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German electronic pioneers Kraftwerk are going on tour next spring, announcing on Thursday (Dec. 5) a 25-city North American run that starts on March 6 in Philadelphia. The trek includes the group’s previously announced performances at Coachella 2025. Explore Explore See latest videos, charts and news See latest videos, charts and news Ticket for the […]
In the opening moments of his latest project, Troye Sivan makes it clear that his career would not be what it is today had it not been for the queer artists who came before him. “I’m definitely not fighting for my life on the street — I get to make music videos and I get to be true to who I am,” he said. “I do feel like I really carry that with me with kind of a sense of guilt because of how lucky I feel.”
The acknowledgement comes from Sivan’s appearance on a new installation of the Audible original series Origins. Throughout the episode, Sivan dives deep into his personal backstory, examining key moments from his early life that helped foster his love of music today. In the process, he takes a look forward at where his career is headed — and what that means for music at large.
Sivan isn’t the only artist taking a deep dive on the new series. With four episodes released on Thursday (Dec. 5), Origins also delves into the childhood stories of Victoria Monét, Kali Uchis and Dominic Fike.
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Ahead of his appearance on the series, Billboard spoke with Sivan about the importance of acknowledging his queer forebearers, the “lightning in a bottle” feeling of his co-headlining Sweat Tour with Charli XCX and what’s giving him hope in dark times.
You speak a bit in this episode about the queer artists and bits of pop culture who came before you that helped pave the way for your career. Why is it important for younger listeners to learn more about our queer elders?
I feel that understanding the contributions of queer artists who came before us is vital. They navigated challenges we can’t even imagine, often at great personal risk, to express their truths and create art that resonated with their experiences. For me, it’s about honoring their legacy and understanding the cultural and historical context that shapes our present.
When you look at the very queer pop moment that we’re living in now, how do you acknowledge your place in pushing this genre forward?
I feel incredibly fortunate to feel a small part of a moment where queer voices are more visible and celebrated in pop culture. My aim has always been to create authentic art that felt true and genuine to me. I’ve always felt that people are smart and in tune to what is real, which actually makes my job fairly easy — to listen to myself and to make something real to me, that I like, and that I am proud of.
You also speak in the episode about the internet as a place for you to explore your sexuality. Obviously, the internet has changed a lot, especially over the last few years. Do you find yourself worrying for the continued curation of those safe spaces online?
I don’t know what I would have done without the internet — it has been a crucial platform for so many in the LGBTQ+ community to explore and express themselves. It’s changed a lot, and I think people always need to be weary and keep safety in mind, but I do also feel that there will always be those safe havens and communities online that foster a feeling of being seen and heard, if you know where to look.
We also get to hear you talk about the start of your acting career in the episode. Do you see yourself returning to acting any time soon, or are you more interested in focusing on your musical career?
Acting has always been a passion of mine, and I cherish the opportunities I’ve had in that realm. While music remains my primary focus, I’m open to exploring acting projects that resonate with me and scare me. I feel lucky to be able to approach acting like this, as a passion, rather than a day job.
You wrapped up the Sweat Tour with Charli last month. How do you feel looking back now on that experience today in terms of the arc of your career?
The Sweat Tour felt like lightning in a bottle. Reflecting on it, I already feel so nostalgic for it and see it as a bright highlight in my life. It spoke to all the things that feel so important to me — pop, community, collaboration, friendship.
We’re living through some pretty scary times for queer and trans people around the world. What’s giving you hope about our collective future with everything going on?
The resilience and solidarity within the queer and trans communities gives me hope. The same strength and resilience that’s got us to this point is present in our communities today.
The vibrant, graffiti-washed streets of Shoreditch form the nexus of Nia Archives’ world. Teeming with a mix of giddy twentysomethings and bankers looking to dance and release pressure at kitschy nightclubs, the east London neighborhood has been pivotal to the 25-year-old’s rise since she first moved from Manchester to the capital three years ago.
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Between hosting raves at pubs, rooftop dance parties and a local multi-arts space, Archives has immersed herself in every community hub or wild Shoreditch has offered her. Last year, her close affinity with the area was immortalised in mural, when an 80-square-meter image of Archives was created to celebrate the release of her third EP, Sunrise Bang Ur Head Against Tha Wall.
Eighteen months on, when the Bradford-born artist dials in for her Billboard UK interview, her apartment stretches out behind her on our Zoom call. Every inch of visible wall space has art on it, from a framed cover of Aphex Twin’s Windowlicker LP to a ‘Pour Yourself a Junglist’ print, in homage to the iconic Guinness Toucan advertising campaign.
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Like her winsome take on jungle, it is decorated with curiosities across varying aesthetics, but the space looks invitingly lived-in. Archives, born Dehaney Nia Lishahn Hunt, released her debut album, Silence Is Loud, via Island Records in April, which peaked at No. 16 on the Official U.K. Albums Chart before earning a nomination for the prestigious Mercury Prize. The 13-track collection documents her in a state of messy uncertainty. Themes including complex familial bonds and self-esteem are layered over elements of pop, indie and drum ‘n’ bass, broadening her sound without sacrificing brevity.
Archives debuted as a soft-spoken but animated producer with her first single “Sober Feels” in 2020. She has since gone on to have a tectonic impact on U.K. jungle, introducing a new generation of music fans to the genre while also being commissioned for remixes by stars including Fred again.., Jamie xx and Jorja Smith. On Nov. 8, she played a rapturous set at London’s O2 Academy Brixton, which saw her taking on more vocal duties than ever before, skipping around the stage with excitement as she rocked the mic.
Her ascent is built on deep foundations – leaving home at 16, parental estrangement, finding her voice as a songwriter. But by taking a zealously hands-on approach to everything she does, Archives’ followers have continued to turn to her emphatic, euphoric music in troubling times. Back in east London, Archives beams as she tells Billboard UK how she is “surrounded by love”; her closest friends live on the same street, and she is enjoying some downtime after recent tours across the U.K. and Europe.
Fittingly, Silence Is Loud trades in the dizziness and angst of Archives’ earlier music for soaring serenity. Though she still sings about forgiveness and her own resilience, it’s now with the remove of a successful musician that’s conquered an uphill climb to get to where they are today.
Having toured relentlessly in the past few months, how does it feel to finally adjust back to reality?
I do love being on the road, but when I’m away, I really miss my house and my friends. I’m really happy to be back to seeing people, going out and doing things – I’ve got to live life so that I have something to talk about. I’m very happy to be in that mode at the moment. In the past year, I’ve also tried to work out what I want my personal space to look like as being on tour all the time is so disruptive. When I come home, I want to feel calm.
I’m really enjoying life at the moment. I’ve been boozing and reconnecting with friends that I may have lost contact with. When you’re busy playing shows, you don’t always get to speak to everyone all the time so I’ve been trying to be more present in my loved ones’ lives.
What is the emotional exchange between you and the audience like now that you’re not chained to the decks so much in your live shows?
Because I have played so many festivals this year, during these headline shows, it’s been nice to play to rooms of people who really know my music. I do enjoy a festival crowd because I see it as a challenge to win over new listeners but I love seeing people really vibe with the tunes. The audience reactions have been quite mad; I’ll be DJing, then I’ll move away to start singing and feel really connected to people.
We have elevated the set visually too, and I’m really happy with how it has all turned out. I have spotted a lot of moshpits during my shows, which I never expected – it’s quite overstimulating doing what I do! Also, I’ve got really bad eyesight which means I can’t see that far into the crowd but I know that all the vibe controllers are down the front anyway. I love it.
Silence Is Loud introduced your music to more people than ever before. Do you feel like you’ve crossed a threshold, in that regard?
I don’t know. I really love my album, but I will say making an album in 2024 is so anti-climatic. You know, I’m proud of what I’ve done, but I recently saw Goldie say that when he made [1994’s] Inner City Life, people didn’t get it at the time and it only became what it was years later. I feel like that might ring true with my album as well, to be honest.
How do you think the reaction to the album differed to what you had anticipated?
I’m already doing quite a niche thing, which is jungle music. And then I have my own specific take on it, which is bringing in all these different sounds to the genre while I’m singing about my life as well. It’s quite fresh. I think people don’t always understand something new straight away, so I think it’s a bit of a grower. That happens quite a lot with dance music, where songs often become hits years after they are released.
Why do you feel so attracted to telling the story of your life in your music?
I had never really spoken about my life before, and I thought my debut album would be a good way to have a “planting my flag in the sand” moment. Like, my name is Nia Archives and I am making an archive of my life stories. If I have done anything in my life, I have made this album and it’s told the world about who I am, what my story is, and what I am interested in. Album one had to be really real to me: it had to represent who I am and where I come from, and I felt like I only had one chance to do that.
Honestly, I just wrote a lot of songs and tried to sing them as best I could. I don’t think I’m like the best vocalist in the world, but I don’t think I’m the worst. I’m not a f–king powerhouse, Adele-style singer, but I’ve got a lot of charm in what I do.
Did being so vulnerable in your songwriting present any new challenges during the album creation process?
There’s one song [“F.A.M.I.L.Y”] that I didn’t want to put on my album, but my label and manager really wanted that to be the lead single. And I was like, “I don’t want to do that, because that’s such an embarrassing song.” But I’m glad to put it on there because you know what, people that come up to me at shows and tell me they really relate to the song.
Your album has been attributed with bringing jungle sounds and aesthetics to a new audience, serving as a gateway for a lot of people. In what ways has your own relationship with the genre evolved?
My relationship with jungle has honestly grown so much. Hanging out with Goldie has been amazing, he’s become a proper presence in my life. I’ve needed it. He understands what I’m going through and what I’m doing with my music. Also, it has been nice just reconnecting with loads of people from the jungle scene. I’ve got really good relationships with everybody.
In the background, for 2025, I’m looking to put on and work with some new-gen junglists, people that are younger than me. I’m going to Bristol, I’m hanging out with people in Manchester – I want to help new artists coming through. I’m just quite excited, really, and I’m definitely feeling stronger in my love for jungle once again.
What do you see as the big changes in dance music as of late?
Dance music is definitely one of the biggest genres in the world right now. I’ve traveled all over the world and seen people of all ages and from all walks of life enjoying themselves to different DJs’ sets. That post-COVID party boom continues, I think: Charli XCX is huge and rave sounds are everywhere. I’m super happy to be part of it and to also see my friends doing so well.
On the flipside, you can tell who went out [clubbing] before the pandemic and who only started after, right? That’s not being disrespectful, but for the younger ones, the core years of their lives were taken away and they’re still figuring out how to experience live music. I’m not really into berating them or making them feel bad – I just want to encourage them to dance and to not worry about their phones.
How have you dealt with the way your life has changed this past year?
So much has happened these past few months that it still feels like a blur! Like, I still can’t believe that I was able to take my album to Japan and play it out there. It was so cool to see such an enthusiastic reaction to jungle music on the other side of the world – it makes me so excited to see the genre go global. There’s so much left on the bucket list, too. I feel like I’ve only just started and I have so many dreams that I hope to achieve with my second album.
Electric Forest has announced an hefty lineup for its 2025 event, with French titans Justice, a DJ set from brother duo Disclosure, hard techno boss Sara Landry, psych rock outfit Khruangbin, Aussie favorite Fisher, dance legend Tiësto, U.K. phenom Barry Can’t Swim, bass mainstay Of The Trees, dubstep producer Liquid Stranger, festival regulars Louis the […]
More than five months out from the event, Lightning In a Bottle has announced the lineup for its 2025 festival in May.
The top of the bill features the indefatigable John Summit, U.K. wizard Jamie xx, elder statesmen turned maisntage hero Four Tet, psych-surf rockers Khruangbin, L.A.’s finest Channel Tres, house majesty The Blessed Madonna, British ’90s rave architects Underworld, bass leader Subtronics, Manchester star Salute and Shygirl, who’s coming off her recent run as support on Charli XCX and Troye Sivan’s Sweat Tour.
The bill also includes a collection of all-stars including TroyBoi, Claude VonStroke, Flowdan, Sammy Virji, Tinlicker, Peekaboo, Joy Orbinson and many more.
Lightning In a Bottle will return to its home at Buena Vista Lake near Bakersfield, Calif. on May 21-25, over Memorial Day weekend. Lightning In a Bottle producers the Do Lab are announcing the festival’s lineup notably early this year, with the bill coming nearly two months before it’s typical January drop date. Coachella 2025 also released its lineup ahead of schedule, with that announce coming in November, rather than its typical early to mid-January announce date.
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The Do Lab, in fact, have another event to announce between now and Lightning In a Bottle, as the company also produces a stage annually at Coachella. The lineup for this stage is forthcoming, with these rosters typically featuring largely electronic music and adding to the already hefty collection of electronic artists on the Coachella 2025 bill.
Happening annually in Southern California since 2004, Lightning In a Bottle is known for its freewheeling atmosphere and focus on art and immersive installations and experiences. The festival presents music on more than six stages and also offers educational talks, yoga, sustainability workshops, wellness activities and other sundry fun.
The festival had its biggest ever presale back in June, with the remaining tickets going on sale Dec. 6.
See the lineup below:
Lightning in a Bottle
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Chace’s brand-new single “Tunnel Vision” was officially released on Tuesday (Nov. 26), marking his first step into the spotlight as a pop artist and the culmination of two years of preparation.
For Chace, this is not only an exploration of musical styles, but also a significant milestone in his career. Born in 1998 into a musical family in Jiangsu, China, Chace (Zhu Yihan) received professional training in jazz drums and piano from an early age, showcasing extraordinary talent in music. He began producing music at the age of 9 and signed with a Dutch record label at 16, launching his career as a professional musician.
In 2016, he made his debut at Belgium’s Tomorrowland and, in 2017, became the first Chinese artist to perform on Tomorrowland’s main stage, forever changing the presence of Chinese artists on the global music scene. Since then, he has continued to shine as a DJ and producer at top-tier international music festivals such as EDC, Ultra and Creamfields. In 2024, Chace became the first Chinese artist to sign with one of North America’s major record labels, BMG, further showcasing his ability to transcend genres and boundaries with “Tunnel Vision.”
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“Tunnel Vision” is a nostalgic pop electronic track, a tribute to Chace’s musical idol Michael Jackson. The song evokes memories of the golden 1980s, blending distinct rhythms and melodies with an infectious dance groove. Its polished production highlights Chace’s exceptional skills as a producer.
The music video for “Tunnel Vision” is equally innovative, directed and edited by Chace himself. Filmed entirely using an iPhone, it tells an eccentric story set three minutes before a train’s arrival. With its narrative charm, action sequences and high-speed shots, the music video delivers a visually compelling experience, pushing creative boundaries and demonstrating Chace’s burgeoning talent as a filmmaker.
“Tunnel Vision” is now available worldwide, but this is just the beginning of Chace’s musical journey. With more exciting projects on the horizon, he is poised to bring fresh, innovative works to his global audience.
EDSea set sail for its second voyage earlier this month, bringing a cruise ship full of ravers to the Electric Sea. The unforgettable Belize-bound experience is Insomniac’s spin on their successful Electric Daisy Carnival festival — which occurs annually in Las Vegas, NV and Miami, FL — but with a tropical twist. This year’s lineup was stacked with some of the most exciting names in dance music, from more established acts like Dillon Francis, Sara Landry and Subtronics to emerging acts including AYYBO, J. Worra and Levity.
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While the lineup of what felt like nonstop sets was exciting, what made the voyage special was the slate of experiences for fans to enjoy. From on-board activities to surprise sets, see what you missed below — and if you want to experience EDSea, tickets are available now for the festival’s third voyage on November 1-6, 2025 from Miami to Harvest Caye, Belize.
Fireworks shine behind the cruise ship at EDSea’s Sail Away Party
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Sail Away Party & FireworksThe grandeur of EDSea began in Miami with the Sail Away Party, featuring Chris Lorenzo on the kineticOCEAN stage. His electrifying set was paired with a massive fireworks show, starting the cruise with a bang (literally).
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Surprise B2B Female DJ SetThe only bond stronger than the one between ravers is the one between women in the scene, as proven by Sara Landry, Mary Droppinz, Jenna Shaw, Coco & Breezy, Lucille Croft, VNSSA and J. Worra. Watching the wide range of sonically diverse women play back-to-back was an empowering glimpse into the future of dance.
EDSea embraced a variety of themes, including Under the Electric Sea
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Theme Days (and Nights!)EDSea attendees made the festival their runway as they served bold and creative looks inspired by the provided themes. From Neon Swim to Safari Sunrise, each themed day and night transformed the ship into a new experience of celebration and self-expression.
Surprise Sunrise in BiminiThe Bimini beach party was a day of sun, sand and celebration — a day that went on even longer than announced, with a surprise announcement that the party would extend until after sunrise. The magic of EDSea shone through as dawn broke with an unexpected set from Eli Brown, making the already unforgettable day even better.
Wreckno, Sara Landry, Coco & Breezy and Lucille Croft onstage during Wreckno’s Catwalk Competition
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On-Board ActivitiesInsomniac made boredom a complete impossibility thanks to a well-curated lineup of experiences from morning through the night. Some fan favorites included the EDSea Character Brunch, where costumed performers mingled with attendees; Wreckno’s Catwalk Competition, a fierce competition of self-expression with special guest judges Sara Landry, Coco & Breezy and Lucille Croft; and Slander’s Super Smash Bros Tournament, a high-energy showdown hosted by the duo themselves.
Having FOMO? Tickets are available now for the festival’s third voyage on November 1-6, 2025 from Miami to Harvest Caye, Belize.
Back in 2007, Diplo and Switch were ready to launch the music they’d been working on together; they just needed to figure out what to call themselves. They each chose a bunch of words at random, wrote them on pieces of paper and threw them in a hat. They pulled two out, first was “major” and the second was “lazer.”
With that, one of the most influential dance music projects of the late 00s and 2010s was christened.
Billboard News recently spoke with Diplo and Switch for a rare joint interview, with the duo discussing the origins of Major Lazer and the 15-year anniversary of the group’s debut album, Guns Don’t Kill People… Lazers Do.
The pair first met at Fabric London, realizing, Switch says, that “we both had a soft spot for Jamaican music at the time, and we were both doing our individual sounds, so it was a good excuse for us to come together and do stuff.”
Both producers had been working with M.I.A. on her albums Arular and Kala, with Diplo calling her “the catalyst for our music.” Shortly thereafter, the guys were making monthly trips to Jamaica to make music, falling into the local music community and having Jamaican artists including Vybz Cartel and TKTK record music that would ultimately end up on the Major Lazer debut.
They knew they were doing something right when they heard their track “Pon de Floor at a gas station in Kingston, realizing that their music was, Switch says, “penetrating this market that we felt was very special.” From Jamaica, they took the sound to the U.K., where the pair played one of their first big shows at London’s Notting Hill Carnival. Guns Don’t Kill People… Lazers Do was released on June 16, 2009, hitting No. 169 on the Billboard 200 the next month.
The catalog of the group — which included Diplo, Walshy Fire and Jillionaire after Switch’s departure and now features Walshy Fire and Diplo alongside Ape Drums — has since aggregated 4.8 billion streams, according to Luminate.
“With our videos and everything we did, [Major Lazer] would be cancelled [nowadays] before we even started,” says Diplo. “Because people wouldn’t have given us a chance. They would have been like ‘We don’t really understand this and this isn’t correct.’ But back then, nobody really gave a shit. They were like, ‘I like the way this sounds.’ Today there’s too many tastemakers and rules.”
The group continued having breakthrough moments, with Beyoncé sampling “Pon de Floor on her 2011 smash “Run the World (Girls)” and Major Lazer and DJ Snake’s “Lean On” becoming what was, at the time, Spotify’s most streamed song of all time.
“We had really invented something with the Major Lazer language,” Diplo continues, “but by the second project we were able to make records that were actually hits. It was awesome to see our trajectory, something so chaotic and then to build something that made sense for people.”
Watch the full interview above to hear the pair talk about why Switch left the group, why Diplo thinks “Get Free” is Major Lazer’s best song and what it’s like working with Beyoncé in the studio.
This week in dance music: Charli XCX performed “Sympathy Is a Knife” and “360” on Saturday Night Live, Skrillex announced that his next project will be his last with Atlantic Records, Giorgio Moroder was named as the recipient of an upcoming lifetime achievement award from The Society of Composers & Lyricists, Ultra Music Festival added more than 50 artists to the lineup for its March festival in Miami, Coachella announced its 2025 lineup (a third of which is made up of electronic artists), Tomorrowland Winter dropped the bill for its March event in the French Alps, Troye Sivan was a big winner at the 2024 ARIA Awards, Pawsa announced a major show at London’s Gunnersbury Park this August and Charli XCX announced four dates for the North American Brat arena tour.
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And of course, there’s the fuel that makes it all run. These are the best new dance tracks of the week.
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Martin Garrix, “Told You So”
Dutch mainstay Martin Garrix links with New Jersey-born singer/songwriter Jex for the sugary dance pop single “Told You So.” As the duo tell it, the track — out on STMPD RCRDS/Eddie O Entertainment/Casablanca Records — has origins in TikTok, where Jex posted a video of her singing the song’s hook. Garrix then reached out to ask about doing the production, with the result being his eighth single of 2024. Of the track, Jex says that “from writing this hook alone in my apartment, to Martin finding it and bringing it to life, this entire thing has been a dream come true.” Garrix plays Omnia in Las Vegas tonight and Marquee in Las Vegas tomorrow.
Subtronics & Alison Wonderland, “No One Does It Like”
Bass leaders Subtronics and Alison Wonderland join forces together for their collaborative track “No One Does It Like,” with the result being as hard, sharp and heavy as you might hope. Out on Subtronics’ own Cyclops Recordings, the song is pure-riding-the-rail dubstep and follows the pair’s work on their remix of Creeds’ “Push Up.” Alison Wonderland performs this weekend in Las Vegas, while Subtronics will play the Apocalypse Festival in Long Beach, Calif. on Nov. 30.
Rusko, “Wassup”
The British bass pioneer returns with his first solo single in two and a half years, the frenetic “Wassup.” Out on Monstercat Uncaged, the track is deliciously unhinged jump up d’n’b and also the lead single from an EP set to drop next year. The producer says “Wassup” was started last year on tour in Australia “and ever since, has been a puzzle I couldn’t quite crack and get just right… but it’s always been stuck in my head. After adding ‘Wassup’ into my DJ sets, I had an earth-shattering break-through, and within the first couple of nights spinning the tune, it was finished!”
Above & Beyond, “Another Breakdown”
The gentlemen of Above & Beyond are having a big week, as the trio was listed on the Coachella 2025 posted that dropped Wednesday, the day before the group released “Another Breakdown.” The track’s celestial production has the same thoughtful quality that defines the entire Above & Beyond oeuvre, and is also infused with the soaring trance elements that are the trio’s signature. Another Breakdown comes from Above & Beyond’s forthcoming EP Tranquility Base Vol. 2, coming December 6 on their own Anjunabeats label.
Kaitlyn Aurelia Smith & Joe Goddard, Neptunes EP
Los Angeles-based producer Kaitlyn Aurelia Smith & U.K. producer, DJ (and Hot Chip member) Joe Goddard get together for their gorgeous three-track collaborative EP, Neptunes. A no-skips situation, the EP (which also includes two remixes) has a stunner of an opening track, with the pair saying that “Neptunes” stems from Goddard’s wish to make a song reminiscent of Pharrell and Chad Hugo’s game-changing production work as Neptunes. “I loved what the rhythm made me feel when I first heard it,” Smith says of the track. “I actually thought he was tapping into Neptune as a planet, and the qualities I felt it possesses. So my side of things brought out more space-themed sounds as a result.” The project is out on Domino’s Smugglers Way imprint.
Dave Mackay, The Looking Chamber
The English pianist, keyboardist and composer takes a turn into electronic production, with affecting results. His 11-track debut album, The Looking Chamber, is smart and stylish experimental synth music, that emphasizes Mackay’s ability to make music that sounds like the machines employed in the production process are actually speaking. The album is out on Colorfield Records.
London DJ PAWSA has announced his biggest U.K. show to date, with a homecoming gig at the city’s Gunnersbury Park next summer.
The dance producer, born David Esekhile, will host PAWSA In The Park – All Day Long in the capital’s Gunnersbury Park on Aug. 8, with more acts to be revealed at a later date. The news follows the 34-year-old’s recent viral success with his latest single, a reimagined version of The Adventures of Stevie V’s iconic 1989 track “Dirty Cash (Money Talks).” Watch the video below.
A fan presale will begin at 10 a.m (GMT) on Nov. 27. General tickets are set to go live at 10 a.m on Nov. 29 via Ticketmaster.
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As one half of the duo behind scene-leading label Solid Grooves, PAWSA has enjoyed an ever-burgeoning career over the past decade. Since 2016 he has held annual residencies in Ibiza and regularly tours clubs across mainland Europe. In 2021, he won Best Producer at DJ Mag’s Best of British Awards.
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PAWSA released his debut EP, Pilot, in 2014 via the renowned Lost Records label, a key player in the U.K.’s techno and house music scenes. The following year, he founded Solid Grooves alongside DJ Michael Bibi – the sister company of Solid Grooves club night, which hosts regular happenings in London, Ibiza and Berlin.
This past summer has seen PAWSA perform at Circoloco Amsterdam and Chicago’s ARC Music, among many other major festivals. In July, he made a surprise appearance at Bibi’s One Live event at London’s Finsbury Park.
Meanwhile, Gunnersbury Park, which can hold up to 30,000 fans, has become something of a central hub for major British dance music events in recent years. Throughout summer 2024 alone, the park played host to the electronic-focused Waterworks Festival, a drum ‘n’ bass weekender (DnB Allstars), and headline gigs from Annie Mac and Fisher.
