Dance
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IBIZA, Spain — The annual dance industry conference IMS Ibiza began today (April 23) on its namesake island, with hundreds of people from around the sector gathering for three days of discussions, presentations, panels, music and more looking at the global electronic music scene and industry from all angles.
As is tradition, the Summit began with the presentation of the annual IMS Business Report, which tracks the key trends from the global business over the last 12 months. Marking its 11th edition this year, the report was authored by MIDiA Research’s Mark Mulligan and is available here.
Mulligan also presented the report to a packed room on Wednesday afternoon, giving context to the data and illustrating that while revenues may be lagging in clubs and festivals, electronic music culture is booming both on and offline. These are 11 key findings from the 2025 report.
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1) Streaming Is Way Up in the Global South
The report finds that while streaming revenue growth slowed to 6% in 2024, subscriber growth saw huge gains, with the overall streaming sector seeing a 12% growth in its subscriber base.
Incredibly, nearly four fifths of this growth came from Global South markets, an area the UN Trade and Development organization defines as comprised of Africa, Latin America and the Caribbean, Asia and Oceania. Mulligan noted that Global South statistic is especially crucial given that user growth will eventually give way to global cultural growth “as these users drive the rise of large local music scenes that will increasingly export their sounds to the West.”
The reports also found that Spotify stayed in the lead in terms of DSPs, maintaining its 32% market share and registering more than a quarter of a billion subscribers globally. The report notes that “YouTube Music was the only other global DSP to also enjoy strong growth in 2024, gaining to a 10% market share.
2) Electronic Music Is a Market Leader
The report notes that electronic music has the top or second highest count of Spotify followers in nine of the genre’s top 13 markets, compared to hip-hop, Latin and rock. And while Latin and hip-hop growth may be statistically stronger, the reach of these audiences, especially Latin, varies strongly by region, versus electronic music’s more global growth.
Additionally, the world’s top four electronic music markets — Germany, Australia, the U.S. and U.K. — all gained significant listener counts in 2024, although Mexico, the U.K. and Germany saw the highest growth, respectively. (Incredibly, electronic music was up 60% in Mexico.)
Meanwhile, electronic music consumption is considered endemic in The Netherlands and Australia, where the report found that the number of monthly electronic music listeners on Spotify is higher than the total population. (This is possible because individuals can consume more than one style of electronic music on the platform.)
3) Electronic Music Fans Over-Index For Time & Money Spent
Mulligan repeatedly emphasized the crucial nature and influence of IRL scenes, which dance music excels in cultivating and which many younger people are prioritizing over online existence.
“This idea of scenes is going to become more and more important,” he said, “because superstars are getting smaller and everything is fragmenting. It’s time to look simply beyond the stream counts, beyond the social numbers to measure the cultural impact, even though that’s nearly impossible to do. But that’s probably a good thing. If it’s not measurable, it’s harder for people to go and overtly commercialize it.”
He referred to culture as “the fuel in the engine,” saying that things like revenue, stream counts and social and followings “will come as a result of the culture. So the fact that the cultural indicators are beginning to really light up in 2024 points to a really strong few years coming up.”
4) Revenues in Ibiza Were Up, But Ticket Sales Were Slightly Down
The report notes that the average number of events per venue on the island “is on a steady, albeit modest decline and ticket volumes were down in 2024, with higher average ticket prices thereason that revenues were up once again. “You keep charging people more until they can’t afford it anymore” said Mulligan, “and there will come a point when people say ‘I literally can’t afford any more for this at the moment.’” This is especially true now, he noted, in a period of global economic uncertainty.
5) Afro House Continues to Rise
Mulligan reported that Afro-house “has absolutely rocketed” in the last year, while drum & bass is also in a “real era of resurgence.” A survey of the digital sample library Loopcloud indicates a large rise in samples of African music genres, suggesting the genre will continue growing.
6) Hard World = Hard Music
The Loopcloud survey also found a rise in harder electronic genres like hardcore and hard dance, while “softer” genres like ambient and chill out are going down and losing share. This is, Mulligan posted, is “because culture reflects the world around us. It’s a crappy world out there at the moment. There’s wars and famine and inequality, and I think that’s beginning to really come through in the music that people are making and the music that people are listening to.”
7) There’s Been a 45% Growth of Electronic Music Hashtags on TikTok
Amapiano and trance saw especially big growth on the platform. “Again,” Mulligan said, “there are all of these cultural indicators that are growing more strongly than the revenue indicators are.”
8) SoundCloud Also Remains a Strong Cultural Indicator
The platform saw 100% growth in uploads of UKG (UK garage) with jungle uploads also up 45%.”These tend to the genres that tend to be owned by Gen Z and even Gen Alpha,” said Mulligan. “SoundCloud has so many of these bootleg remakes … of course [the people who make them] can never get the rights cleared and put them onto Spotify, but a lot of this culture is happening online on places like SoundCloud.”
9) Music Catalog Investors Have a Growing Interest in Dance
“Mainly what happens is old white males invest in old white males, so you still see the Bob Dylans [of the world getting invested in], but we are beginning to see more and more of other genres,” Mulligan said of investor acquisitions of artist catalogs. The report states that the share of catalog deals for electronic artists doubled between 2020 and 2024, with recent notable examples including Kevin Saunderson, Tiga and deadmau5.
10) Dance Music’s Gender Divide Persists
In terms of the number of people producing music and playing events, Mulligan reported that “this is still a heavily male world,” although there’s also been a slight increase in the representation of female artists. This determination is based on a survey of data from AlphaTheta, where the registered userbase, the report says “points to the steady rise of female DJs, many of whom will be inspired by the growing share of top DJs that are now female.”
“We are beginning to see change,” Mulligan added in his presentation. “It’s not dramatic, but it’s good and steady progress.”
11) The Global Electronic Music Industry Was Valued at $12.9 Billion in 2024
This number includes live, merchandising, sponsorships, recorded music, publishing, music hardware and software, clubs, festivals and more. The number represents a 6% growth over 2024, which Mulligan noted “might not sound huge, but remember live music revenues — festivals and clubs — which is a really big part of the revenue mix, is beginning to slow, so that sort of drags down the overall numbers. But most importantly, the culture is absolutely booming. With 0.6 billion new social followers of electronic music followers in 2024 they’re the foundation for what’s set to be a really vibrant few years.”
It’s an overcast Saturday afternoon in Miami, and Axel Hedfors seems in his natural habitat while eating sushi on the patio restaurant of a luxe beachside hotel. Hours from now, the producer — known to most as Axwell — will play the main stage at Ultra Music Festival, a show he’s been prepping for in his hotel room since arriving in Florida.
This set will contain classics from Axwell’s solo catalog, along with his work with Swedish House Mafia and the catalog of his namesake label, Axtone. It will also be the first time he’s played Ultra as a solo artist and his first Ultra set since selling the Axtone catalog to Swedish company Pophouse Entertainment in January.
This sale included approximately 200 songs spanning the last 20 years, including hits by Supermode, Steve Angello, Laidback Luke, Don Diablo, Dimitri Vegas & Like Mike, CamelPhat, Kölsch and big room-classics like Ivan Gough & Feenixpawl’s “In My Mind” and Axwell’s era-defining remix of this same song. Pophouse, which also acquired Swedish House Mafia’s master recordings and publishing catalog in 2022, has acquired both Axtone’s back catalog and the label itself, with Axwell staying on permanently as its founding partner and creative advisor.
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While Axwell and his team decline to disclose the sale price, the congratulatory handshakes he gets from acquaintances at the restaurant indicate the deal was a good one.
Axwell says the cash infusion from Pophouse has enabled him and his team to operate with “more muscle.” He cites the Axtone & Friends pool party that happened a few nights prior down the street in South Beach as something Pophouse helped pay for, allowing for a splashier event than they might have otherwise been able to afford.
“I know before that we would have been a bit more on a budget,” he says, “and now we were less on a budget, which is nice. There’s opportunity [with Pophouse]. If we have ideas and want to do something differently, we can with their help.”
The sale also made sense given Axwell’s longstanding relationship with Per Sundin, the CEO of Pophouse and former president of Universal Music Nordics. “It’s not some anonymous fund,” Axwell says. “This is somebody we know, and that made me feel like this was worth exploring. Per appreciates music, so he’s not just going to destroy it. He’s going to be respectful about it.”
The sale happened at a good time for Axwell, who acknowledges that he and the team were “kind of maybe stuck in the old routine” of signing records. Given that generating hits has become harder for labels of all genres in the streaming and TikTok eras, Axtone had, like so many other labels, become more focused on volume than Axwell might have liked.
“It’s a small company on a budget trying to make every release recoup and work out financially,” he says. “Then we picked up the pace a little bit, and obviously not all records get noticed in today’s climate. A lot of records don’t do anything, because it’s so much harder these days to get them noticed. Then a lot of records become a project you just do for love, rather than earning. You have one record that pays for 20 other records.”
This strategy had evolved significantly since Axwell launched Axtone in 2005 as a way to untether himself from other peoples’ timelines. “I was tired of dealing with other labels,” he says. “Back then you had to send the CD, and they were like, ‘Maybe we can release it in three months.’ I was fed up with not releasing ourselves, so starting the label was an amazing move.”
This move proved especially prescient as Axtone clocked hits that distinguished Axwell’s taste as a curator and skills as a solo artist as he rose in tandem with the Swedish House Mafia rocket. He says many classics from the Axtone catalog, like Supermode’s “Tell Me Why” (which samples Bronski Beat’s “Small Town Boy”), still generate roughly 100,000 streams a day, partially because they’re featured on big Spotify and Apple Music playlists — placement that almost assures they’ll never fall below a certain daily stream rate.
This, no doubt, made the Axtone catalog especially attractive to Pophouse, a company focused on using acquired music in new IP and brand development. The company’s success stories include the long-running ABBA Voyage show in London, which is set to the music of the famous Swedish disco pop quartet, who appear during the performance in hologram form. ABBA’s Björn Ulvaeus is also a co-founder of Pophouse, which announced in March that it raised a total of 1.2 billion euros ($1.3 billion) to invest in catalog acquisitions and create entertainment experiences around those music rights.
“Obviously, I wouldn’t mind them doing an ABBA kind of thing with dance music,” says Axwell. “A show [that features] not only my music would be great, because obviously Pophouse also has Avicii’s music, Swedish House Mafia’s music. It could be something interesting.” (Pophouse acquired a 75% stake in Avicii’s recordings and publishing catalog in 2022.)
Axwell is consulting with Pophouse on any projects Axtone music might be involved in, with the business partners currently planning a box set to commemorate the label’s 20th anniversary this year. The package feels particularly well-timed given that, as Axwell says, “what we’re noticing is that a lot of the old catalog means a lot to the new generation.”
“When you put on ‘Calling’ or ‘Reload’ or my ‘In My Mind’ remix, they just go,” he says, referencing EDM era hits he was involved with and adjacent to. “Some old records don’t continue to work; they kind of fade out. But these still pack a punch. It’s amazing that we managed to do something that lasts.”
This point is proven extremely true a few hours later, when thousands of people stand in front of a fire-spitting Ultra main stage and sing along to classics including Axwell’s edit of Swedish House Mafia’s 2011 hit “Save The World,” the 2017 Axwell / Ingrosso smash “More than You Know” and inevitably and blissfully, the trio’s all time classic “Don’t You Worry Child,” which he follows with their 2022 hit “When Heaven Takes You Home” and 2010’s “One (Your Name).” “That was fun,” he tells the audience while standing on the decks at the end of the set, “and you are beautiful.”
This is Axwell’s first time playing the festival’s biggest stage as a solo act, though he has a long history at this site through his work with Swedish House Mafia. The group’s Ultra mythology includes ending their massive farewell tour here in 2013, then reuniting at the festival five years later. When asked if he feels any kind of way about playing Ultra Miami on his own, Axwell says he feels “like Seb and Steve are always with me, because of the songs.”
Beyond this psychospiritual connection, Axwell spent time in the studio with Sebastian Ingrosso and Steve Angello fairly recently as the trio continues hashing out new Swedish House Mafia music. Last November, Angello told Billboard that the trio scrapped the second album they’d been working on as a follow-up to their 2022 LP Paradise Again.
Axwell confirms that while he’s “super proud” of Paradise Again — the first Swedish House Mafia album after an earlier run of monster singles — the guys aren’t currently working on an LP “because that’s a heavy process. I think it was something we wanted to do to have that in our lives. But now I think we want to go back to the spontaneousness of just doing one song and getting it out [when we want to], not in 12 months when the album is ready.” (He notes that Paradise Again was not included in Pophouse’s acquisition of the Swedish House Mafia masters, given that the 2022 deal was retroactive.) He also says that the trio will eventually “probably come back” to play Ultra Miami again, as the urge to do so “tickles after a while, you know?”
Axwell is also currently tinkering with his own forthcoming solo work. Famously meticulous — he’s been known to spend months on a single high hat sound and calls himself “the slowest person on earth” when it comes to making music — he says a lot of what he’s working on is roughly 80% finished. The final 20% of each song will take some time, he says, although he’s not sure how long. (One new song samples SNAP’s “The Power,” although he’s thus far had a difficult time clearing one of the samples used in the 1990 club anthem. He assures, however, that “I’m not giving up.”) When his music is finally complete, he foresees releasing it as a series of singles.
In the meantime, Axwell’s life will remain, as he tells it, “a s—storm” of logistics that involve his own touring, flying around Europe with his wife for their kids’ competitive car races (one son is 11 and races go carts, while his 16-year-old competes in F4), and prepping for Tomorrowland 2025 dates with Swedish House Mafia and as a solo act. All in, life will continue on the same dance world megastar trajectory as it did before the Axtone sale, but now with a bit more financial padding and space to focus.
“The good thing for me is that I still make music,” he says, “so even though we sold the label, it’s not like this is a goodbye to my whole life.”
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The 16th edition of IMS Ibiza happens this week on the Spanish island, with the event’s full program now revealed.
Taking place April 23-25 at Mondrian Ibiza and Hyde Ibiza Resort, the Summit’s 2025 theme is intergenerational exchange, with related programming focused on bridging generational gaps, reviewing dance music’s four-plus decades of history and bringing together pioneers and of-the-moment artists and industry figures. The Summit will once again be hosted by IMS co-founder Pete Tong and artist and BBC Radio 1 broadcaster Jaguar.
As always, the summit will include the keynote presentation of the IMS Business Report, which breaks down trends, growth sectors and more in the dance industry and presents a valuation of the global business. This year, the report has again been prepared by MIDiA Research, with MIDiA’s managing director Mark Mulligan presenting the findings Wednesday (April 23).
Other panel topics include a look at the rise of Afro-house and how the genre can stay grounded in the cultures that created it, the future of radio, a look at royalties generated when music gets paid in Ibiza clubs, a discussion on emerging opportunities in dance music in the Middle East, how managers break artists in 2025, a look at music publishing with Sony Music Publishing’s David Ventura, environmental action in Ibiza, tinnitus and hearing loss and much more.
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Along with agents, managers, producers and other figures from across the dance space, panelists also include artists Indira Paganotto, Shimza, Chloé Caillet, the team of managers and agents working with John Summit and more. IMS will also honor CAA’s Maria May with its annual legends award.
Additionally, the three-day event will features dinners, shows, parties, awards, health and wellness sessions and a flurry of other activities. See the complete schedule on the summit’s website.
The Cure will revisit their 2024 album Songs of a Lost World on an upcoming remix collection entitled Mixes of a Lost World. The 24-track compilation will feature fresh spins on the songs from EDM stars Four Tet, Paul Oakenfold and Orbital and others.
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The album conceived and compiled by Cure singer Robert Smith will be released on June 13th through Fiction/Capitol Records and also come in a deluxe edition with additional remixes and reworks from Deftones frontman Chino Moreno, as well as Mogwai, 65daysofstatic, Gregor Tresher, Sally C, Daybreakers, Daniel Avery, meera and Trentemøller.
In a statement about the remix album, Smith said, “Just after Christmas I was sent a couple of unsolicited remixes of Songs of a Lost World tracks and I really loved them. The Cure has a colorful history with all kinds of dance music, and I was curious as to how the whole album would sound entirely reinterpreted by others.” The curiosity resulted in what he described as a “fabulous trip” through the original album’s expansive eight songs by 24 artists.
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All of the Cure’s recording royalties from the remix album will benefit War Child UK. The album will come in deluxe three LP, three-CD and three cassette formats with both the “artist and remixers” tracks, as well as two-LP/CD/cassette versions with just the remixers tracks. Songs of a Lost World was the Cure’s first new album in 16 years and the upcoming remix collection will mark their third such release, following on the heels of 2018’s Torn Down: Mixed Up Extras 2018 and 1990’s Mixed Up.
After the long break, Smith said in December that in addition to a live album, Songs of a Live World, that there is “another album which is pretty much ready to go,” one that he referred to as a “companion piece,” seemingly in reference to the remix album. He also said that there is a “third one which is completely different. It’s really kind of random stuff, it’s like late-night studio stuff.”
Listen to Four Tet and Oakenfold’s remixes below and check out the track listings for the deluxe editions of Mixes of a Lost World below.
3LP
VINYL 1
SIDE A
1. “I Can Never Say Goodbye” (Paul Oakenfold ‘Cinematic’ Remix)
2. “Endsong” (Orbital Remix)
3. “Drone:Nodrone” (Daniel Avery Remix)
4. “All I Ever Am” (meera Remix)
SIDE B
1. “A Fragile Thing” (Âme Remix)
2. “And Nothing Is Forever” (Danny Briottet & Rico Conning Remix)
3. “Warsong” (Daybreakers Remix)
4. “Alone” (Four Tet Remix)
VINYL 2
SIDE A
1. “I Can Never Say Goodbye” (Mental Overdrive Remix)
2. “And Nothing Is Forever” (Cosmodelica Electric Eden Remix)
3. “A Fragile Thing” (Sally C Remix)
4. “Endsong” (Gregor Tresher Remix)
SIDE B
1. “Warsong” (Omid 16B Remix)
2. “Drone:Nodrone” (Anja Schneider Remix)
3. “Alone” (Shanti Celeste ‘February Blues’ Remix)
4. “All I Ever Am” (Mura Masa Remix)
VINYL 3
SIDE A
1. “I Can Never Say Goodbye” (Craven Faults Rework)
2. “Drone:Nodrone” (JoyCut ‘Anti-Gravitational’ Remix)
3. “And Nothing Is Forever” (Trentemøller Rework)
4. “Warsong” (Chino Moreno Remix)
SIDE B
1. “Alone” (Ex-Easter Island Head Remix)
2. “All I Ever Am” (65daysofstatic Remix)
3. “A Fragile Thing” (The Twilight Sad Remix)
4. “Endsong” (Mogwai Remix)
3CD
CD1
1. “I Can Never Say Goodby” (Paul Oakenfold Cinematic Remix)
2. “Endsong” (Orbital Remix)
3. “Drone:Nodrone” (Daniel Avery Remix)
4. “All I Ever Am” (meera Remix)
5. “A Fragile Thing” (Âme Remix)
6. “And Nothing Is Forever” (Danny Briottet & Rico Conning Remix)
7. “Warsong” (Daybreakers Remix)
8. “Alone” (Four Tet Remix)
CD2
1. “I Can Never Say Goodbye” (Mental Overdrive Remix)
2. “And Nothing Is Forever” (Cosmodelica Electric Eden Remix)
3. “A Fragile Thing” (Sally C Remix)
4. “Endsong” (Gregor Tresher Remix)
5. “Warsong” (Omid 16B Remix)
6. “Drone:Nodrone” (Anja Schneider Remix)
7. “Alone” (Shanti Celeste ‘February Blues’ Remix)
8. “All I Ever Am” (Mura Masa Remix)
CD3
1. “I Can Never Say Goodbye” (Craven Faults Rework)
2. “Drone:Nodrone” (JoyCut ‘Anti-Gravitational’ Remix)
3. “And Nothing Is Forever” (Trentemøller Rework)
4. “Warsong” (Chino Moreno Remix)
5. “Alone” (Ex-Easter Island Head Remix)
6. “All I Ever Am” (65daysofstatic Remix)
7. “A Fragile Thing” (The Twilight Sad Remix)
8. “Endsong” (Mogwai Remix)
This week in dance music: Interscope Records announced a forthcoming Avicii compilation album that will feature a new song with vocals from Elle King, and PinkPantheress, 2hollis and Skrillex made moves on the dance charts.
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And to round it out, these are the best new dance tracks of the week.
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Barry Can’t Swim & O’Flynn, “Kimpton”
Ahead of performances at Terminal V festival and Brooklyn Steel this weekend, producer of the moment Barry Can’t Swim has dropped the gorgeous “Kimpton” with London producer O’Flynn.Emotive, enchanting and exotic, the track weaves kalimba and chanting vocals with soft, brooding piano and string parts — and even a subtle harp. Of course, as dance artists, Barry (his real name is actually Joshua) and O’Flynn tie these delicate elements together with a hefty kick drum. It’s easy to imagine “Kimpton” mesmerizing Barry’s crowds this weekend; taking listeners into those oh-so-memorable moments of elation before bringing back the beat and locking them into the groove. The track comes ahead of Barry Can’t Swim’s sophomore album, Loner, coming July 11 via Ninja Tune.
Dom Dolla & Kid Cudi, “Forever”
Kid Cudi earned his EDM stripes almost two decades ago with David Guetta’s legendary “Memories” and Steve Aoki’s party-fueled remix of “Pursuit Of Happiness.” Now, he joins Dom Dolla on “Forever,” a melodic progressive house track that evokes those EDM vibes of old, along with the good vibes approach we’ve come to expect from Dolla. As the Aussie DJ/producer puts it, the pair “went to the studio to write something that takes you to a happier time and place. It’s something a little different from both of us.” Dolla debuted the track at his sold-out March doubleheader show at Madison Square Garden, bringing Kid Cudi on-stage to belt it out live. You can watch the moment in the music video for “Forever”, if you haven’t seen it online already — clips shared previously by Dolla racked up over 20 million views.
Dove & Kehina, “Chroma 009”
Belfast’s underground heroes, Bicep, are back with a mellow, hazy breaks track under their Dove alias, released on the duo’s Chroma label. Joined by vocalist Kehina, the track is laden with rich synth pads, meticulous beats and a glistening synth arp that floats in and out of the track; much like Kehina’s vocals. This track probably won’t be the most floor-filling moment at one of Bicep’s coveted Chroma shows, but instead is prime material for the more pensive moments at the party. Expect to see this accompanied with stunning visuals at upcoming Bicep shows.
Speaking on the track, Kehine says: “It’s a dizzying, trance-like track that weirdly reminds me of a lot of the music my mum used to play when I was a kid, particularly North African Gnawa music. That same hypnotic rhythm, that trance you fall into while dancing” Kehina comments on the new single. “I recorded and wrote this a month or two after vocal surgery. It really helped pull me out of my head and reminded me why I love making music in the first place. It helped me imagine a future in something I’d had to step back from for a while.”
HiTech feat. George Riley, “Take Yo Panties Off”
You might be looking for the “Skip Ad” button when watching the music video for HiTech’s “Take Yo Panties Off ft. George Riley.” But fret not, this is just the intro, which is just as fun and wacky as the rest of the track. The fast-tempo track hits you hard with a collage of bizarre sounds that’ll make you think, “Wait, was that the sound of a player taking fall damage in Minecraft?” (Yes. Yes it was.)
But beyond the fun and freaky sounds in the track, there’s a serious amount of groove in “Take Yo Panties Off” that’ll make you truly want to… Actually, better keep ‘em on. From George Riley’s infectious cadence throughout the track, the rapid walking bassline, smooth synth stabs and, of course, the repeating “Real freak bitches, tho” vocal part, there’s a whole lot to get down to. HiTech, the Detorit trio comprising King Milo, Milf Melly and 47Chops, have released the song via Loma Vista Recordings amidst their HoneyPaqq tour. They’re previewing tracks from the HoneyPaqq VOL. 1 mixtape, so you can expect a whole lot more booty-shakin’ material at their shows.
Surf Mesa, “Holding On”
Los Angeles-based producer Surf Mesa had a lightning in a bottle moment in 2020 when his breakout hit “ily (i love you baby)” had a lengthy run at the top of Hot Dance/Electronic Songs. He’s steadily released singles and EPs in the five years since, the latest of which is “Holding On” with Danish American producer John Alto. The moody track falls square in the lane Bob Moses has long carved out, giving (in the best way) Chris Isaak goes tech house vibes. The track is out on the recently launched Breakaway Projects, the new label and management venture from the company behind Breakaway Music Festival.
“I’m really excited to be working with Breakaway for a few records this year and even more excited to begin that partnership with ‘Holding On,’ a favorite of mine with my good friend John Alto,” says the artist born Powell Aguirre. “This record has been super close to my heart from the moment we started the demo and is the third or fourth idea John and I made one day in the studio. We knew immediately we had to get it out asap.”
Aaron Hibell & Dan Heath, “Odyssey“
Next week, lauded livestream producer Cercle launches its much-hyped touring show, Odyssey, in Mexico City, with the events brand and label releasing the official soundtrack to the shows ahead of the premiere. Created by rising producer Aaron Hibell and Golden Globe nominated composer and producer Dan Heath, “Odyssey” is a sweeping, cinematic scene-setter in the grand tradition of Hans Zimmer, with its swells of violin and drums adding to the already significant anticipation for this show. Odyssey which will have ten nights in Mexico City (with headliners including The Blaze, Beh Böhmer, Jungle and Mura Masa) before heading to Los Angeles then on to Paris. “Odyssey” is out on Cercle Records.
Billboard’s Dance Moves roundup serves as a guide to the biggest movers and shakers across Billboard’s many dance charts — new No. 1s, new top 10s, first-timers and more.
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This week on charts dated April 19, Skrillex, 2hollis, PinkPantheress and others achieve new feats. Check out key movers below.
Skrillex
The influential DJ-producer dropped his fourth studio album, F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!!
A forthcoming compilation album will feature a collection of many of Avicii‘s biggest hits, along with a never before released song. Titled Avicii Forever, the compilation will be released on May 16 via Interscope Records. The compilation is a project by Interscope, the Avicii Estate and Pophouse, which acquired 75% of the late producer’s recording […]