Editorial
EDC Thailand Confirms December 2026 Return Following Major Second Edition
EDC Thailand confirms december 2026 return following major 2nd edition, moving the festival from January to Mid-December in Phuket.
After the second edition wrapped in January 2026, EDC Thailand felt noticeably more settled in Phuket, Thailand. The festival unfolded across Rhythm Park, Phuket, but the experience extended well beyond the nighttime stages, spilling into daytime through Hotel EDC Thailand and downtown activations that gave people places to meet, recover, and spend time together outside the main festival hours. That second year showed how EDC Thailand could exist as a full weekend experience rather than just a series of sets. With that edition now complete, Insomniac has confirmed that EDC Thailand will return for its third edition on December 18–20, 2026, marking a shift from its original January dates while keeping Phuket as the host location. The move to December follows directly from what the second edition established, going even bigger this time.
Looking Back at the Second Edition of EDC Thailand
The second edition of EDC Thailand in January 2026 unfolded across Rhythm Park, Phuket over the course of each day, with the festival grounds already in use long before nighttime sets took over. From the early afternoon onward, people were walking full loops of the site, stopping at different stages, riding attractions, and settling into open areas where conversations stretched on without any urgency to move. Music carried across the grounds from multiple directions at once, and the size of the venue became clear through how far people were willing to wander and how long they stayed in one place. As daylight faded, the shift into night did not interrupt what was already happening. Lights and visuals came on around an environment that was already busy, familiar, and lived in.
That sense of continuity carried through the lineup across the weekend. Several artists made their Thailand debuts during the second edition, and those performances became some of the most discussed moments on site, not because they were framed as special appearances, but because of how present the crowd was for them. Seeing first local performances from Tape B, Cassian, Novah, Svdden Death, Loud Luxury, and BUNT. felt significant because people planned time around those sets, arrived early, stayed through full performances, and talked about them afterward. For many in the crowd, these were first-time experiences seeing these artists live in Thailand, and that reality showed itself naturally in the way people responded throughout the weekend.
Alongside those debut moments, familiar names became clear anchors across the weekend, creating shared points where large parts of the crowd naturally gathered at the same time. Sets from Zedd, Sub Zero Project, and Seven Lions pulled people in from all corners of the venue, with walkways filling up as groups made their way toward the same stages and settled in for full performances. These were the sets friends coordinated around in advance, agreeing to meet early and stay put rather than drifting in and out. During these moments, movement across the grounds noticeably slowed, not because anything was blocked, but because attention was fully directed toward a single stage. Seeing artists of this scale perform in Phuket, supported by full EDC production, large crowd turnouts, and extended set times, gave those performances a weight that stayed with people well after the weekend ended and made the growth of the Thailand edition apparent without needing to spell it out.
Away from the stages, the second edition was remembered just as much for how people spent time between sets. Kandi Casino stayed active from daytime through late night, rides ran continuously, and the Ferris wheel became a repeated stop, especially during sunset when the view across the festival grounds revealed how much was happening at once. Binary Beach offered a quieter counterpoint within the same weekend, with Thai-influenced soundscapes, flowing visuals, and space to sit, move, or pause without pressure. People passed through during the day, returned later at night, and treated it as a place to reset before heading back toward the larger stages. By the end of January 2026, these spaces were not remembered as side features, but as places where real time was spent, shaping how the second edition of EDC Thailand was experienced as a whole.
Hotel EDC Thailand and the Expansion Beyond the Festival Grounds
Staying at Hotel EDC Thailand at Angsana Laguna Phuket immediately felt like an extension of the festival rather than a separate place to sleep. From the moment you stepped inside, the decorations, signage, and small details all carried the Hotel EDC theme, which made the entire property feel connected to what was happening at EDC Thailand rather than detached from it. The spaces were clearly designed for people to linger, talk, and move around comfortably, and that made it easy to settle into the weekend without feeling rushed or overstimulated.
What really stood out was how much effort went into activities that went beyond music. Learning Thai boxing on-site and being encouraged to engage with elements of Thai culture made the experience feel grounded in its location, not just imported into it. The Headliner Headquarters area became a natural meeting point during the day, with local DJs playing throughout and people coming and going between sets, conversations, and downtime. Alongside that, the beauty bar and Kandi-making station stayed busy, giving people something hands-on to do that felt social and relaxed rather than scheduled or forced.
Having access to merchandise directly at the hotel also made a difference. Being able to pick up gear without dealing with festival crowds meant people actually took time to browse and talk about what they bought. Pool parties throughout the stay kept the atmosphere light during the day, and access to the beach party at Xana Beach Club a day before the main festival opened helped ease everyone into the weekend. Sitting by the water, watching the crowd slowly gather, and knowing the festival proper was still ahead gave the whole experience a surprisingly wholesome feeling. By the time gates opened at Rhythm Park, it already felt like the weekend had begun, not just the event.
Looking Ahead to December 2026
With the second edition complete, EDC Thailand is confirmed to return on December 18–20, 2026, once again at Rhythm Park. Moving the festival away from its previous January dates places the third edition in the middle of Thailand’s peak travel season, when international visitors, regional travelers, and local audiences are already planning extended trips. The December timing also places EDC Thailand within a busy festival period.
Experiences introduced during January 2026 are set to continue into the December edition. Binary Beach, which became one of the most used daytime spaces during the second edition, is part of that return. Designed as an open environment with Thai-influenced soundscapes, flowing visuals, and space to slow down, Binary Beach gave people a place to spend real time during the day and early evening, and its continuation confirms that daytime spaces will remain part of the EDC Thailand weekend. Insomniac has also confirmed a new All-Access Experience Pass for December 2026, which includes entry to the Thursday Night Official Opening Beach Party along with Friday, Saturday, and Sunday daytime events, extending the festival experience across several days beyond the main gates.
Ticket information has been confirmed as well. A limited-time presale for EDC Thailand 2026 opens on Friday, January 23, 2026 at 10:00 AM ICT, with GA tickets priced at $229 and VIP tickets at $399. This presale follows the conclusion of the January 2026 edition and marks the first opportunity to secure access to the December dates. With the location unchanged, key experiences returning, and additional access options now available, the December 2026 edition carries forward what was introduced during the second year and places it into a calendar period that supports longer stays and a more extended festival weekend in Phuket.
For more information and presale access, visit https://thailand.electricdaisycarnival.com
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As Tomorrowland approaches its 2026 edition, the Belgian festival giant returns with another stacked line-up. Taking place across two weekends, 17-19 and 24-26 July, the festival promises another edition for the books.
400,000 festivalgoers from all over the world will reunite on the festival grounds, experiencing the new ‘Consciencia’ theme, as well as sets from every corner of the electronic music spectrum.
With so many exciting artists taking to the stages at Tomorrowland, here are EDM House Network’s 20 must-see sets throughout the festival’s two weekends.
Calvin Harris’ Tomorrowland Debut
When: Sunday, 19 July, Weekend 1 – 22:50 – 23:50 / Saturday, 25 July, Weekend 2 – 23:45 – 00:45
Where: Mainstage
The Scottish superstar finally makes his Tomorrowland debut, bringing together some of the greatest dance hits to close out the Mainstage on Sunday, weekend 1 and Saturday, weekend 2. What was initially a pleasant surprise to see on the line-up poster is now expected to pack the Mainstage’s dancefloor for a historic set.
4444 OF A KIND
When: Friday, 17 July, Weekend 1 – 22:30 – 23:30
Where: Freedom By Bud
Forming a new hardstyle supergroup, Sub Zero Project and D-Block & S-Te-Fan are set to deliver one of the most anticipated hard dance moments of the festival. Having recently launched their new project, 4444 OF A KIND, with the release of their first single on Tomorrowland Music, the two iconic hardstyle duos are expected to bring fresh material to the Freedom by Bud stage.
ILLENIUM’s Debut
When: Friday, 24 July, Weekend 2 – 00:00 – 00:55
Where: The Great Library
ILLENIUM will make his Tomorrowland debut this year, taking over The Great Library stage as one of the festival’s most exciting first-timers. The American artist will deliver his legendary blend of heavy drops and emotional moments, putting him on the radar for The Great Library’s best sets.
Kettama B2B Michael Bibi
When: Friday, 17 July, Weekend 1 – 21:00 – 23:00
Where: Crystal Garden
Kettama and Michael Bibi are joining forces, bringing together two unmatched energies from the house music scene. From Kettama’s fast-paced rhythms to Bibi’s iconic presence and sonic identity, this b2b stands out as one of weekend 1’s most unique sets.
Martin Garrix Closing Mainstage
When: Friday, 17 July, Weekend 1 – 23:50 – 00:50 / Sunday, 26 July, Weekend 2 – 22:50 – 23:50
Where: Mainstage
Returning for what has become a tradition, Martin Garrix will close the Tomorrowland mainstage on Friday of weekend 1, and Sunday of weekend 2. After all, Tomorrowland would not feel complete without a set from one of the world’s most loved DJs.
Amelie Lens presents Aura
When: Sunday, 26 July, Weekend 2 – 22:00 – 23:30
Where: Freedom By Bud
The Belgian techno queen will turn the Freedom by Bud stage into a modern underground rave, blending her unstoppable techno energy with the immersive visuals of her ‘Aura’ show concept. For those who enjoy hard beats and visual experiences, Amelie Lens’ set is not one to miss.
Kaskade
When: Friday, 24 July, Weekend 2 – 22:00 – 23:00
Where: The Great Library
Returning for a second consecutive year, Kaskade will once again bring his unmistakable sound to the Tomorrowland grounds. The legend who helped define the 2010s with progressive house classics like ‘Atmosphere’ and ‘Eyes’, continues to remain an important name on festival line-ups thanks to his heartfelt sets.
Ben Hemsley
When: Saturday, 18 July, Weekend 1 – 18:30 – 20:00
Where: Crystal Garden
An essential set for trance heads, Ben Hemsley will take over the decks at Crystal Garden for one hour and 30 minutes of euphoria and old-school rave vibes. The Scottish DJ is expected to deliver one of the weekend’s most uplifting sets.
Malugi in the Forest
When: Sunday, 26 July, Weekend 2 – 22:00 – 23:50
Where: CORE
Following an electrifying performance at the Atmosphere stage in 2025, the German producer returns to Tomorrowland with his fast rhythms. Blending trance, eurodance and hard house, Malugi’s set is a highlight of the CORE stage line-up during weekend 2.
Steve Angello’s 3-hour set
When: Saturday, 18 July, Weekend 1 – 21:30 – 00:30
Where: Crystal Garden
Three hours of Swedish masterclass await at the Crystal Garden stage. Steve Angello is preparing for one of weekend one’s most anticipated sets, building on the hype that he and his Swedish House Mafia colleagues generated last year, playing the same slot. If there is one extra-special place to close out Saturday night outside the mainstage, Crystal Garden with Steve Angello is the one.
MPH’S Debut at the new Celestia Stage
When: Friday, 17 July, Weekend 1 – 18:30 – 20:00
Where: Celestia By Kucoin
MPH, one of the fastest-rising names in the industry, is set to make his Tomorrowland debut at the all-new Celestia by Kucoin stage. Representing the United Kingdom, MPH will bring his signature UK garage sound that has taken the world by storm.
Hannah Laing
When: Sunday, 19 July, Weekend 1 – 14:30 – 15:30 / Friday, 24 July, Weekend 2 – 18:30 – 19:30
Where: Weekend 1 – Mainstage / Weekend 2 – Atmosphere
Another mainstage debut to watch, Hannah Laing will bring her hard-hitting sound back to Tomorrowland for another year. While she will take over the mainstage during weekend 1, the Scottish superstar will also return to the Atmosphere stage during weekend 2, following her performance there last year.
Alleycvt’s First Tomorrowland
When: Friday, 24 July, Weekend 2 – 18:00 – 19:00
Where: The Rose Garden
Marking her first ever set at Tomorrowland, ALLEYCVT is part of the Bassrush takeover at The Rose Garden stage. The rising dubstep DJ will bring her signature sound to the festival, playing alongside other major names such as Borgore and Riot Ten.
Return of The Chainsmokers
When: Friday, 17 July, Weekend 1 – 21:45 – 22:45
Where: Mainstage
The Chainsmokers are back at Tomorrowland following a three-year absence. While harder drops will still have their place in the set, the American duo are expected to cause some of the biggest singalong moments at De Schorre, with tracks such as ‘Closer’ and ‘Don’t Let Me Down’ remaining highlights of their chart-topping catalogue.
Chase & Status Tomorrowland Debut
When: Sunday, 19 July, Weekend 1 – 20:00 – 21:00 / Sunday, 26 July, Weekend 2 – 17:35 – 18:35
Where: Weekend 1 – Freedom By Bud / Weekend 2 – Mainstage
UK drum & bass heavyweights Chase & Status make their Tomorrowland debut during the ‘Consciencia’ edition too. Playing two sets across the two weekends, the British duo will perform on the Freedom by Bud stage during weekend one, before taking over the mainstage on weekend two. Expect some of the filthiest drum & bass drops of the festival, as Chase & Status bring the UK to the world.
Dimitri Vangelis & Wyman
When: Saturday, 18 July, Weekend 1 – 18:00 – 19:00
Where: Celestia By Kucoin
Making their long-awaited return to Tomorrowland are Dimitri Vangelis & Wyman, the Swedish duo behind some of progressive house’s greatest anthems. Known for their timeless melodies, the pair have new material up their sleeves, following recent production work alongside Anyma and a highly anticipated ID with Kevin de Vries.
Kevin de Vries B2B Meduza
When: Sunday, 26 July, Weekend 2 – 21:30 – 00:00
Where: Crystal Garden
When it comes to special B2B sets, this one cannot be omitted. Kevin de Vries joins forces with Meduza for 2 hours and 30 minutes of bliss at the Crystal Garden stage. The two will bring melodic techno and house together, standing out as one of the most intriguing pairings of the weekend.
HALŌ Debut
When: Saturday, 18 July, Weekend 1 – 18:10 – 19:10 / Friday, 24 July, Weekend 2 – 21:00 – 22:00
Where: Weekend 1 – Mainstage / Weekend 2 – The Great Library
When it comes to progressive house, few acts capture melodic Heaven quite like HALŌ. Composed of three legendary names, Third Party, Matisse & Sadko and DubVision, the supergroup has quickly become one of the year’s biggest surprises. Now, it is time for them to bring the project to the Tomorrowland mainstage, with new music and progressive house classics like no other.
Subtronics
When: Sunday, 19 July, Weekend 1 – 23:00 – 00:00
Where: Planaxis Stage
Subtronics, one of the icons of the bass music scene will step into Tomorrowland for the first time, bringing absolute madness to the festival’s Planaxis stage. From the United States to Belgium, Subtronics will deliver one of the sounds that define dubstep culture around the world.
Morgan Seatree at Celestia By Kucoin
When: Sunday, 26 July, Weekend 1 – 19:30 – 21:00
Where: Celestia By Kucoin
One of the UK house scene’s fastest-rising names is making his Tomorrowland debut in 2026. Morgan Seatree will bring his uplifting and infectious energy to the Celestia by Kucoin stage, ready to deliver a fast-paced set that proves why he is one of Britain’s future house music stars.
With so many exciting acts ready to hit the stages at Tomorrowland, the 2026 edition shapes up to be a memorable one, like usual. Picking artists from such a busy line-up is never easy, but this list highlights 20 essential sets across the festival’s two weekends.
For more information and the full line-up, follow this link.
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Chris Candela becomes the first Venezuelan artist to release on mau5trap with debut single ‘Move Your Feet’ alongside AOSM.
Chris Candela and AOSM debut on mau5trap with the single ‘Move Your Feet’, making Candela the first Venezuelan artist to release music on deadmau5‘s iconic label. Marking a significant milestone and the beginning of a new chapter in his career, the record introduces a darker, more club-oriented sound from Chris Candela.
Discussing the track’s sonic identity, the Venezuelan artist says: “When AOSM first sent me the initial idea for ‘Move Your Feet,’ I immediately felt the track had something special. I’ve always been inspired by artists like Justice, Wolfgang Gartner, and even Knife Party, so bringing those influences together felt completely natural.”
Drawing on those influences, the two artists created a record that fits naturally within mau5trap’s darker, experimental sound. Blending gritty electro-house energy with cinematic sound design, “Move Your Feet” establishes a strong narrative identity. Built around distorted synths, driving grooves and atmospheric textures, the single delivers a modern club sound filled with raw energy.
Chris Candela not only produced the instrumental with AOSM, but also wrote and performed the track’s vocals.
“One of my favourite parts of the process was writing and recording my own vocals. The lyrics explore the overwhelming feeling that can sometimes come with being in a crowded club, until you realize the only thing that really matters is letting go and moving your feet,” says the artist.
Who Is Chris Candela?
Currently based in Mallorca, Spain, Chris Candela is an Italo-Venezuelan artist with more than 15 years of experience in the electronic music industry. Beyond the studio, he has built a substantial Spanish-speaking EDM community through his CDCVLOGS platform, before launching the Chris Candela alias project in 2025.
Throughout his career, Candela has received support from artists including Don Diablo and Fedde Le Grand, but also reached No. 44 on Beatport’s Bass House Top 100 with “Lost To The Rhythm”, his collaboration with RE-KA. Now, with his mau5trap debut, Candela reaches another major career milestone.
Reflecting on the significance of the release, he says: “Releasing on mau5trap has been a dream of mine for years. deadmau5 has been one of the artists who has influenced me the most, both creatively and personally. To become the first Venezuelan artist to sign with the label, alongside my good friend AOSM, who becomes only the second Mexican artist to do so, makes this milestone even more meaningful.”
With “Move Your Feet”, Candela enters a new chapter in his career, defined by a darker and more club-focused sound. “Move Your Feet” is out now on all major streaming platforms. Listen to Chris Candela and AOSM’s latest track below.
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Skrillex Says AI Songs Can Go Viral, But His Comments Point To A Bigger Issue Around Human Connection In Dance Music.
The debate around AI music has often focused on fake vocals, copied artist styles, copyright issues, and whether machine made songs should be labeled clearly, but Skrillex has brought the subject back to something more human. In his first formal interview in over a decade, published in 032c Issue #49 Summer 2026, Skrillex spoke with Ecco2K about creativity, rave culture, and the limits of AI in music, including the idea that AI songs can go viral while still missing the feeling of being seen by another human being. That distinction gives the topic more depth because he is not only questioning whether AI can generate music that performs well online. He is asking what happens to dance music when a song can reach listeners quickly, but the person, history, and lived experience behind it become harder to find.
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Why Skrillex’s View On AI Is Not About Rejecting Technology
Before Skrillex became known as a producer and DJ, he was the vocalist of From First To Last, a post hardcore band that already placed him in a scene where live emotion, distortion, and internet era fandom were closely connected. His move into solo production did not erase that background; it carried some of that intensity into songs like Scary Monsters And Nice Sprites and Bangarang, where chopped vocals, aggressive bass design, sharp edits, and software based production became part of the identity of the record. The same artist who helped make those sounds reach a wider audience is now saying that AI songs can go viral, which is why the point cannot be reduced to fear of computers in music.
His own career shows the opposite: technology can still carry feeling when there is a real person making the decisions behind it. In the 032c interview, Skrillex discussed making Mora in GarageBand before moving into Pro Tools and Ableton, along with ideas like Bangarang beginning from rough recordings on Snowball mics or laptop mics. Those details show that electronic music does not lose its human side just because it starts from rough digital material, software, or imperfect recordings. The difference is that an artist is choosing what to keep, cut, distort, rebuild, or leave imperfect, while a generated song can imitate the texture of those choices without carrying the bands, scenes, failed ideas, studio accidents, and years of taste that came before the final record.
Why Viral AI Songs Do Not Prove Listeners Are Connecting
When Skrillex talks about AI songs going viral, the point is easy to connect to cases the music industry has already dealt with. Heart On My Sleeve, the fake Drake and The Weeknd song made with AI vocals, did not become a talking point because listeners had discovered a new artist with a real story. It went viral because people were trying to work out how close the vocals sounded, whether the artists had approved it, and what it meant if a fake collaboration could travel that quickly. That kind of attention can make a song look successful on the surface, but the reaction is tied to the stunt, the confusion, and the technology behind it, not to a real connection between artist and listener.
Dance music has its own version of that problem because records often gain meaning before they are officially released. Rumble by Skrillex, Fred again.., and Flowdan was already circulating through DJ set recordings and crowd clips before its official release, while Baby again.. by Fred again.., Skrillex, and Four Tet gained more attention after being played live, including during their back to back set at Madison Square Garden. That path is different from an AI song going viral because it sounds close to an existing artist or copies a familiar vocal style. In dance music, the memory around a song is often tied to the DJ who tested it, the crowd that reacted to it, the festival or club clip that kept circulating, and the months of people asking for the release. AI can copy the sound of a viral record, but it cannot recreate the human trail that makes people care about where the song came from.
What This Means For AI Music Going Forward
The next stage of AI music will probably come down to what artists, labels, and platforms are willing to make clear before a song reaches listeners. John Summit’s call for human made music labels points to one possible response, especially as fake vocals and copied artist styles become harder to spot at first listen. David Guetta’s experiment with an AI generated vocal in the style of Eminem showed how quickly a technical demo can raise bigger questions about likeness and consent, while deadmau5 has already warned about deepfakes and false endorsement. Once a voice, image, or artist identity can be copied well enough to confuse people, the problem is no longer only about whether the song sounds convincing; it is about whether listeners know who actually made what they are hearing.
Skrillex’s point is closer to what listeners may start caring about as AI music becomes more common. AI may keep producing songs that go viral, especially when the hook feels familiar, the voice sounds close to someone famous, or the curiosity around the technology is strong enough to push the clip online. But dance music has always depended on more than a first reaction. People remember the DJ who played a song before release, the set where they first heard it, the crowd clip that made them search for the ID, and the artist history that made the record feel connected to something real. AI can copy parts of that format, but without a person behind the choices, the trust becomes weaker, and that may be the difference between a song people click on once and a record they keep returning to.
As AI music becomes easier to make and harder to identify, the future of dance music may depend less on whether listeners reject the technology and more on whether they still trust the people attached to the songs. Skrillex’s comments point to a problem that goes beyond one viral record or one copied vocal, because the deeper risk is a culture where the source of a song becomes unclear and the relationship between artist and audience starts to feel less certain. Dance music has always moved through clubs, festivals, IDs, edits, and shared recordings, but those moments only last when people believe there is a real person behind the choices, the risk, and the history of the record. AI may continue to create songs that travel quickly online, but the harder question for artists, labels, platforms, and listeners is whether speed can ever replace trust, and whether a song can still mean something long after the first reaction if no one can feel the human life behind it.
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