enough to have them all over the world, celebrating parties far and wide. That is certainly a blessing for energetic crowds living in somewhat further places in the globe, like South America.

I’ve been here for a while, and it’s safe to say it’s growing a strong community of Dance-devoted madmen like me. I’ve been lucky enough to get to know the Argentinian scene fairly well, and also those in its neighbouring country, Chile. This is a country where Hardstyle reigns supreme, and genres like Techno and its branches are seeing a roaring uptrend in the number of fans and followers. So much so, that Ultra themselves decided to pay a visit. A two-day visit, mind you.

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Ultra Chile: Its History

Chile had its first Ultra in 2013, with the next two years also calling artists from around the world to come together on the far southern end of the globe for Ultra Chile 2014 and 2015. The year after, Chile received a more compact Road To Ultra, as well as in 2017, for the Ultra host of those years was the continental giant, Brazil. After that, Chile would have to wait some time before the brand set foot on it again.

2023 saw Road To Ultra return to the long country for a Halloween party, headlined by Marshmello, Nicky Romero, Oliver Heldens, and Two Friends. And this year, the acclaimed main branch returned in full force, with two days of unstoppable beats coming from a handful of places, and showcasing an impressive plethora of talents, established, up-and-coming, returning… everything.

It was held on Friday, April 19th, and Saturday, April 20th, in Santiago’s iconic go-to place for massive events, Espacio Riesco.

Day One: Friday

Day One kicked off late in the afternoon, at 7 PM to be precise. The crowds started to appear from very early on. Once inside, it was time to have a look at the place, and, oh dear, they truly made the most out of the venue. Three of the four stages were on that day, the Mainstage, on the back of the property and boasting an impressive open-air setting, the Resistance stage, a blacked-out, massive former plane hangar to welcome the best Techno represents in the world, and the Carolina stage, a local-lineup filled stage out on the open.

Day One Winners

Jumping between the Mainstage and the Resistance stage allowed me to watch basically all artists for a little. That’s life at a festival, you can’t really marry one particular DJ. That said, I think I’ve got my favourite artist of the night, and it is Stephan Bodzin.

I had never watched him play, so I was basically going in not knowing what to expect. Add to that, I was at the Main seeing Armin before, so I didn’t really know what I was about to witness. Walking into Resistance, the first thing I noticed was that there was A TON of space to dance and just be yourself. The Mainstage was filled to the brim with people, and well, that left the Techno-devoted stage with a crowd that was truly enjoying Bodzin’s magic. I did too.

I swear, ten minutes in I was already fully hooked. Eyes closed, moving side to side, that kind of hooked. Him playing a live set was a tenfold amplifier as well, since he was interacting a lot with the audience, and the audience interacted a lot with him back. Ask me to name one track from his set, I can’t. But what I CAN recall vividly is how happy he was managing his instruments, and how happy the people dancing beside him were. I was one of them, fully gone away in a trance. A star for you, mate.

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Day Two: Saturday

Day Two started quite earlier, promising twelve endless hours of good music. My friend — who flew in from Buenos Aires for the festival — and I entered the place just past 2:30 PM. And after a little day tour of the venue, we headed straight to the brand-new Resistance Square stage. Reason being, Daniella Da Silva was on at 3:00.

The stage itself was really interesting to me, since the Ultra guys turned this giant conference place into the host for the darkest, most energetic beats of the entire day. I remember my highschool once took me for University speeches or something of that kind literal years ago, and seeing it changed to fit a literal Ultra festival blew me away.

The other stages were just as breathtaking as the day before, and now places like the Mainstage enjoyed the geographic surroundings of Espacio Riesco: mountains for days. It was another level. Point for you, day parties!

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Day Two Winners

Daniella Da Silva

My friend wanted to see her so badly, and I wanted to learn from someone new to me. Good. Lord. Those were 90 minutes of nonstop dancing. There are pictures and videos of me absolutely losing it during her set which I won’t show for, reasons, but let me tell you, her energy is sensational. Dark, Hard Techno. I’m not of the kind to enjoy that in a car ride or on a normal day, but I for sure allowed myself to enjoy her beats at Ultra. I felt slightly sore after that, and that should tell you enough of how good of a set hers was.


My childhood hero. How wouldn’t I have enjoyed Hardwell’s set when he was my role model when I was in school back in the day? Growing up loving ‘Encoded’, ‘Spaceman’, and his remix of ‘Man With The Red Face’, it was about time to see him again. Absolutely nuts. Lots of what he played I had heard before at his Ultra Miami set from earlier this year, but far from taking away from the experience, it allowed me to sing my lungs out. Special shoutout to that ‘Strobe‘ x ‘Save The World‘ mashup which nearly got me crying.


These guys take the gold for me, no question. Seeing Hardwell, you know beforehand that it’s going to be a phenomenal show, but I had never seen Kasablanca before. I’d only heard their Anjuna tunes. And so my friend and I got to the very front of the Mainstage to see them. We could not have decided better.

They played a live set, just like Bodzin had done the day before. The difference here was the setting: While Stephan Bodzin played inside the warehouse vibe of the Resistance stage, Kasablanca did it out in the open. And their set just so happened to occur during the last hours of the day and into the night, sunset included.

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They absolutely rocked it. From synths to vocals to literal choreography, their set had it all. They truly made good use of the Mainstage speakers as well, with their fat-bottomed tracks. I can’t tell you just how magical that time was, even the landscape fit the vibe of their music. Mountains all around, the clouds turning slightly red at sunset (see a few pictures above), and the moon reigning high aloft by the time they dropped their remix of Above & Beyond’s ‘Black Room Boy’. The duo take the gold, and my heart with it. I won’t turn down the possibility of seeing them in the future.

Final Thoughts

It had been a while since I last attended a big festival, since I’d been much more inclined to go to artist-focused events. It was a refreshing treat to come to Ultra Chile and soak in the festival experience again. My mate and I had a great time, enjoyed the food (shoutout to Papa John’s), the Gin Tonics, and the feel-good atmosphere. For now, be right back, I’ll be listening to Kasablanca!

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The post [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too appeared first on EDMTunes.


By: Felipe Latorre Cabello
Title: [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too
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Published Date: Mon, 29 Apr 2024 18:43:56 +0000

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Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage

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As time goes by, some songs become timeless classics. Even more when artists reimagine different emotions and moods. This is the case with Eynka‘s ‘Beyond Us‘. It wasn’t long until Swiss Electronic duo Adriatique made their own renditions of the track. They amped it up a notch when they immortalized their rendition at the Hatshepsut Temple in Egypt last year for Cercle. Finally, we’re delighted to get an even more magical version of the track, brought to you by Deep House Parisian Icon Alex Wann.

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A post shared by Alex Wann (@alexwannmusic)

‘Beyond Us’ (Hatshepsut Version Alex Wann Remix)

How do you remaster and refresh a track that has so much influence and power, you may ask? Well, it seems like Alex Wann found the right formula for his ‘Beyond Us’ remix. From Eynka’s melodic touch, to Adriatique’s deeper and darker undertones, Wann manages to deliver an ethereal track with powerful afro elements. The percussion calls out to your ancestors, and the groove represents the vast deserts phenomenally. After a successful run with his Kelis’ ‘Milkshake’ Remix, the producer continues to influence the world around him.

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A star in the rise, Alex has received the support from House legends Keinemusik, Pete Tong, Swedish House Mafia, Diplo, and Blond:ish. This remix furtherly proves his ability to produce with different elements and styles, such as Adriatique’s unique sounds. Earlier this year he embarked in a North American tour, visiting major musical capitals such as Miami, New York, Toronto, San Francisco, and Montreal. Next Up, Alex Wann will make his rounds around Ibiza, Milan, Dubai, and La Bourget.

Watch out for Alex Wann this summer! He will most likely reign supreme with this delicious version of ‘Beyond Us’.

The post Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage appeared first on EDMTunes.


By: Jay Seabrook
Title: Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage
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Published Date: Mon, 29 Apr 2024 01:18:32 +0000

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