Dance
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Four decades ago, an effervescent dance–pop single called “Holiday” hit the airwaves and the clubs. Not only did it earn Madonna her first top 20 Billboard Hot 100 hit and signal the ascendance of her globe-conquering career, but it marked the commercial breakthrough of a DJ/producer who would help define the sound of dance music in the mid ’80s: John “Jellybean” Benitez.
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“I can be in a restaurant and someone is singing the lyrics,” Benitez tells Billboard of what happens when he’s in public and “Holiday” comes on these days. “I’m looking at them like, ‘They have no idea.’”’
Not only was “Holiday” Madonna’s first Dance Club Songs No. 1 (as part of a double A-side with “Lucky Star”), but it marked a historic first: “the only record produced by a current club DJ to hit Billboard’s Hot 100,” according to the Nov. 26, 1983, Billboard. Just a week earlier, the Hot 100 (dated Nov. 19, 1983) included not only “Holiday” but a whopping 12 entries that were aided by Jellybean remixes.
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Around that time, the music industry was just beginning to realize the audience-boosting power of an officially sanctioned remix, and Benitez – a Bronx-born DJ who hosted 14-hour sets at Manhattan’s Fun House nightclub on Saturdays – possessed an instinctual understanding of what worked. “I knew what people would dance to, what would get them to cross the floor,” he says of those sweaty, marathon DJ sets.
Although his sets no longer go from sunset to sunrise, Benitez is still DJing, playing 100-some shows around the globe each year. On Tuesday (Nov. 12), the dance music pioneer is headed back to Manhattan for a different kind of party, one commemorating the 15th anniversary of the Cristian Rivera Foundation. Hosted by SNL cast member Kenan Thompson and featuring actor Luis Guzmán, MLB player Gleyber Torres, actor Malik Yoba and more, the gala will raise money to help find a cure for Diffuse Intrinsic Pontine Glioma, a type of malignant brain tumor, and support families affected by it.
“Their overhead is very small, it’s significantly smaller than most foundations,” says Benitez of the nonprofit, which his friend John Rivera started after losing his six-year-old son Cristian in 2009. “You’re dealing with a disease where there’s no cure. And most of these kids that get it are between five and nine and they don’t even know what’s happening. Most of them die within nine months,” he adds, quietly. “It was really hard to watch. Even leading up to this [gala], I had a lot of feelings about it.”
Like Benitez, John Rivera was born in the Bronx and became an integral part of the New York City music scene in the ‘80s, working as a nightclub and nightlife promoter when freestyle and hip-hop were quickly changing the musical landscape of the city.
“At the time, I thought [hip-hop] could be big,” recalls Benitez. As with his remix savvy, Benitez was ahead of the trend, spinning records by Grandmaster Flash and Afrika Bambaataa despite many industry insiders dismissing rap music as a fad. “I broke a lot of new music [at Fun House], different hybrids of genres that eventually became genres on their own,” he says casually, as if we were talking about his Thanksgiving plans. “I got to play a lot of music that wasn’t played in clubs at the time.”
Feet on the dancefloor weren’t the only thing Benitez was able to influence — radio programmers from three local NYC stations were regulars at his Saturday night Fun House sets. “By that Monday, those songs ended up in rotation. But I only played things I believed in — music that I loved or songs that made the party happen.”
A year after placing 12 remixes simultaneously on the Hot 100, Benitez was being hailed as a “remix master” by Billboard (Oct. 27, 1984) and promoting his own EP, Wotupski!?!, which touched on electro, hip-hop, Latin freestyle, synth-pop and featured the first two of his eventual three Dance Club Songs No. 1s, “The Mexican” and “Sidewalk Talk” (the latter, written by Madonna, also hit the top 20 of the Hot 100).
By 1984, it was abundantly clear that radio had done a complete 180 from hit music in the ‘70s – and plenty of rock artists felt left in the cold. As word spread throughout the music biz about his keen ear for sounds that connected with young listeners, Benitez became a go-to remixer, working with everyone from David Bowie to ZZ Top to Sting to Fleetwood Mac.
“Billy Joel called me after listening to the remix [of “Tell Her About It”] and said, ‘I don’t really understand this, but it’s making me want to dance.’” Not everyone was always happy with his work, however. Benitez chuckles that “Sting hated” his 12-inch rework of “If You Love Somebody Set Them Free” — at least until the remix came out and “it flew up the charts.”
Benitez says he empathized with artists who objected to his work, though. “Some guy named Jellybean comes along and changes everything? That can be a little scary,” he says. “[David] Bowie was very open to it though, and David Byrne got very involved, came to the session and was turning knobs and having fun.”
While most artists insisted that Benitez remix their songs exclusively using music from the original recording, Paul McCartney and Michael Jackson gave him complete leeway, allowing him to put new percussion on their duet “Say Say Say.”
“They were really taken with what I did and that was incredible to go to Abbey Road and meet George Martin and Paul McCartney,” he says, sounding vaguely starstruck for the only time in an interview that touches on some of the biggest names in music history. “They were like, ‘Do whatever you want, have fun with it. Make us a dance hit.’ Other artists were like, ‘Do whatever you want — but don’t change anything,’” he shares with a laugh.
The list of songs Benitez has remixed is lengthy – his Wikipedia discography includes more than 100 titles, and he says that isn’t even close to his career total. If the Wiki is incomplete, at least his own collection isn’t. Benitez has three copies of every single song he’s remixed: “One for myself and one for each of my daughters. My youngest daughter is a DJ as well.”
Those records are a slim fraction of his entire vinyl collection, though, which he estimates between 70-80 thousand. “Here’s the good thing: It’s all alphabetized and cataloged,” he assures me. “I love the sound of vinyl as opposed to the sound of the CD or listening to something on these little speakers in my ear. I’m sort of a perfectionist when it comes to sound.”
That love for vinyl motivated one of his latest ventures, Jellybean’s Funhouse Record Shop, a soon-to-open record store in Fort Lauderdale selling new and used vinyl in addition to boasting listening rooms with high-end sound systems and a small stage for in-store performances. Beyond that, Benitez still tours globally, including residencies in Miami, New York and Ibiza (“CAA has done a great job with me,” he says), and helps mentor up-and-coming, unsigned artists. He’s also on the board of advisors for the ARChive of Contemporary Music, a nonprofit archive that contains some 90 million songs.
He says he’s been offered “crazy money” to pen an autobiography, and while he doesn’t write it off entirely, he doesn’t sound all that interested in the endeavor. “It’s just… I’m not sure. I don’t know if it’s something I want to do,” he says. “My first love is playing records and record collecting. I’m really happy DJing around the world and opening my record store.”
If he ever does, however, you can bet it’ll be worth the price tag. In the liner notes to Wotupski!?!, he thanks Madonna with the following message: “Madonna, for your compassion and love. All I can say is, ‘Goo goo gaa gaa.’” When I ask what that means, he stonewalls me for the only time. “Look at the Like a Virgin album credits and see what she wrote,” he says. [The Like a Virgin liners aren’t terribly revelatory – Madonna also says “Goo goo ga ga” when thanking Benitez.] “If and whenever I write a book, I will disclose that.”
SXM Music Festival will bring a sprawling crew of artists back to the beaches and hilltops of Saint Martin for the festival’s eighth edition in March.
The lineup for the 2025 fest includes house music pioneer Danny Tenaglia, techno globetrotter Nicole Moudaber, Afrohouse phenom Francis Mercier, U.K. progressive house stars CamelPhat, German house/techno legend Amê, house producer Layla Benitez and a crew of other house and techno artists from around the world, with additional artists to be announced in the coming months.
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The five-day fest, happening March 12-16, will also feature showcases from Defected Records, Israeli label Frau Blau and the New York label Indo Warehouse.
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Presale tickets for SXM 2025 go on sale Nov. 14, with general tickets going on sale the following day.
Founded by Julian Prince, SXM has happened on St. Martin since 2016 and typically draws attendees from more then 35 countries. The 2025 edition of the festival will once again take place in locations around the island, including a private villa, a Sunday morning sunrise party on the beach, and the annual Panorama Party that happens on the island’s highest hilltop. The event will also offer day trips including hikes and cultural excursions.
In 2017, after the island was devastated by Hurricane Irma — which left an estimated 95% of the French side of the island destroyed — SXM organizers collected more than $38,000 for the relief effort. The event was one of the few festivals to happen in 2020 before the pandemic shut down the live events space, and after a postponed 2021 event also due to the pandemic, returned to Saint Martin in 2022.
Along with music and partying, SXM focuses on leaving a small footprint and helping replenish the area’s natural environments via initiatives that include going paperless, saving energy with LED and solar lights, and eliminating plastic waste throughout the festival.
See the phase one lineup below:
SXM Festival
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After nearly 24 years in the music industry as both a soloist and member of supergroup Swedish House Mafia, Steve Angello has seen it all — superstar collaborations, Billboard chart hits, and some of the biggest festival stages in the world — and he shows no signs of slowing down. The DJ-producer released his latest […]
This week in dance music: Illenium shared the genuinely tear-jerking backstory of his 2021 track “Brave Soul,” and while half the nation experienced another reason to cry, Moby offered some sage advice after election day. Meanwhile, a new Avicii documentary is coming to Netflix on New Year’s Eve, Charli XCX and Troye Sivan made a cool $28 million on their recent Sweat Tour, Shygirl took us backstage on that run with her Sweat Tour photo diary, Dubfire told us why all is well in the state of techno and the 2025 Grammy nominations were announced, with Justice, Zedd, Charli, Kaytranada, Four Tet and a gaggle of other scene stars getting nominated in the best dance/electronic categories.
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And through all of it, the beat goes on. These are the best new dance tracks of the week.
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Major Lazer & M.I.A., “Where’s The Daddy?”
“Where’s the Daddy” is an old/new venture, with the track dating back to the earliest days of Major Lazer, when the internet was looser, the algorithms but a glimmer in the eyes of the world wide web and Diplo and M.I.A. were working together on her second album, Kala, while also dating. These most O.G. members and affiliates of Major Lazer, the first iteration of which of course also included British producer Switch, reunite 15 years later with the official release of “Where’s the Daddy.” The track is classic early day Major Lazer — a woozy, stoney, dancehall-influenced production that sounds like both Major Lazer, Kala and everything else the artists were releasing around this time. M.I.A. is here with her signature singsong vocals, with lyrics that seem to find her searching for her baby daddy, with the song laced with a sample of a crying baby.
To make the point crystal clear, M.I.A. appears pregnant in the music video — in which she, Diplo and Switch drive up and down the Pacific Coast Highway in L.A. in a Tesla Cybertruck, uniting old sounds and old pals with a nod to an impending dystopic future in which pregnancy is a government mandate and transportation is provided by Emperor Elon. The song is out in conjunction with the 15-year anniversary of Major Lazer’s culture-shaking 2009 debut, Guns Don’t Kill People…Lazers Do, a deluxe re-release of which is coming out next week (on Diplo’s Mad Decent, natch) with a collection of additional unreleased tracks and remixes.
“Major Lazer’s origin story is a jumbled-up mess,” Diplo says in a statement. “It reads more like a villain story. I knew about Switch from being the weirdest and hardest DJ in London, and he was interested in my local scene in Philly — Spank Rock, Amanda Blank, Santigold, Plastic Little. M.I.A. got mixed up in the project when me and Dave were summoned by XL Recordings to make beats for her. I failed miserably, but I made a mixtape, Piracy Funds Terrorism, and Dave had a few bangers around town. We made too many beats for her, so we decided to go record them in Jamaica because the artists there are extremely talented, and the productions were cutting edge. We made this Major Lazer album down there and started a little movement that ended up with a few billion streams. It’s cool to put out ‘Where’s the Daddy?’ now because M.I.A. was the third daddy of Major Lazer.”
Deadmau5, “Re_Jaded”
Like Major Lazer, Deadmau5 is digging into the archives this week, re-releasing his 2007 track “Jaded” on an EP that also includes a new edit by Volaris, a new ambient remix by Deadmau5 along with his own new Re-Jaded” edit. This latter production sands off all the harder edges of the already beautifully smooth progressive house original and forms it into a 12-minute opus that’s quintessential classic ‘mau5. The project is out on Mau5trap.
Qrion, “Keep on Moving Up”
Texas-born producer Qrion releases the fourth single from her forthcoming album, We Are Always Under the Same Sky. “Keep on Moving Up” stacks up layers of synth into a bright but weighty house track, which balances the same ebullience and depth in its themes. Qrion sings about keeping on “moving up, moving up while I”m young,” with the track written about getting sober following a period of addiction after her father passed away. She says the song is about “hitting rock bottom and challenging myself to conquer small goals, gradually working my way up to larger ones. The lyric ‘Don’t Know Where I’m Going’ reflects the uncertainty of my first year of sobriety after rehab, capturing the struggle and growth of finding my path forward.” We wish her well on this path, which includes the release of We Are Always Under the Same Sky via Anjunadeep on January 17.
Will Clarke, Midnight Mass
Longtime scene fixture Will Clarke releases his debut album, Midnight Mass, on Armada Music. The 13-track project is as it sells itself — music to find salvation to in the afterhours. Styles oscillate between buzzy IDM (“Breakthrough,” “Summit”), classic gospel house (“Weekend Love”) and the style of moody progressive house Clarke helped popularize in the last few years as a co-writer on the 2023 deadmau5/Kaskade hit “Escape.” Vocalists including blythe, Karen Harding, Georgia Meek all help bring femininity and soul to the tracks, with blythe’s turn on the album-closing “You Alone” delivering a classic makeout music moment.
Bedouin feat. Iveta, “Better Than This”
After rinsing the tracks all summer at their Pacha Ibiza residency, Brooklyn-based duo Bedouin releases its two-track Into the Wind EP. The project opens with “Better Than This,” a simmering YOLO goes tot he club track about getting loose tonight and dealing with the aftermath tomorrow. The pair have been working on the song for a year, and you can feel the work in the style and meticulous structure of this one. “It’s a song about embracing the present moment, because that’s all we truly have,” they say. “As we journey forward, it’s the mystery of that path that keeps us alive.”
Nominations for the 2025 Grammy Awards were announced Friday (Nov. 8), with the Recording Academy recognizing a wide range of artists in the four dance categories.
The fields were introduced by Kylie Minogue during the Grammy nominations livestream, with the Australian icon last year being the first-ever recipient of the pop dance award, newly introduced to the ceremony in 2024 and now called dance pop.
The dance artists with the most nominations this year include Justice, who clocked a nom for recording and album with their 2024 singler “Neverender” and the album from whence it came, Hyperdrama. Four Tet is also a double nominee this year, in the album category for his release Three and its track “Loved.” Zedd also scored an album nomination for his first LP in nine years, Telos.
Meanwhile Charli XCX make three appearances in the dance nominations, with her club-ready Brat in the album category, the electro throwback “Von Dutch” in recording and the A.G. Cook remix of that same song in best remixed recording.
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See the complete list of dance related nominees below:
Best Dance/Electronic Recording
“She’s Gone, Dance On” – Disclosure
“Loved” – Four Tet
“Leavemealone” – Fred Again.. & Baby Keem
“Neverender” – Justice & Tame Impala
“Witchy” – Kaytranada Featuring Childish Gambino
Best Dance/Electronic Album
Brat, Charli XCX
Three, Four Tet
Hyperdrama, Justice
Telos, Zedd
Timeless, Kaytranada
Best Dance Pop Recording
“Make You Mine” – Madison Beer
“Von Dutch” – Charli XCX
“L’Amour De Ma Vie (Over Now Extended Edit)” – Billie Eilish
“Yes, And” – Ariana Grande
“Got Me Started” – Troye Sivan
Best Remixed Recording
“Alter Ego” – Kaytranada Remix – Kaytranada, Remixer (Doechii Featuring JT)
“A Bar Song (Tipsy) [Remix]” – David Guetta, Remixer (Shaboozey & David Guetta)
“Espresso” (Mark Ronson & FNZ Working Late Remix) – FNZ & Mark Ronson Remixers (Sabrina Carpenter)
“Jah Sees Them” – Amapiano Remix – Alex Antaeus, Footsteps & Mrmyish, Remixers (Julian Marley & Antaeus)
“Von Dutch” – A.G. Cook Remixer (Charli XCX & A.G. Cook Featuring Addison Rae)
In June, the Recording Academy unveiled a flurry of rule tweaks that will be implemented at the 2025 awards. Among these 10 changes, three were directly related to the dance/electronic categories, with a fourth also affecting those categories.
One of the changes involves an award that was introduced to the Grammys just this year, with the best pop dance recording category now being called best dance pop recording. This tweak is not just a matter of aesthetics, but meant to make the category more accurately reflect the well-established style of dance pop music it was created to showcase.
The next rule change involves the best remixed recording category, which has long focused on dance/electronic artists but was never an official dance/electronic category. That changes in 2025, with this category being moved from the production, engineering, composition and arrangement field into the pop and dance/electronic field
Moby has joined the chorus of musicians who’ve responded to Donald Trump’s win in the 2024 U.S. presidential election. On Wednesday (Nov. 6), the producer and activist posted a video of himself outside in New York City, addressing the camera by saying “So obviously the election results are terrible and America and Americans have clearly […]
Three years after its release, Illenium is sharing the emotional backstory behind his track “Brave Soul,” the closer from his 2021 album Fallen Embers.
In a video posted to YouTube Monday (Nov. 4), the producer tells this story alongside Jordan Hamilton, the CEO of Choice House, the Colorado addiction and mental health treatment center for men where Illenium (born Nick Miller) got sober more than a decade ago after an opiate addiction.
“I met Jordan when I was on my long trek of rehabs,” Miller says in the video. “Jordan had two years sober at the time. I had gone through treatment a couple years before that and was just trying to figure out how to live life.” Watch the complete video below.
The pair became friends, with Jordan’s sister Emma, a singer-songwriter, getting introduced to the group. Together, they eventually wrote a song that turned into “Brave Soul,” with this music written in memory of Jordan and Emma’s late brother Braden, who they lost to an overdose in 2018.
“Emma and I shared the love of [being] able to speak through music and heal through music,” Miller says in the clip. “I think that’s a really impactful thing to give back to a person that you love, and give back to yourself.”
Illenium debuted the track at his Trilogy show at Las Vegas’ Allegiant Stadium on July 3, 2021. “It was so sick having you there and having Emma there and being able to give your brother the words from beyond,” Miller says in the video.
“To hear 40,000 people respond to that and to hear his memory, it was a super special special moment,” Hamilton continues of the song, whose lyrics honor his brother memory by saying “here’s to your brave soul/ you fought but you lost hold/ and now I’m alone to face the truth.”
Illenium opened up about his journey of finding sobriety and going on to became a stadium filling artist in his Billboard cover story this past March. Of how addiction effected his relationship with his mom, he said, “Watching that relationship get torn by the s–t you keep doing — at first, it’s like, ‘Why are you on me so much, I’m not even that bad,.’ Then it goes into ‘OK, I can’t stop’ and then it goes into, like, “F–k everyone. I can’t live without it.’ And then you’re just breaking down.”
“For anyone who’s in that place, it feels so horrible in that moment,” Hamilton says in the video, “but if you’re willing to ask for help and take some steps, that’s the jumping off point of where we get better.”
If you or anyone you know is struggling with substance abuse, visit the Substance Abuse and Mental Health Services Administration’s website for resources.
While Shygirl was crushing performances onstage as the supporting act for Charli XCX and Troye Sivan‘s recently wrapped Sweat tour, a lot more was happening behind the scenes and on the road. “We would get off the tour bus at every truck stop just to look at and buy every souvenir that caught our eye,” […]
In the techno hall of fame, Dubfire exists alongside the greats. The producer, who was born in Iran and moved to Washington D.C. as a child as his family fled the Iranian Revolution, has been a fixture in the global scene for more than 15 years, playing under both his techno moniker and as half of Deep Dish, his longstanding and beloved progressive house project with Sharam.
The artist born Ali Shirazinia has been putting in work on both projects as of late, releasing his two-track Redacted EP, a collaborative project with Argentinean artist Flug, in late October, shortly after he wrapped a week at ADE in Amsterdam. He played a whirlwind of showcases, including the annual Homeless Homies fundraiser, which donates 100% of ticket profits and a portion of drink sales to homeless shelter in Amsterdam and the home of techno, Detroit.
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Next month, Deep Dish will play their first shows in London in more than a decade, premiering a load of new music to intimate crowds at venue The Cause. Dubfire will also globetrot to Tulum, Mexico in January to play at Damian Lazarus’ annual Day Zero party.
Here, he reflects on ADE, the passing of Jackmaster, the state of techno and more.
1. Where are you in the world right now, and what’s the setting like?
I’m currently in Montreal, recovering from the marathon 12-hour set I played at Stereo with my Deep Dish co-pilot Sharam. That kind of DJing is a dying art so we aim to not just entertain our audience, but inspire the next generation to step up and keep it alive.
2. What is the first album or piece of music you bought for yourself, and what was the medium
Ultravox’s The Collection on cassette. I didn’t really buy much vinyl — I was purely a cassette tape guy.
3. What did your parents do for a living when you were a kid, and what do or did they think of what you’ve done and do now?
We came to the U.S.A. initially not intending to stay, but the Islamic Revolution forced my parents to take up odd jobs to keep us afloat after we chose to stay. Though they had hoped I’d take up a reputable profession, they nevertheless helped launch the first Deep Dish release and watched in amazement as I began to tour the world over that decade and beyond. They have always been my biggest support.
4. What is the first non-gear thing you bought for yourself when you started making money as an artist?
It must have been a pager.
5. If you had to recommend one album for someone looking to get into dance music, what would you give them?
Global Communication’s 76:14.
6. What’s the last song you listened to?
Blixa Bargeld and Teho Teardo’s “Starkregen.”
7. You just spent the week at ADE. What are your big takeaways from the experience?
Choose all the panels you want to see in advance and schedule your meetings around them. Do not go out to any parties until Friday, and never try to organize an event unless you work with a local promoter.
8. What were your best ADE moments?
Catching up with legendary dub producer Adrian Sherwood at Melkweg and meeting with Armada at their incredible offices. Deep Dish couldn’t have found a better home.
9. You participated in the Homeless Homies event, which raised money for homeless organizations. Tell us what that program is and why you were compelled to participate?
Donating my name and time by playing an intense afternoon techno set is the least I can do to help the homeless epidemic. It’s inspiring to watch how committed [event organizers] DJ Bone and Ahnne are to easing, and eventually eradicating, homelessness in Amsterdam and Detroit. I wish more DJs, myself included, gave themselves to worthy community service.
10. What’s going on in electronic music right now that you’re most excited about?
The new STEMS feature in Native Instruments’ latest update of Traktor Pro is a game-change moment for DJing and production. I’m also excited by the sheer quantity of dance music which defies categorization, sitting comfortably in between genres and sub-genres.
11. What’s going on in electronic music that you’re over?
Social media and poseur DJs.
12. You won a Grammy in 2002 with Deep Dish for your remix of Dido’s “Thank You.” Did winning that award change your career in any way?
I can’t say that it had any residual effect.
13. Were you at the awards ceremony when you won? If so, what are your strongest memories of the night?
I recall Coldplay getting an award for their first album and going through the backstage press maze together with them.
14. You posted a really lovely tribute to Jackmaster after his passing last month. Do you have any great Jackmaster memories you’d like to share?
It is still incredibly tragic to think about; his brother who I hadn’t met reached out to me after my post with a very sweet message which was touching. We all knew, and saw, how loved he was by the sheer number of posts which surfaced, and in some way I think that helped our dance music community cope with the loss. I do recall another time where we DJ’d the same event in Valencia, and he was dancing and singing to Danny Tenaglia’s “Be Yourself” in complete bliss when I dropped it at the end of my set. I would notice this often with Jack; he’d become completely immersed in this music as if he was in a trance. It was beautiful to witness that.
15. What’s your take on the current state of techno?
True techno music has honestly never been better; I am buried in quality tracks at the moment, and these are mainly from newer, younger artists. Though it seems to be getting sidelined by this new form of EDM that is cloaked in techno which I find incredibly cheesy and irritating.
16. What artists are you taking inspiration from lately?
Joy Orbison, Chlär, SNYL, Nick Cave, Einstürzende Neubauten to name just a random few…and believe it or not, I’m completely obsessed with Lykke Li at the moment; especially her ü&me EP which is achingly beautiful.
17. What cities around the world feel the most exciting to play in right now?
Buenos Aires, Barcelona and Miami.
18. What’s the best business decision you’ve ever made?
Quitting my day job, which allowed me to pursue my dreams full time.
19. who’s been your greatest mentor and what’s the best advice they ever gave you?
My mother who forced me to park my money in real estate.
20. What’s one piece of advice you’d give your younger self?
Buy a villa in Ibiza.