World renowned music, travel, art and culture series Gates Of Agartha is heading deep into the Mexican jungle where ancient Mayan civilisation once thrived. The acclaim series’s next event from January 16th to 19th 2025 is in Tulum, nestled on the Caribbean coast of Mexico’s Yucatán Peninsula, and offers a two day festival experience as well as an exclusive Lagoon Opening Ceremony and party and Cenote Closing Party for those lucky few who purchase the Full Experience. Pre-sale begins October 9th.
Gates of Agartha is a concept that draws its inspiration from the mythical underground kingdom of Agartha, where ancient secrets and wisdom are guarded. Its debut was widely acclaimed as the Best New Regional Festival last year in Croatia. The series is all about offering unique cultural experiences in unusual locations with a rich sense of history and is a spin off of the main event Echoes From Agartha Cappadocia, which is an impossibly beautiful festival in an ancient land in the heart of Anatolia, Turkey.
Renowned for its well-preserved ruins, Tulum serves as a gateway to the rich history and culture of the Mayans. Gates Of Agartha will take place in the lush surroundings of Zamna, a venue known for its natural beauty and mystical ambiance and one that will be transformed into a realm where the spirits of the past meet the energy of the present.
For this special event, the sacred lands of the Mayan jungle become the stage for a four-day festival amidst cenotes, ancient trees, and the echoes of a civilisation that has left an indelible mark on history. It is a place where attendees can enjoy a deep connection to the natural and spiritual world in what will be a truly immersive experience that honours the legacy of the Mayan people.
This celebration of music, history, and art will feature production design inspired by ancient Mayan aesthetics and culture, blended with Agartha’s ancient futuristic design. Various types of accommodation packages provide a full, immersive experience and whether you choose to stay in boutique villas, or scenic jungle lodges, all accommodations come with added perks.
This once in a lifetime journey begins on Thursday January 16th with an exclusive and intimate Lagoon Opening Ceremony for 400 Full Experience package guests. It takes place at sunset at a serene lagoon where you will connect with nature, water, land, and the sky as the ancient Mayans once did with a ceremony that blends Mayan traditions with futuristic aesthetics before a private party under the stars.
Friday January 17th and Saturday 18th are the Big Festival Nights at Zamna with two monumental parties hosting 4,500 people each night for an immersive journey through music, art, and history. Expect world-renowned DJs, breathtaking visuals, and a transformative atmosphere as the energy of the jungle fused with cutting-edge technology to create an unforgettable celebration.
Guests are then treated to a special ticketed Closing Party from 10 am until sunset on Sunday January 19th at a secret Cenote Club. It takes place in a sacred space surrounded by the natural beauty of the cenote and encourages you to reflect on the shared experiences of the previous days and celebrate the end of the magical adventure in the heart of the Mayan jungle.
Gates Of Agartha Tulum features immersive programming and the chance to truly soak up authentic Mayan culture and the wisdom embedded in this land. It will be another reactivation of an ancient culture that will leave the mind, body and souls truly enriched.
For more information on Gates Of Agartha x Tulum, please visit:
Gates Of Agartha: https://www.instagram.com/gatesofagartha/
Back at it again at Krispy Kreme Southside. Unlike the scorching sun of yesteryear, we were treated to showers as we approached the site. However, the weather gods were kind (for now) and cleared the sky for our arrival so we had a nice soft ground for tent pegs, a dry inside tent and cool splatter paint job on the car. With provisions (earplugs, painkillers, battery pack) packed, it was time to head to the arena. So we thought. Opening was delayed by over an hour as organisers monitored the approaching storm clouds. Luckily the securities were super nice and chatty so there wasn’t much stress.
Once the arena opened the top priority was obviously merch, because there’s always a design that sells out and its usually the best one. This year it was a tie-dye shirt. And it was sold out. Shaking my fist at the Thursday arrivals. Sea Girls were delayed on the green stage so I took the chance to go round all the merch stands in the faint hope of tracking down this elusive shirt. No such luck. Settling for different design, it was time to go watch some bands.
Sea Girls had a shortened set of about five songs, including All I Want To Hear You Say and Do You Really Wanna Know? which were the two I knew. Great, upbeat opener to the festival, they seemed to have a good time on stage and were very grateful to be playing at all. I’ll definitely keep an eye out for UK dates near me. Turns out, having written that and then checked, they’re on UK tour in autumn. Wonderful.
Quick chance to grab lunch before returning to the Green Stage for IDKHOW who I did not know were American. The aviators in the rain should have given it away really. I found the song Nobody Likes The Opening Band thoroughly endearing, especially as there was a growing crowd braving the rain. They played a heavier version of Do It All The Time which worked really well. Their set was also shortened to make up for the time lost to the delayed arena opening, but the singer said he’s been on the stage crew side of things, so he got it.
The stage now had a water feature running down the front but luckily the increasingly dense crowd kept the rain exposure to heads and shoulders. As Feine Sahne Fischfilet’s pre-show songs started playing, including She’s Kerosene by The Interrupters, the crowd started moving and evaporating any rain that tried to reach us. I think there’s generally a divide about this band’s shows, personally I think they’re great and their crowds are a rowdy party in all the best ways. Endless mosh pits, smoke flares and chants. The opener was a bit of a slow one, but the second song definitely got the crowd going. From then it was full on for the set with only a brief respite while an emotional front man sang about how much he loves his parents and the fact they stuck with him through his rebellious youth. Toward the end of the set there was a generous distribution of free (plastic) bottled beer into the crowd with the encouragement to get on shoulders to catch it. Suddenly I was surrounded by a forest of people and the rain was replaced with beer showers as the bottles started flying. Beer was shared around, and the atmosphere was on point. The set was finished off with a huge wall of death with the lead singer in the middle.
Feine Sahne Fishfilet in 2019
Heading over to the Blue Stage for Editors, I realised how much Feine Sahne Fishfilet cleared out the rest of the arena, I arrived for the start of the set and walked into the second row unimpeded. The Blue Stage was not blessed with runway tarmac to keep us safe from the growing swamp, but if I’m honest it’s preferable to the dust bath of last year where breathing was precarious at times and mosh pits a guarantee for dusty lung disease. The rain was back in full force and a fuller crowd would have been nice for rain protection. Editors played a great set including old and new songs with an acoustic opening to Smokers Outside The Hospital Doors. Front man, Tom Smith, delightfully contorting himself around the stage as he is wont to do, thanking the crowd in German and blowing kisses into the mic. Unfortunately, the sound was very bass heavy and it was hard to hear the melodies at times. I think it got better as the set went on, but it was a shame as the band has some great riffs.
Editors in 2018
Arriving at Sum 41 about 20 mins into the set the crowd was jam packed so it looks like Editors got a bit unlucky with their line-up slot. Sum 41 really bought the skate-punk vibe, jumping around on stage and generally being really fun and energetic. I have to admit that I missed them in my youthful emo phase, so I’m late to this particular party, but all the better to enjoy them now. The crowd went predictably wild for the classics and there were fireworks on the stage, like next to the drummer, for Fat Lip along with fire and smoke along the front. The set included a cover of We Will Rock You with the obvious sing along from the crowd. For all the fun of the set, it was a bit anticlimactic when the band just kind of went “ok, thanks, bye” and finished quite abruptly with 5 minutes left of the time slot. But either way, a lot of energy both on and in front of the stage.
Keeping the vibe going, The Offspring were next. I’ve missed these guys, they are so much fun and their music lends itself so well to singing, jumping and moshing. All the hits were covered: You’re Gonna Go Far Kid, Self Esteem and of course Pretty Fly (For A White Guy). We were also treated to a bunch of True Facts™ like that there was a world record breaking 1.9 million people at Southside this year and that this show was the greatest thing to ever happen in rock’n’roll. Which doesn’t sound right but I don’t know enough about rock’n’roll to dispute it. There was 6 billion large beach balls thrown into the crowd during Why Don’t You Get A Job, normally great, however their mud coating meant that every time they bounced overhead you got a little mud shower and I was doing so well at keeping mud below the waist line…
The Offspring in 2019
Much of the crowd stayed in place for the Green Stage headliners Bring Me The Horizon. I recognised some of the front row from the start of the day, so one presumes they have not moved from there since 3pm. Some of the people were struggling a bit during the wait time. One young woman was handed water and a sweet by the securities, another was lifted out before things got started. The woman next to me had an impromptu whistling lesson from the guy next to her, so the wait passed quickly as the stage was set up. Red velvet curtains were draped along the edges of the three teered stage and a group of firemen got a tour of what I assume would be the ensuing pyrotechnics.
Bring Me The Horizon in 2022
The show started strong with DArkSide, front man Oli Sykes, remaining in the shadow of the stage lights. Three songs in, after MANTRA, the band suddenly walked off stage and stayed gone for a long time. The screens stayed on and the lights were cycling through as there appeared to be a mic check. Luckily, whatever the issue was, it was resolved, the band came back on stage, blamed it on gremlins and the full moon and launched into Teardrops. They had a fan on stage to sing Antivist, who was so nervous but did such a good job, death growls and all. The stage show was fantastic, but then I am a sucker for gothic church and cyberpunk aesthetics. There was plenty of pyro and fireworks, especially for the closing Throne. For the whole show, Sykes was skipping along the stage all smiley and the band were clearly having a great time, jumping and spinning around. It was an amazing show, I do have one criticism though: throughout the day I thought how much phone recording seems to have gone down, like the occasional photo or bit of song or crowd videos. The crowd for BMTH was having none of this “living in the moment” nonsense. I was a few rows from the front and had to crane my neck a lot to be able to see around the many phone screens held aloft. And I get it, you want a record of the show. But maybe not all songs and maybe less held above you.
I missed out on UK tour earlier this year but thought the band might go on tour again when the delayed NeX GEn album is out. I think the only new song to the setlist at Southside was top 10 staTues tHat CriEd bloOd, which to be fair, is a banger. Fingers crossed for an extended album tour when they’re back from Asia and South America.
Closing out the night, Deichkind finished up on the Blue Stage midnight to 2 am. I missed the first few songs moving over in the throng of people from BMTH but there was still plenty of dancing left to do. It’s hard to describe a Deichkind show in words and do it justice. It’s more like an absurdist art project with a banging soundtrack. I can’t say for sure how many band members there are, Wikipedia says four, but there were between one and about eleven people on stage at any given time and like 15 people took a bow at the end, so who is to say. There were loose but really fun choreographies, there was a giant barrel full of band traversing the crowd, there was office chair races. There was a giant selfie stick with matching giant IPhone, there was a song sung from a climbing portaledge, there were mini trampolines. One of the band members was replaced with a robot arm at one point. Of course, the robot arm kept up with the choreography. A good amount of the songs were different from the studio recordings, with various samples or style changes that worked superbly with the live show, really getting every last bit of energy out of the crowd. To finish it all off, the night concluded with a naked, masked man in y-fronts atop a giant inflatable ring bouncing over the crowd while emptying a huge sack of feathers upon the masses. Like I said, hard to really convey the mayhem, but an absolute spectacle. Even if you don’t understand the words, Deichkind is an infectious band with a one-of-a-kind show.
Deichkind in 2022
As thoroughly drenched and partied-out crowds trudged back to the campsites, mud solemnly squelching under hundreds of feet, I picked my way back home by torchlight, around guide ropes and past camping tables laden with empty beer cans. Once I was excavated from my mud coating it was time for bed amongst the sound of gentle snoring from the neighbours, ABBA playing in the distance and (to my dismay) the dawn chorus of birds.
Saturday
Saturday morning started with beautiful weather, perfect for lazy coffee in the sun without being boiled alive in the tent. The trip for washing up and water re-fills was a fun slip and slide. Some might say walking through a muddy field in flip flops is a questionable decision, I say it’s a rejuvenating mud mask for your feet. Clouds were moving in and there was a queue of people filling up 10l+ water canisters at the taps. I made it back inside my tent just in time for the heavens to open, thwarting my plans for second coffee for reasons like “lack of airflow” and “carbon monoxide poisoning”, sounds fake, but ok. I’m glad the festival app cheerfully informed be of the sunny weather because the increasing fervour of the rain beating down on the tent would have fooled me into believing otherwise. Now trapped in the tent by what I assume was the end times, we thought it best to wait out the worst of it rather than go from 0 to 100 in the moist department. Just as the rain began to ease the app announce impeding heavy rain. I hoped it was a delayed message. It was not.
Opting today for a more rain proof ensemble, I was surprised to find that wellies and a waterproof jacket actually kept you dryer than my previous thick hoodie and trainers approach. *Meryl Streep voice* Groundbreaking.
I didn’t really know The Gaslight Anthem previously and the studio recordings didn’t grab me, but as I joined the crowd for Handwritten the high-spirited audience dancing in the rain together had that wonderful festival vibe where most music is actually great and life is too short to not enjoy yourself.
The swamp at the foot of the Blue stage had expanded and deepened into a lake by the time that Irish post punk band Fontaines D.C. took to the stage. All dancing now resembled that scene from one of the most beloved movie sequels of our time: step up 2 the streets. But with mud. Frontman Grian Chatten, rocking 90s vibes in bright green plastic sunglasses and a light blue adidas jacket, wandered up and down the little catwalk attached to the centre stage. The setlist spanned the bands discography, finishing on Starburster.
More punk vibes with working class sentiment were on offer from Idles over on the Green Stage. Truly a man of the people, lead singer Joe Talbot was sporting one of the red rain ponchos from a festival stall. Idles had a bit more of a beat going on compared to Fontaines D.C. and definitely more political anger. Correspondingly, the crowd was more mosh than dance, though lyrics like “Best way to scare a tory” may have gone over the heads of the crowd. With the guitarist rolling across the crowd when I got there and announcements like “Andale you f*cking animals” launching songs the set had a riotous energy that absolutely got the crowd moving.
As we were waiting for The Kooks it was announced that the blue and green stage headliners were going to be streamed on the other stage which was a great idea as it would reduce the massive one-sided crowding of the arena at the end of the day. The crowd was singing along joyfully with the intermission songs including Don’t Stop Believing and Sweet Caroline before the band took to the stage. Starting off with energetically with Always Where I Need to Be the set drew a bigger and bigger crowd as time went on. I never know which UK bands are well known in Europe, turns out The Kooks have a long history with Germany and Southside festival. This was evident from the amount of crowd sing alongs, especially for the closing Naïve. The band also announced a new album coming soon, playing a new song Sunny Baby. Everyone clearly had a great time, frontman Luke Pritchard showing off his best dance moves and the sound was much better than yesterday.
I can imagine the sombre sound of The National being great in the sunset, but alas we had all cloud. But at least it was dry so a good time to queue for dinner. The usual roaming beer and ice cream sellers were replaced with troops equipped with back pack hot coffee dispensers and side pouches of those little milks you get in hotels. The crowd management was really good this year, the walkway between the first and second zone was being used to fill the front of stage area from both sides very efficiently, so it was no problem getting in even though it was busy. The soulful voice with the gentle brass section accompaniment made for a calm evening performance up to the point that lead singer Matt Berninger walked into the crowd. Normally not unheard of at a festival. Berninger made it interesting by using a cabled microphone that had multiple stage crew reeling out wire while not choking anyone along the route. The second time Berninger made any indication of walking off, the roadies sprang into action immediately.
The crowd changeover between The National and Ed Sheeran was chaotic with people trying to leave while others rushed towards the middle. But once everyone was in, we settled in to wait the 75 minutes.
A group behind me were entertaining themselves with their own sing along with hits including Bohemian Rhapsody, Backstreet Boys and a fair bit of High School Musical. Ed Sheeran came on stage by himself and launched straight into Castle on the Hill, with fireworks exploding in front and behind the stage for every chorus. Sporting an official Southside hoodie he explained the loop pedal set up of the performance, how he builds up the songs bit by bit and that they are deleted after every performance. At one point he messed up a section and had to restart the whole song (“that’s how you know it’s live”). The stage was backed with a floor to roof screen that accompanied the set with bright, colourful visuals that paired perfectly with the acoustic feel of this headlining set. Besides all of his hits, the set included Love Yourself,which he wrote and gave to Justin Bieber, and Eyes Closed in memory of a close friend. I have to be honest, I was expecting an overproduced show of an overplayed radio star, but it was an endearing, earnest performance.
Kontra K in 2022
In contrast, with Kontra K finishing up on the Blue Stage today it was very hard to tell what was irony and what we were supposed to take literal. On the one hand, knuckle duster microphone and gangster rap with all the associated attitudes, on the other hand he told people to share their feelings and love one another. There were bits that reminded me of self-help podcasts but then I figured it out, what was actually happening was fairly shallow platitudes that contained buzzwords that linked to the next song title. It was certainly an impressive stage show, and I think if you turn your brain off and go with it, it’s good fun. The show finished with a costume change, donning a big coat with the correct number of buckles (more than 5) he was set alight for the final song. Like I said, impressive to look at and the crowd was definitely here for it, just not my cup of tea. The show finished with the whole extensive crew on stage as he thanked them which was sweet.
Once back at the tent, the gentle embrace of sleep was accompanied by the dulcet tones of my neighbours trying to remember the name of Wallace and Gromit and discussing how it scarred their childhood. Perfect way to end day two.
Sunday
Sunday morning started with the app informing everyone about how to get out of the thoroughly soaked car park fields, encouraging everyone to help each other push, that there’s free rescues for those who can’t get out and asking for patience. There was hope that a dry Sunday night might make it easier to leave tomorrow morning. The drizzle set in as I frantically gathered stuff together and made it into the arena just in time for Danko Jones opening appropriately with Guess Who’s Back. What followed was an invigorating 45 minutes morning (2pm) workout of classic sex, drugs and rock’n’roll complete with little circle and mosh pits. The crowd started small but grew bigger and bigger despite the rain. The band was towelling down their guitars in between songs and pointing out the precarious decision to play in in a downpour surrounded by electrical equipment. Representing the first of the Canadian contingent of today’s line up, the band loudly declared their intention to have a Good Time,finishing the set with My Little RnR.
Slowing back down a bit, Bombay Bicycle Club on the blue stage played a relaxed set to a fairly loose crowd. Their backdrop of colourful streamers was swaying lazily in the breeze and the sun briefly peeked out behind the clouds. Before I could fully form a thought about suncream the sky disavowed that notion by getting back the scheduled rain. The arena had been generously covered in straw overnight, but the most travelled paths had already returned to the primordial soup. Crew was working hard emptying wheelie bins of wood chips in front of the stage so at least the securities and photographers could keep dry feet. After my personal favorite, Eat Sleep Wake it was time to head back to the green stage for Simple Plan.
Sunday Canadian act 2 out of 3 came on to the Star Wars theme then jumped right into I’d do anything. The sun was fully back now, and the tarmac actually dry in places, perfectly timed for Summer Paradise. The accompanying beach balls still had a light mud coating though, upgraded to a thick slathering after it fell in the mud at the side of the crowd so any contact with the crowd resulted in an unceremonious shower. The muddy threats were subsequently violently rejected by the masses. Turns out I’m Just a Kid is legally an adult now, so it made sense that the lead singer’s shirt got an update with kid crossed out and adult added. The back held true though. Life is a nightmare. As a mid 2000s limewire kid, Welcome to My Life bought the teenage angst flooding back in full force. Judging by the crowd response, I was not alone there. Besides the hits the set included covers of All Star, Mr Brightside and Scooby Do. Towards the end, the drummer, sporting a German football shirt, swapped round with the singer and went for a swim in the crowd. The set finished with Perfect, first verse and chorus being played on acoustic guitar before the frontman launched it across the stage to be deftly caught by the neck by the roadie. The band clearly had a great time and the crowd even more so.
Those who had a little more foresight and packed sunscreen today kindly shared it round while we waited for Leoniden to start. The band went way heavier than I expected for the intro with the guitarist swinging his instrument wildly by the strap and then the mic by the cable to the point where it’s a miracle he didn’t take out his bandmates. The band declared that they had a day off tomorrow so they would hold nothing back today. They really weren’t lying. Part of the show took place in the crowd, with both piano and percussion being carried into the masses at different points. The set included covers of Take on Me, Teenage Dirtbag and Smells like Teen Spirit. There was plenty of crowd interaction from the classic “sit down and jump up” through to “8 jumps left and right a la Dutch football fans”. A giant pink shark was leading one of the mosh pits, so really, how could I not? The band also announced the band mobile phone number to message with pictures, comments and to get exclusive merch. The second time they read out the number the crowd joined in. Next to Feine Sahne Fishfilet, this was definitely the most ecstatic crowd and the liveliest party of the weekend. Leoniden sing in English and are coming to London in December, I would highly recommend checking them out.
Jungle was hosting the perfect dance party in the evening sun as I went to get dinner before heading into the crowd for Avril Lavigne, giving The Hives a miss this year (they’re way more likely to be back than Avril Lavigne). The stage was adorned with pink hearts and skulls along with a selection of different coloured bejewelled microphones, exactly what you would expect from the icon of 2k teenage girl rebellion. Rocking a stunning punk rock outfit complete with skater skirt, high boots, patches and an over sized hood Avril came onto the stage to an instrumental intro before kicking things off with Girlfriend. The set was leaning heavily on the older albums including I’m with you, He wasn’t and Loosing Grip along with all the classics: Complicated, Skaterboi and Happy Ending. Simple Plan joined on stage for I’m Addicted, completing the Canadian triumvirate for the day beautifully. The flooded arena floor still made jumping a risk, so everyone was mainly swaying and singing along but all in all it was a great show from an artist I never expected to see live.
I stopped by the toilets/water taps for one last refresh before the final straight of the weekend. Clearly that was a very original idea as the area was rammed, but everyone queued nicely, and the infrastructure held. Turnstile finished 10 min ahead of schedule, but I still caught a bit of the set sitting on the tarmac by the stage. The area was already filling up for the final headliner of Southside 2024, so respite was brief as the crowd piled in. Somehow a group had enough internet connection to put the football onto their phone which was graciously held aloft, Swiss and German audience members reaching across the aisle with amicable respect. As the sun set there were a few medical issues, but crowds parted and helped carry wherever needed. I guess the sun had come a little unexpected, so heat exhaustion probably crept up on people.
K.I.Z in 2022
K.I.Z. last played Southside 2022, moving up into the top slot this year. The stage got a do-over, now consisting of three massive crystals in the centre surrounded by smaller crystals at the base. Throughout the show the crystals were filled with smoke, contained band members or had mesmerising laser shows on or through them, it looked fantastically alien. Wasting no time, the set unexpectedly started with Ein Affe und ein Pferd, a popular older one, which whipped the crowd into a frenzy. The whole arena became a mosh pit, with more people moshing than those standing in their isolated islands of relative safety. The band’s developed a bit since the last show, still boasting a dark humour buried so deep shock value that (hopefully) no one takes it literally and the occasional straight-laced line, the newer material had a lot more biting social commentary and solemn themes still delivered with a highly sarcastic sting (eg “of course we’re pro peace, but first we have to win”). Though the crowd went hard for the pretty much the whole set, there was a levity to the performance as well, the group was joking around on stage and making each other laugh. I knew they’d be good; I was not expecting the show to be THAT good. Admittedly, the language might be a barrier to entry here and googling some of the lyrics may land you in trouble with office HR at a minimum, but to be honest, I think the crowd carries the vibe across the language barrier pretty damn well. In an incredible contrast, the show finished with hyper violent BOOM BOOM BOOM into the incredibly sombre Goerlitzer Park, a song about the disenfranchised of a famous park in Berlin.
Red taillights lined the horizon as I got back to the campsite, so it looked like cars were getting out of the mud ok. Monday morning treated us to a beautiful, crips dawn and what was possibly the best shower off my life. The ground had dried up a little, so we managed to get the car out with only minor slippage. This was probably the best organised Southside I’ve attended to date, an absolute joy. See you next year.
The DJ Awards’ highly anticipated 23rd anniversary event takes place on October 2nd at Chinois, Ibiza. The ceremony will see category winners announced once all public votes are counted. Ahead of that, winners of the Industry Awards as chosen by a panel of experts can now be announced.
Founded in 1998 by José Pascual and Lenny Krarup, the DJ Awards have long been recognised as the ‘Oscars for electronic dance music.’ Now under new ownership and with fresh investment after a four year hiatus, the awards make a welcome return and continue to champion excellence in global dance music.
Doors open at 10pm with awards ceremony taking place 11.30 to 12.30. BBC Radio 1 tastemaker Jaguar returns to present the awards alongside respected electronic music personality Katie Knight, a regular face in Ibiza, who will also be interviewing artists backstage after the ceremony while the after-party kicks off in the club at 12.30am
The winners of each of the voted for categories International DJ Of The Year 2024, Live Act, Breakthrough, House, Tech House, Drum & Bass, Techno, Progressive House, Organic House, Afro and Trance have been chosen by the public and will be announced on the night with nominees listed below.
The reboot of the DJ Awards was always planned to recreate what’s been done before but better, which is why the number of awards has been reduced to 19 with a surprise award announced on the night. The new categories reflect the new state of the scene and also lay the foundation for the DJ Awards to expand its reputation and reach beyond Ibiza and promote dance music culture to a broader global audience while returning the integrity of the brand.
Interspersed with voted categories, the winners of these special Industry Awards will be presented with their trophies and they have been selected by a specially assembled team of industry professionals.
Ibiza Icon
Luciano
This award goes to anyone who has, over a long time, made a profound impact on the scene in Ibiza. Someone who has played multiple venues, grown with the success of the island, and given back to it in a social capacity.
Cadenza boss Luciano is very much that man. He has DJed in the local prison, hosted talks at public schools, played every venue on the island, held legendary residencies, lived in Ibiza for years and made Spain his home. He has always stayed true to his art and will always be synonymous with the White Isle.
Ibiza Party of the Summer
David Guetta’s F*** Me I’m Famous at Ushuaia and Future Rave at Hi Ibiza
This award does what it says on the tin. The success of a party isn’t judged by the number of attendees, it’s about the commitment to creating a unique experience, the loyalty to a venue and ability to showcase a wide spectrum of creative sounds and abilities and have a real impact on dancers.
The famous Frenchman is the only DJ on the island to host two of his own parties and they are the only place he plays in the summer which is a throwback to how parties used to be run back in the day. They very much showcase different sides of his sounds – FMIF is more commercial and VIP lead, while Future Rave offers up and comers a chance to shine. Both events place huge attention on the production with dancers, performers and the VIP experience all taken care of.
Ibiza Track of the Summer
Adam Port, Stryv – Move feat. Malachiii
Historically, this has always been a track you hear in the day, at night, on the beach, in the super clubs.
And that is certainly the case this year. This track has been played by everyone from all different musical backgrounds, in beach bars and in the main room, on terraces and at villa parties. It has had more than 200 million streams on Spotify and crossed over into so many different worlds. It’s catchy, singalong and the true sound of summer.
What’s Hot Global
Keinemusik
This is a new category given to a brand or artists that have elevated themselves in the last year onto a whole new level of popularity and success.
Keinemusik have done just that and have been everywhere this year playing standout sets in Ibiza but also hosting their own unique events under their iconic cloud. They are able to pull in crowds of up to 35000 people at festival sized events and they always sell out, such is their appeal to a wide range of clubbers from all musical backgrounds and ages. The trio have also done lots for up and coming artists., have remained true to their core and even recently raised 100, 000 euros for charity in Ibiza.
Global Festival
Defected Croatia
This award is given to a festival that has been newly or re-established and is doing something fresh on a global scale such as invigorating a new territory, promoting a certain sound or genre and putting a scene or place on the map.
Defected’s superb three day festival in Tisno, Croatia has done just that. It is loyal to the label’s famous house roots with a wonderful mix of established, new and upcoming artists. The audience is diverse in terms of age, gender and sexuality with local and international acts all featuring in a house-centric soundtrack that is both quintessential and cutting-edge.
Play It Back Award
Michael Bibi’s One Life Campaign
This is an award given to a person, institution or event that has bettered the scene socially, charitably or in a humanitarian fashion.
After his very public battle with central nervous system lymphoma and recent return to full health, Michal Bibi has put great focus on raising awareness about the rare form of brain cancer he suffered from. He has put a real spotlight on it with his One Life campaign and deserves great recognition. He has raised plenty of money including £124,832 made from his Finsbury Park takeover in London which went to Royal Marsden Cancer Charity but also has a policy of creating awareness at his events. That one in London had a stem cell transplant charity on site to help recruit attendees to sign up to the stem cell register. This forward thinking, positive, altruistic action has all been done from the dance floor up so makes Bibi a more than worthy recipient.
Eye on… USA
Gospel New York
This annual award shifts the focus onto a different territory, starting with America, the birthplace of house music.
New York’s Gospel club has had great success in just a few short years. James Huddleston and Juriel Zeligman are the co-founders and the venue is well run with a great mix of regular guests doing their own promotions. It’s a great throwback to how the scene was when it was first born in the 80s with serious focus on the music and residents. The club is a great modern addition to the city but one that never forgets the roots of the scene.
Dance Floor Moment
In the run up to the awards, people all over the world will have the chance to come to Ibiza dn collect a genuine DJ Award on stage with all the other winners. People have been uploading clips of their favourite dancefloor moments to instagram and tagging @thedjawards with the hashtag #DANCEFLOORMEMORY. This is the start of an annual campaign that will see us recognise the best moments every year of the people who make it all possible, the fans and clubbers of the world.
This unmissable night marks the welcome return of the rejuvenated DJ Awards and will be a unique night of celebration for the dance music industry after another epic year.
FULL NOMINEES ANNOUNCED ON OCTOBER 2ND
International DJ Of The Year 2024: Recognising those crowd-pleasers and chart-toppers that dominate the dance floors, bringing infectious energy and universal appeal. This category includes, commercial/mainstage superstar DJs
Y Not initially came into existence as an overspilled house party in 2005; the sort of party that the cool kid would throw while their parents were on holiday. Cut to 20 years later, and it has clearly gone from strength to strength, with huge named headliners sharing stages with bands making their first foray into festival territory. Despite the phenomenal growth, it is clear that Y Not has maintained that ‘feel good’ ethos.
Taking on a ‘when in Rome’ mentality, we made the most of the time we had and arrived on Thursday afternoon, expecting unbridled chaos in parking and clearing security. However we were (generally) pleasantly surprised here; smooth sailing up into Pikehall, everything well signposted, and straight into the car park. This could be in part due to the fact that the Thursday tickets were an add on – turns out that the Thursday tickets were worth the additional premium, but it does detract from the affordability side of things if you’re then paying piecemeal for the “extras”, especially if you’d be festivalling with a larger group of people, or bringing the family.
Stepping out into the lush greenery and looking out at the clear skies, it looked to be a promising weekend weatherwise, though we daren’t say that too loud (post note: aside from a smattering of rain on Friday, we stayed mostly dry!). Navigating wristband collections and clearing security in itself wasn’t awful, though it was clear that people were still finding their feet – we got sent on a bit of a wild goose chase trying to find the box office, but once we were through both sets of security and had the arenas laid out in front of us, we were golden.
As things were still warming up, we took a little time to explore and get a lay of the land. There’s a large array of food options available, with something for everyone – a number of veggie and vegan choices too, which is great to see. Some of the options were a little unexpected (G: I’m looking at you, fudge shop that is shaped like a bus) but safe to say it feels like this weekend is going to have some character to it, if initial impressions are anything to go by.
On our initial wander toward the merch, we caught a snip of Club Malibu starting strong with the dulcet tones of “Karma Chameleon” blaring across the Gold City. The usual fare was available (Y Not t-shirts & hoodies, and reasonably priced too at £25 and £35 respectively). In fitting with the vibe so far, there were of course bucket hats and football stye t shirts too, in a bright pink colour. Those t-shirts were a little steeper in price but were sold out in no time. Interestingly there were also band-specific shirts available to purchase at the merch stand, which was lovely. As we discovered later on in the weekend, these were on rotation, with headliner shirts on sale each day.
We strolled back across a fairly quiet site, grab a gyros (chicken for Gavin & halloumi for Reuben, and park ourselves in the sunshine. Lexie Carroll provided a fantastic, floaty tone during the part of her set that we were able to catch – similar in feel to the wispy tone that Billie Eilish put forward in “What Was I Made For”. Shame that it was being consistently challenged by the dubstep from the Flying Dutchman ride, but it comes with the territory I guess!
As another mood-setter for the weekend ahead, we caught bits of Ten Tonnes on the main stage, setting the vibes for the rest of the evening with some steady but admittedly tonally monotonous rock to a rapidly growing crowd.
R: I’ll be the first to admit that I’ve not listened to Scouting for Girls since 2009, but tonight I got to hear Scouting for Girls in 2009. Energy and feel of the band hasn’t changed in a decade and a half (complimentary, obviously). They had an absolutely impeccable festival energy though, exactly the right band for this atmosphere and crowd, revelling in the response they got for Elvis Ain’t Dead. Their accompanying guitarist, Nick Tsang, demonstrated his musical prowess on multiple occasions during the set, including leading the crowd in a confusing but delightful rendition of Year 3000 as popularised by Busted. Definitely felt like a cheese dream but it was, admittedly, a lot of fun.
Closing out the Thursday were Kaiser Chiefs, a band that we’re both fans of but neither of us expected quite the performance they gave on that stage. There was a reliance on their earlier work, but honestly, we get it. With a professionally crafted and tight set, blistering from song to song, with classics like Oh My God and Ruby getting the crowd riled. Also good to hear beyond six seconds of I Predict A Riot without being cockblocked by Yorkshire Tea.
Plan was to hit up the silent disco after this, but the combination of being knackered and the fact that it comes at an additional cost (no thank you!) had us calling it a night here.
Friday
Another day of basking in the sun of the Derbyshire Dales – once we finally clear security, at least. As expected, the number of people arriving today has spiked, meaning that clearing the first set of security is taking an age. Wish there had been an easier way to sort out day entry, but we don’t always get what we want, eh? When we eventually manage to clear security, we make a beeline for the loos (bad choice – TL;DR the queues are HUGE and the toilets are frankly a state), then get to the Big Gin just in time to catch Black Honey.
Black Honey kicked off the festival proper with their distortion heavy melodies tinged with a sweetness echoed in the country music aesthetic of the lead vocalist. If you think Dolly Parton if she fronted 90s band Hole and you’re almost there. Needless to say that 90s grunge is very much alive in 2024 while Black Honey are around (R: And I’m living for that). Lemonade was their stand out song from the set, and was preceded by an anecdote about their first ever main stage at Y Not with a crowd of 3 and an exploding bass. Far cry from that now, with hundreds of people sitting in front of the big gin absorbing their sound. (G: I last saw them do a set at Bestival in 2018 and they’ve developed so much, but haven’t lost that unique and raw sound. I also particularly appreciated their shout out to women and non-binary people in the crowd, with the explicit statement that “everyone exists here”).
We had a little bit of a gap, and a bit of a gap at a festival means one of two things; a drink, or picking a stage at random. Venus Grrrls were the result of us taking the second option and what an incredible set. Wistful lead vocals mixed with far more aggressive guitar riffs than expected, creating a glorious “fuck you” atmosphere. To put it in their words, “the best way to get rid of creepy men is to hex them”. They shared meaty bass lines that LITERALLY made the floor shake in The Giant Squid. Initially a small crowd, but they were all clearly vibing, and it didn’t take long for them to catch the attention of passers by.
Next we caught Soft Play, a punk duo formally known as Slaves, who burst onto the stage with a visceral energy that feels like it’s missing currently in music, which is probably due to their opening claim that Punk’s Dead. If this is true though, to incorrectly quote Rachel from Friends,Soft Play had a hell of a time at the wake. They closed the set with The Hunter too, a great call too, which let the new songs to breathe (or scream). G: While we had a great time, I get the feeling that Soft Play were a bit of tonal whiplash from other acts on The Big Gin today; similar to their Download set there were shouts to “fuck the hi hat” which caught a few parents on the back foot when their kids joined in with the chanting. Delightful, in its own way.
Another returning artist to Y Not, following their Thursday headliner slot in 2022, and it is clear that there are some avid fans of The Kooks that have been waiting for their return. After opening with Always Where I Need To Be, the energy stayed high, though it quickly felt less like a festival set and more like a Kooks gig – don’t get me wrong, they sounded great, but felt almost formulaic and uniform.
They did share a new song with the crowd; the catchy Sunny Baby. It contained all the energy you’d expect from The Kooks but felt musically more complex, with a lovely use of layered vocal harmony in the choruses. Seemed to be a hit with the numerous kooks fans at the front! As to be expected, they closed out with Naive, which went over like a dream.
R: At this point, I went off on a little adventure of my own, having seen the start of The Kooks, there was a band on my agenda I was feverishly excited to see live. I traded the open air and indistinguishable fruit scented vape clouds for the darkened enclosure of The Quarry stage to watch The Lottery Winners. This was a band that were clearly having a lot of fun with it, to the point that they feel like the only band so far that was genuinely enjoying themselves. They played Burning House as expected, but the highlight was their anthem for neurodiversity Letter to Myself.
Next I swung by my headliner for the Friday, The Mysterines, ending my Friday on a melancholy note in the best possible way. Sultry vocals, bits of vocal distortion and some of the quite frankly sexiest bass lines I’ve heard (honestly, just listen to Sink Ya Teeth). This wouldn’t be out of place playing in the background of the Blade films, and I mean that as a compliment.
G: As the Friday headliner, the pressure was on for Snow Patrol, but they came out of the gate strong with their 2006 hit You’re All I Have, paired with an eye catching snowflake decal on the screens behind them. As an audience member, you can see that they clearly want to be there – Gary Lightbody’s regular audience interaction pays testament to this, with an opening joke about “falling on his hoop” due to the unexpected fine rain, and bantering with the crowd about sharing some new music (“are you having a good time? Well, let’s put a stop to that!” Which raised a few giggles).
Naturally, there were some of the expected classics interspersed in the set, including 2003’s Run (which had everyone singing along in a frankly moving way), Open Your Eyes, which received a brilliant reception, and their pre-encore closer Chasing Cars which went down about as well as you would expect. There was also material from their upcoming album The Forest Is The Path – they played The Beginning, which felt slightly meatier than the rest of tonights set, but it got the seal of approval from the crowd, which seemed quite rare for any new material this weekend. Disappointingly, their set wrapped up earlier than the billed time, but on the whole it was fantastic.
Regrettably the loo situation has gotten markedly worse. Y Not have shipped in some more portaloos, but the queues for those are still stretching across the site. Heading back from Snow Patrol to meet Reuben, I made unfortunate eye contact with a girl who had tried to pee in a bush, gotten stuck, and was having her friends try to rescue her with all the discretion of two seagulls fighting over a bag of chips. Poor lass.
The energy today is a lot more relaxed than yesterday (though that might well be fatigue from the Sigma DJ set last night…), though people are generally still in very good spirits. There are a number of people drifting around the festival in fancy dress (we’ve seen a fair few gaggles of nuns) which is causing equal parts confusion and delight for those who clearly were not aware that there was a fancy dress contest happening.
The annual paint fight has already taken place when we arrive, and safe to say there are a number of victims wandering around. Turns out that Y Not weren’t kidding when they said that the powder paint would be hard to remove, as evidenced by a number of festival goers who are markedly much more citrus and/or blue than they were on Friday.
A genuinely incredible start to the our Saturday, Pale Waves injected our days with a jolt of indie pop energy. Not much audience interaction but a tight set performed flawlessly and it’s always a sign if people are walking away from your set singing your songs, which we spied a couple doing after this. A highlight of the whole festival so far.
In the short amount of downtime we have today, we made a break for Sgt Pepper Meadowsto scope out some of the other retailers that are here. It’s clear from our excursion that a lot of people were not expecting the sunshine this weekend, with a LOT of people looking quite pink, but in fairness who expects sunshine at a British festival? One retailer that caught our eye was The Jazzy Frog, a quirky craft shop selling assorted jewellery knick knacks. Cue Gavin leaving with two pairs of earrings, because they just have no impulse control when it comes to unusual jewellery. The Dexter’s Laboratory earrings are already a firm favourite for the collection.
As is tradition by now, festival grub is high on Gavin’s ‘to do’ list. Order of the day is carbs, so we head over to The Yorky Roast and treat ourselves to The Duchess; veggie sausages, mashed potatoes, stuffing and gravy all loaded into a giant Yorkshire pudding (R: The most expensive single thing we ate at £14, but worth every damn penny). Made a welcome change from the freebie Swizzels Squashies and Coke Zero, which has been the usual fare so far today.
Another perfect match to the energy and audience of Y Not, Declan McKenna was one hell of a crowd pleaser. The biggest response was to Brazil, as entirely expected, but most of his set went down well. It should be highlighted to that this was the only act to use the screens on each side of the main stage in an interesting way with colour filters for each song, and an excellent 3D-glasses-like effect used at one point.
We had a little time here for a quick breather – and by breather, of course, we mean cheesecake. It isn’t like we would have been short of options, but the loaded cheesecake van caught our eye on the way in. While £7.50 seems like a lot for cheesecake, this was RICH. One of few times that Gavin has been able to share a dessert without being told to do so.
G: At this point, I slunk off, making the pilgrimage to see fan favourite, Frank Turner. Making another triumphant return to Y Not, Frank graced the crowd at The Quarry stage with show number 2929 (not like he has been keeping count or anything).
Armed with only his guitar, Frank Turner delighted the crowd in the packed out Quarry with music from his newest album, Undefeated, and safe to say it carries the same sharp balance between humour, rebellion and occasional existentialist sentiment that he has become well known for. Notable highlights from this section of the set were Do One and The Girl From the Record Shop, which both pulled in a huge crowd singalong.
Notably, during a musical interlude, Frank took the time to get applause for those “on the ground” who are making the festival happen, from security to bar staff and everyone in between – a real ‘good guy’ move.
The set closed with Polaroid Picture, which felt raw and real. The crowd were encouraged to learn the lead vocal line from one another and continue to sing while Frank took on the other vocal line, and honestly it sounded (and felt) fantastic. A definite Y Not highlight.
R: With a packed out crowd around the main stage a long time before they even started, Saturday main headliner Jamie T was due a warm reception and the screams of the crowd proved that immediately. There wasn’t a blistering start to the set, with a few slower tracks to open. But, soon it kicked into energy with their typical cheeky London charm and catchy guitar licks. He hit all the greats from his close to 20 year career, of course, with Sticks N’ Stones and Sheila getting incredible reactions. Then closed with a high energy, almost punk, version of Zombie to end the night on a tremendous high.
After clearing two lots of security again, we made a beeline to see Milton Jones at Flamingo Jacks; unfortunately for us, so did everyone else. That definitely pays testament to the popularity of a great comedian, but it also feels a little like Y Not had perhaps underestimated how popular he would be (R: Didn’t help that his set time changed slightly too but the app hadn’t updated the times).
Admitting defeat, we headed over toward The Quarry, and caught Leicestershire local Rainbow Frog Biscuits in action. She put forward a diverse set with strong vocals and a range of musical styles, and it’s clear to see how she has become as popular as she has. Her music was interspersed with some audience interaction, with a recurrent theme being surprise and delight at how many people had turned out to see her, and honestly it was refreshing to see an artist be so open and frankly human about their experience while on stage.
After (yet another) browse of the various shops, we returned to the main stage to catch Holly Humberstone and her trademark folk/indie pop to continue the feeling of levity that we started with Rainbow Frog Biscuits. Genuinely hard to pick a highlight from what was such a strong set, but if pressed, The Walls Are Way Too Thin and the bittersweet Falling Asleep at the Wheel were must listens. (R: Honestly would have loved more than the 45 minute set as it flew by. One of my personal highlights of the festival)
Time was not on our side here, as Sunday was jam packed with bands we frankly NEEDED to see, so in the half hour gap we had, we swung by Chick’n Tenders for, you guessed it, “chicken” tenders. The cheapest meal that we got all weekend at £9.50, and frankly it was delicious. G: as an absolute carb fiend, I give this a huge thumbs up. Simple, filling and too damn tasty for its own good.
A swift dart back to Big Gin, and we just catch the start of The Vaccines. Honestly, we both forgot how much we knew by The Vaccines until their set, and recognised a hell of a lot more than we thought we would. They carried the good feeling that was brought in by Holly Humberstone with a frankly excellent set. The stage was set with carnations, in keeping with the theme from their newest album – a nice touch! You can tell they’re good at what they do – they sound JUST LIKE their recorded music, tonally, so they’re not victims to autotune hell. The use of reverb is enough to fit the style without being a distraction, and Justin Young was as suave and charming as ever.
R: Another solo excursion for me and football themed intro aside Dylan John Thomas kicking off (pun grudgingly intended) with Jenna immediately brought the energy of the small audience to a fever pitch (another terrible pun). I’ll stop now because I don’t like football and am running out of knowledge to draw on. The crowd might have been small, but they and I loved every second. Both Fever and Up in the Air were the clear highlight, with the latter blending melancholic lyrics with music dangerously close to ska. Exquisite.
From the soft indie tones to the politically charged rap metal of Bob Vylan proudly proclaiming to start war against the state. Genuine passion blazed through this set and great banter with the audience that the whole of the Giant Squid tent were absolutely living for. They named themselves “Best Band in Britain” during one such chat, and it’s hard to disagree after a set like this. Highlights were Ring the Alarm and the damn timely despite its age We Live Here.
G: Noel Gallagher was also there.
If you’re a Noel Gallagher fan already (and there are many if we go by the amount of bucket hats and shades nearby) you’re set, but otherwise there’s very little to catch your attention in the early portion of this set.
Notably, theres an unusual change in cinematography compared to other artists. While the likes of The Kooks and The Vaccines cut to the crowd at regular intervals, the camera seems fixed on Noel and occasionally other band members. There also seems to be a lot of just dead time between songs. Screens off, everything just stops until he’s ready. There’s a very interesting use of the screens behind him during the songs though, moving through a city skyline for Council Skies and a kaleidoscopic effect for We’re Gonna Get There In The End.
As expected, there is some classic Oasis in there, which fills the second half of the set as well as the encore. Surprisingly, there’s a cover of Love Will Tear Us Apart by Joy Division as the pre-encore close. The cover felt very different from the original, with a wiry Britpop spin that I’m sure some people would have enjoyed. The set fully closed with Don’t Look Back in Anger, which went down a storm. Despite personally not being a Noel Gallagher fan, I couldn’t help but get involved here.
G: Having had chance to unpack and get my head clear, I’ve got a few closing thoughts about Y Not this year. It was my first visit, so I can’t say whether this is the standard fare, but Y Not is easily one of the best “vibes” festivals I’ve been to. It was clear from the off that everyone was just there to have a good time, and that feeling carried on right the way through from the Thursday afternoon to the end of the headliner on Sunday.
There were a few issues around organisation, and I’m hoping that these are tackled before Y Not 2025 – the main one being the loo situation. It felt as though Y Not might have been a victim of its’ own success here, though, and an attempt was made to rectify the situation by plonking in extra portaloos, but it just wasn’t enough. This problem could have been lessened if the loos in VIP were working as they should, but as only one of the four toilet blocks was working in there, people were being filtered out into the main arena to use the already overcrowded facilities.
Particular shout out has to go to The Oktoberfest Band – over the course of the weekend they have been doing some LONG sets in The Watchtower Bar, playing fantastic arrangements of well known feel good bops and interspersing it with some great banter. While I wasn’t able to catch a great deal of their performances, the parts I did see were high energy and really engaging, and it’d be frankly rude of me not to give them a mention.
Overall I had a blast – same time next year?
R: As a music festival goer, not a vibes festival goer, I wasn’t sure how much I would get out of Y Not, but I’ll admit I was surprised. Folks weren’t really there for the music, but to have a good time and this was obvious from the moment we walked through the security checks. Everybody was happy and friendly and chatty, all in ways I’ve not experienced at all festival before. Even if I’m pretty certain I’ve seen enough bucket hats now to last me until roughly 2034.
It wasn’t without problems, of course, and the toilet problem that Gav mentioned cannot be understated. I have genuinely never seen a toilet situation at a festival that bad before. Also, I truly believe that festivals should stop taking the piss so much with the pricing of things when you’re there. The food was great but the prices were exorbitant, and the sheer amount of things billed as activities during the festival that had additional charges was audacious.
As a huge music fan, it’s hard to pick my highlights from the many sets we saw. But, I would say that you owe it to yourself to see The Lottery Winners live at least once, and Venus Grrrls and Rainbow Frog Biscuits are a couple of artists to keep an eye on in the future. Whether I will be raring for Y Not next year definitely depends on the lineup of bands, but if there’s some choice bands on the roster, I’ll see you at the main stage.
BEONIX, the annual electronic music festival, is pleased to announce its forthcoming edition, set to take place at ETKO, Limassol, Cyprus, from September 20th to 22nd. This event, renowned for its dynamic range of performances and immersive experiences, features three distinctive stages: the Main Stage, Hangar Stage, and Garden Stage, each designed to offer a unique auditory and visual experience to attendees.
In addition to an already impressive lineup, BEONIX is delighted to reveal the inclusion of new artists to this year’s festival roster. Esteemed performers such as Miss Monique, Markus Klee, Philipp Straub and Ross Quinn (in a special live performance), alongside Shall Ocin and The Advocate, are set to grace the festival, joining forces with previously announced acts. These acts include Ae:ther, DJ Jordan, Highjacks, Kadosh, Klangphonics (live), Claptone, Estella Boersma, GHEIST (live), Teenage Mutants, Undercatt, Axel Haube, Bondi (live), Glowal, HOSH, SHDW and Spartaque.
BEONIX is honoured to host TALE OF US, ARTBAT and FATBOY SLIM as the headlining acts for this year’s edition. Their participation underscores BEONIX’s reputation as a seminal event in the electronic music landscape, offering attendees performances from some of the most influential figures in the genre.
To accommodate its international audience, BEONIX introduces an exclusive travel service, enabling guests to book their festival experience with the option to pay later. This service includes discounts of up to 40% on hotels, villas, and apartments, ensuring that attendees can enjoy their stay in Limassol with peace of mind and financial flexibility.
The 2024 edition of BEONIX will see a significant redesign of the Main Stage, with the aim of providing a renewed visual experience that matches the auditory excellence of the festival. This initiative represents BEONIX’s commitment to creating an environment that stimulates all senses, enhancing the overall experience for every festival-goer.
BEONIX extends an invitation to electronic music enthusiasts from around the world to join in this celebration of music, creativity, and community. The festival not only promises an array of exceptional musical performances but also a chance to connect with like-minded individuals in the picturesque setting of Limassol, Cyprus.
For further details on the festival lineup, travel services, and ticketing, please visit: https://beonix.art/
Following its triumphant debut and after being acclaimed as Best New Regional Festival, the stunning Gates of Agartha Festival is set to return to the historic Cave Romane in Pula, Croatia, on June 7th and 8th, 2024. World class music comes from more headliners than ever before with Adriatique, Bedouin, Dixon, Vintage Culture, Seth Troxler, TSHA and Avantgart Tabldot all playing. Get tickets at https://www.gatesofagartha.com/homepage.
Gates of Agartha is a two day odyssey to the historic region of Istria, Croatia which blends the past and the present and offers a glimpse into its rich history and vibrant culture. It comes from brothers Yaaz and Yalim Acar, the people behind the Echoes From Agartha experience in Cappadocia, Turkey, and local driving force BSH events which specialises in hosting events at unique venues around Croatia and the region. It takes place in Cave Romane, an ancient quarry dating back to Roman times that played a crucial role in the construction of the Pula Arena under Emperor Vespasian’s command.
Carved into 50-metre limestone walls and nestled in the small village of Vinkuran, it stands as a reminder of ancient craftsmanship and the architectural legacy of the Roman Empire. Legend has it that Cave Romane was a sacred place for ancient tribes and mystical beings which resonates with the broader tapestry of myths surrounding Istria’s enchanting reputation as ‘Terra Magica.’
The breathtaking cave will come alive with a bespoke projection mapping show in collaboration with the cutting-edge media collective OUCHHH that will make it an immersive and wondrous place to dance to world class music as 4000 people attend. As well as the music, there is plenty of local culture to explore from ancient architecture in the historic Roman city to the bustling modern day market places, local cuisines and so much more.
New for this year, Gates of Agartha introduces exclusive experience packages to enhance attendees’ festival journey. This improved program offers a luxurious stay at the Pula Brioni Hotel where guests can indulge in world-class amenities and breathtaking views of the Adriatic Sea. Exclusive to full experience package holders, a special pre-party will be held at the historic Pula Castle on Thursday, providing a unique opportunity to immerse oneself in the city’s rich cultural heritage.
Gates of Agartha offers a mystical journey to an ancient realm, accompanied by a contemporary soundtrack from the cutting edge of melodic house and techno.
BEONIX Music Festival is thrilled to announce an impressive wave of new artists set to perform at this year’s event. Taking place from September 20th to 22nd at the iconic ETKO venue in Limassol, Cyprus, the festival is expanding its lineup with a blend of established names and emerging talents in the electronic music scene.
Headlining the festival alongside the previously announced global superstar FATBOY SLIM are the mesmerizing TALE OF US and ARTBAT, promising to deliver unforgettable performances that resonate with the soulful depths of electronic music. Adding to the festival’s allure are new acts Ameli Paul live, ANNĒ, Brina Knauss, Lehar, Peter Pahn, Ae:ther, DJ Jordan, Highjacks, Kadosh, and Klangphonics (live), each bringing their unique sound and energy to the BEONIX stages.
These new additions join an already stellar lineup featuring the likes of Claptone, Estella Boersma, GHEIST (live), Teenage Mutants, and Undercatt, making this year’s BEONIX Music Festival an unmissable event for music enthusiasts across the globe.
Last year, BEONIX Music Festival saw thousands of attendees from around the world converge in Cyprus for a celebration of music, culture, and unity. This year, the festival aims to surpass previous editions with an even more diverse and electrifying lineup, enhanced production values, and a commitment to creating an inclusive environment where music lovers can come together to experience the magic of live performances.
The festival offers the perfect backdrop for this musical extravaganza, blending stunning natural beauty with state-of-the-art sound and lighting to create an immersive experience. With its reputation for quality entertainment and a warm, welcoming atmosphere, BEONIX Music Festival is a must-visit destination for fans of electronic music and beyond.
For more information on BEONIX Music Festival, including ticket details and the full lineup, please visit our website or follow us on social media.
This summer, globally renowned drum & bass celebration Hospitality In The Woods returns to the beautiful Beckenham Place Park in London for another unmissable day of raving in the midsummer sunshine, following a spectacular sold out edition in 2023. This unique one-day celebration takes place on Saturday 17th August 2024 and explores the whole spectrum of drum & bass, thanks to incredible artists such as Pendulum (DJ Set), LTJ Bukem, Spectrasoul, Kings Of The Rollers, Flava D, High Contrast, Break and many more. It truly is the biggest, broadest and best UK drum and bass festival, so get your tickets now at www.hospitalityinthewoods.com.
Hospitality is a widely recognised and influential brand celebrated for its musical innovation and its reputation as a friendly, diverse and inclusive community. This is showcased at Hospitality In The Woods where the entire D&B family is reunited to create non-stop, sun-kissed musical memories. Not only does Hospitality bring together like-minded ravers, but also serves as a connecting hub for some of the biggest brands and labels within the scene. This year, Beckenham Place Park will once again be transformed into drum & bass paradise, with five bespoke stages hosted by Hospitality, Hospitality Friends & Family, Rampage, an insane link up by two of Bristol’s finest, RUN & Rumble In The Jungle, and a very special 20 Years of Shogun Audio celebration. You will be sure to hear everything from liquid to neurofunk, old school classics to new school flavours and everything in between.
The latest wave of names include Pendulum, High Contrast, Flava D b2b Lens + P. Money, Kings of The Rollers, LTJ Bukem, Flux Pavilion, Nu:Tone, Break, Skeptical, Dillinja b2b Randall, Mandidextrous, Fox Stevenson, Pola & Bryson and tens more across the five stages with special guests such as Mungo’s Hi Fi, Spectrasoul, Sasasas vs Basslayerz, Ed Rush & Optical and many more to come.
The venue offers a fantastic escape with its picturesque green landscapes, a serene lake, a grand mansion, and ancient woodlands— easily accessible in London with various transportation options nearby. Not only is the venue incredible but the production across the site is second to none with each stage offering a unique immersive experience with world-class sound systems and show-stopping stage decor. Super tasty street food stalls will also be on site to fuel your raving, The Hospital Shop will be set up for you to purchase your finest raving garms, plus there will be chill-out areas available in case you need to catch your breath.
“We can’t wait to reunite with the entire drum & bass family, connecting brands and fans to celebrate the music we all love” says the team.
Be sure to join the Hospitality family this August down at the Woods for an incredible day of raving in the midsummer sunshine. This is not to be missed, secure your tickets at www.hospitalityinthewoods.com.
Icon, pioneer, and Rock And Roll Hall Of Fame inductee – Alice Cooper has achieved so much in his lengthy career. But most importantly, Alice Cooper remains one the greatest rock shows on the planet.
Returning to the UK for the first time since 2022, in October, Alice and his award-winning band are heading to arenas in Glasgow (14th), Birmingham (16th), Manchester (17th), Leeds (18th) and, for the first time in many years, more up close and in your face shows at London’s Eventim Apollo (20th + 21st).
The Too Close For Comfort tour brings fans closer than ever to Alice with giant video screens blending the live action with pre-recorded scenes to delve deeper into Alice’s world.
Expect spectacle – snakes, guillotines, monsters and more – wreaking havoc on stage nightly. Classics like “Under My Wheels,” “I’m Eighteen,” “Schools Out,” “Poison,” “Billion Dollar Babies,” and “No More Mr Nice Guy” are staples and there are surprises every night, effortlessly drawn from one the greatest catalogues in rock and roll.
Fresh from the success of his latest album ‘Road,’ a concept album about the thrills and spills of touring, Alice is back, accompanied as always by his long-running live band of Ryan Roxie (guitar), Chuck Garric (bass), Tommy Henrikson (guitar), Glen Sobel (drums), and Nita Strauss (guitar).
“For ‘Road’, I wanted the band to be involved in the foundation of all the songs,” says Alice. “I only see these guys when we’re on the road. So, I wanted them to be as tight as they are for the show but on all new material. When you have a band this good, I believe in showing it off, and this is my way of doing so.”
Primal Scream, one of Britain’s best-loved rock bands, will join Alice for the tour, in all cities except London. The Glasgow band have been on an odyssey, making jangly guitar pop to brash rock n roll, incorporating acid house and psychedelia into unique records and live experiences. Frontman Bobby Gillespie cites Alice’s shocking appearances on 1970s Top of the Pops as a formative influence.
In London, legendary Sex Pistols guitarist and songwriter Glen Matlock will be Alice’s special guest. And on all dates, up and coming acclaimed punks The Meffs will support.
Too Close For Comfort Tour, UK Dates
October 2024
Monday 14 – Glasgow Ovo Arena
Wednesday 16 – Birmingham Utilita Arena
Thursday 17 – Manchester AO Arena
Friday 18 – Leeds First Direct Arena
Sunday 20 – London Eventim Apollo
Monday 21 – London Eventim Apollo
Tickets on Sale:
Three presale: Wednesday 21st February 10am
AEG Presents, AXS, Ticketmaster and venue presales: Thursday 22nd February 10am
Techno arrives at the The Garden Resort like never before
Klangkuenstler, Mall Grab, AZYR, Charlie Sparks, MRD, SNTS, Funk Assault. Horsegiirl, Dyen, KI/KI, Adiel, Hannah Laing, Kobosil, Kettama and many more
The UK’s foremost techno brand is bringing its world renowned line ups and famously electric atmospheres to the gorgeous Garden Resort in Croatia. From July 18-22, an expertly curated mix of techno tastemakers from across the spectrum will bring their a-game to four sun-kissed stages across five unmissable days of non-stop fun.
Terminal V just won DJ Mag’s best British Festival award for 2023 off the back of years of insiders leading events at home in Edinburgh, Scotland. Each one brings 40,000 people and hundreds of DJs together for one of the UK’s most electrifying experiences. Now all that is coming to Croatia and will offer the sort of innovative techno never before seen in the region.
Tisno’s blissful Garden Resort is a natural sweeping bay with beautiful beaches, lush green pine forests and stunning views out over the glistening Adriatic sea. For 5 days and nights it will become a secluded and private adult playground with plenty on offer, from dancing under the sun or stars to adrenaline pumping water sports, unmissable boat parties and late night afterparties. It is also a place to soothe the soul and enjoy relaxing hours spent soaking up the vibes and a fine array of local food and culture.
The four open air stages include the cult and world renowned Barbarella’s (which is regularly voted as one of the best in the world by DJ Mag), the secluded Olive Grove, the epic Main Stage and the superb Beach Stage. Each one has bespoke design and world class sound and will offer unique sounds that have all been perfectly curated to make for a diverse offering across the site.
This first ever international Terminal V Festival will pull out all the stops for 6000 lucky people and is guaranteed to be the most talked about event of summer. Do not miss your chance to be part of history by getting your tickets now at www.terminalvcroatia.com.
