Editorial
Phones On The Dancefloor: The Debate Shaping Clubbing Today
How Phones on the Dancefloor Changed Club Culture
The glow of phone screens has quietly transformed the atmosphere of nightclubs and festivals around the world. What began as a way to capture short memories has turned into a habit that shapes how audiences, artists, and venues interact. In its feature on phones on the dancefloor, DJ Mag highlighted how the simple act of filming has become central to the modern club experience. Every drop, transition, and crowd reaction can now be viewed through a lens, influencing how sets are structured and how crowds respond to them. The conversation around whether this technology connects or disconnects us has become one of the most significant debates in contemporary club culture.
The Rise of Phone-Free Club Policies
In recent years, a small but growing number of venues have begun to limit phone use inside their spaces. These policies are not about rejecting technology but about protecting what many club owners describe as atmosphere and attention. When Tomodachi Ibiza opened in 2025, it introduced a strict no-phone rule on the dancefloor, asking guests to experience sets without the pressure to record them. The venue’s founders told DJ Mag that the goal was to rebuild a sense of connection between DJs and dancers, something they felt had been diluted by constant filming.
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The same approach has appeared in cities far from Ibiza. Fabric London began experimenting with lens stickers to discourage filming, while smaller venues such as Amber’s Manchester have promoted “no-camera nights” as a return to older club values. These spaces rely on word of mouth rather than viral footage, creating curiosity through what cannot be seen online. For some audiences, this absence of content has become part of the appeal, offering a kind of freedom that many feel has been missing from modern nightlife.
Although these rules are not easy to enforce, they reveal a shift in attitude. Instead of relying on crowds to generate endless clips, some promoters are turning to dedicated content teams who can capture highlights without interrupting the crowd’s flow. This balance allows clubs to preserve the feeling of the room while still keeping a digital presence. The result is a hybrid model that recognises the reality of social media but reclaims space for genuine, in-the-moment connection.
How Filming Changed Crowd Behaviour
Phone use inside clubs has changed what people do with their hands, eyes, and attention. During a set, the moment a track builds, phones rise almost on cue, creating a visible divide between those filming and those still dancing. DJ Mag’s report notes that this shift has become predictable enough that some DJs time their lighting or drop cues to match the instant when cameras appear. What once depended on shared awareness between performer and crowd is now partly choreographed by how clips will look online. Instead of reacting to sound, many respond to the potential of a viral recording.
This behaviour also changes how people relate to one another on the floor. Conversations pause so friends can record the same drop from different angles. Strangers hesitate to move freely in case they appear in someone else’s story. Others face screens rather than faces, watching through the viewfinder instead of through proximity. While this behaviour doesn’t erase connection entirely, it alters how it begins. The collective experience becomes filtered, replayed, and remembered in short clips rather than in direct interaction.
How DJs Adapt Their Sets to Phone Culture
According to DJ Mag, the spread of phone use has changed how artists experience performing in clubs. Some DJs have spoken about seeing a “static sea” of people holding up cameras instead of moving to the music, which can make it harder to read the crowd or sense engagement. Others have noted that certain clips from their sets circulate widely online, shaping public expectations before their next performance. These short recordings can influence how an artist is perceived, encouraging them to prepare moments that translate well to video. The outcome is not universal, but the influence of filming is now an unavoidable part of how sets are received and remembered.
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A few performers and venues have tried to counter this effect. Artists connected with phone-restricted spaces such as Amber’s Manchester have described stronger audience focus and easier communication from the booth when filming is limited. In DJ Mag’s reporting, some promoters explained that the absence of phones can make a set feel more fluid and less self-conscious, allowing the performance to unfold naturally. Others still prefer a balanced approach, where filming is permitted but guided by venue policy or content teams. Across these perspectives, the debate is less about rejecting technology and more about deciding how much of it belongs inside the shared space of a club.
Enforcement, Evidence, and Outcomes
Phone restrictions in clubs are enforced in a few practical ways. Some rooms use lens stickers at the door, a method highlighted in DJ Mag’s feature and long practised at Berghain in Berlin, where no-photo rules are part of its entry policy, as reported by Euronews. Newer venues have built this rule into their identity from the start. Tomodachi Ibiza opened in 2025 with a full no-phone policy on the dancefloor, while Amber’s Manchester, featured in The Guardian, applies stickers before entry and reports smoother communication between booth and crowd. These examples show that enforcement works best when it starts at the door and is explained clearly to guests.
There is also growing evidence on how recording affects memory and participation. A study by Linda Henkel at Fairfield University identified a photo-taking impairment effect, showing that people who photographed museum objects remembered fewer details than those who only observed them. That finding helps explain why some promoters limit filming to preserve audience focus. Outside the club scene, artists such as Jack White and Kendrick Lamar have worked with Yondr, whose phone-locking pouches now appear at concerts across North America, according to the Wall Street Journal. At the same time, DJ Mag notes that short-form video still drives promotion, so many venues balance restricted audience recording with professional content teams rather than removing phones entirely.
Where Club Culture Goes from Here
The debate around phones in clubs has become less about rules and more about values. DJ Mag frames it as a question of what kind of attention nightlife now asks for. Some audiences see filming as part of participation, while others want spaces that prioritise presence over documentation. The divide reflects a generational shift in how people relate to music and memory, shaped by social media habits that extend far beyond the dancefloor.
What connects clubs like Berghain, Tomodachi Ibiza, and Amber’s Manchester is not opposition to technology but an attempt to design clearer boundaries around it. These venues experiment with how far control can go without losing openness or creativity. As long as social media continues to shape discovery and demand, phones will remain part of the club ecosystem. The challenge ahead is to decide how they coexist with the sense of freedom that first drew people to these spaces.
Canadian-Persian producer Daijo is quickly becoming one of the most exciting names in melodic techno right now, thanks to a sound that feels emotional, powerful, and built for real moments on the dance floor.
Now based in Vancouver, Daijo’s story is as global as his music. Born to an Iranian refugee mother and raised in Hamburg, Germany, he brings a unique perspective to everything he creates. His tracks blend melodic techno and house with deep feeling, mixing big atmospheres with driving rhythms that grab your attention instantly. There’s always a story in music, and that’s what makes his sound stand out.
Daijo has also built a strong reputation as a live performer, selling out headline shows across North America and bringing the same energy to both intimate clubs and festival stages. His sets are smooth, emotional, and full of purpose, making it easy to get completely lost in the journey he creates.
On the release side, Daijo has landed music on some of the scene’s most respected labels, proving he’s not only part of the global electronic movement, but helping shape where it goes next, all while staying true to his own identity and style. With more music on the way and a full album in his sights, it’s clear Daijo is just getting started.
One of his biggest recent moments came with ‘Goodbye’, released on Hardwell’s Revealed Recordings, a track that shows a more personal side of his artistry.
“Goodbye is a story about love and loss, about that moment you realize that letting go is the only way forward,” Daijo explains. “Anyone who’s ever cared deeply for someone will feel that.”
With its emotional melodies and rich production, ‘Goodbye’ hits hard while still keeping that uplifting, melodic energy Daijo is known for, a perfect example of why his name is rising so fast.
Connect with Daijo:
Instagram | Facebook | X | SoundCloud | Spotify
Editorial
Starlight PR Strengthens Its Role as a Development Partner for Independent Artists Navigating a Crowded Market
The independent music sector continues to experience unprecedented growth, with thousands of new releases entering DSPs daily. But as access expands, competition intensifies, making structure, strategy, and professional visibility essential for artists hoping to rise above the digital noise.
Starlight PR, a long-standing player in independent artist development, has increasingly become a go-to partner for emerging acts in hip-hop, R&B, and pop who need more than just distribution they need direction.
“Our role isn’t to inflate numbers,” a company representative tells Billboard. “It’s to help artists build momentum rooted in real interest and real story.” Starlight’s model blends targeted media outreach, narrative framing, and coordinated rollout planning. The firm’s longstanding editorial relationships also help open doors that most independent artists struggle to access: credible coverage in outlets capable of driving both discovery and perception.
Several recent campaigns have demonstrated the firm’s effectiveness. Artists with local or regional followings were able to transition into national visibility following structured press arcs, while others benefited from story-driven positioning that helped translate their message beyond social media.
With DSP editorial teams increasingly selective and social algorithms less predictable than ever, structured press has regained its value as a core growth driver. For independent artists trying to navigate that environment without label support, firms like Starlight PR offer something few others do: a professional development framework that is both strategic and sustainable.
As the independent market continues maturing, companies that combine industry insight with editorial discipline are poised to play a larger role. Starlight PR appears to be doing exactly that, and the rising demand for structured artist development suggests their impact is only beginning.
A closer look at all of the artists playing in Thailand for the very first time at EDC Thailand 2026.
With EDC Thailand 2026 taking place on January 16–18 at Rhythm Park, Phuket, this year’s lineup includes a group of artists who will be playing in Thailand for the first time. The list brings together names from different parts of electronic music, from bass-focused sets to melodic and harder club sounds, and includes artists that have been part of international festival and club lineups for years but have not appeared in Thailand until now. GRiZ, Loud Luxury, BUNT., Cassian with a sunset set, KI/KI, NOVAH, Mathame with a sunset set, Suae, YDG, Vertile, and VTSS are all scheduled to make their Thailand debut at EDC Thailand 2026, creating a rare chance for people in Thailand to see these acts live locally for the first time instead of only through recordings, livestreams, or overseas events.
GRiZ
GRiZ is the stage name of American producer and performer Grant Kwiecinski. He is known for bringing live saxophone into electronic sets and for releases that sit between funk influences and bass-forward festival production. His albums include End of the World Party (2011), Rebel Era (2013), Good Will Prevail (2016), Ride Waves (2019), and Face the Music (2021). Key tracks that defined his catalog include “Good Times Roll,” “Another World,” “Vibe Check,” “Burn Up The Floor,” and “Other Side of Jupiter.”
GRiZ became a fixture in the North American festival world across the 2010s, with regular appearances at major events such as Electric Forest, Lollapalooza, Shambhala Music Festival, Hangout Music Festival, and Counterpoint. He also created Grizfest, a multi-city festival event in the United States that connects electronic music with funk and hip-hop bookings, and he has built a touring identity around performance elements rather than studio-only DJ presentations. That combination is why his live show is often treated as its own booking category inside large festival lineups.
Loud Luxury
Loud Luxury is a Canadian house duo made up of Andrew Fedyk and Joe De Pace. They broke through globally with “Body” in 2017, which became a major radio and club record and charted on the Billboard Hot 100. Their catalog leans toward melodic, vocal-forward house and crossover dance releases, with tracks such as “Love No More,” “Aftertaste,” “Like Gold,” “Cold Feet,” and “Young & Foolish” forming their best-known run of releases after the breakout.
Their festival footprint has been built around mainstream EDM programming, including appearances at EDC Las Vegas, Ultra Music Festival, Tomorrowland, Coachella, and Lollapalooza. They also have a long touring history in North America and Europe tied to both club bookings and large outdoor festival stages, which is where their higher-profile singles translate best in set form. For Thailand, this booking matters because it brings a duo with established international festival rotation into a market where they have not previously appeared live.
BUNT.
BUNT. is a German electronic project led by producer Levi Wijk. The project is known for melodic house and crossover dance releases built around pop structure, vocal hooks, and festival-friendly arrangements. Tracks that are most commonly associated with BUNT.’s catalog include “Clouds,” “Young Hearts,” “Unbreakable,” “Take Me Home,” and “Nights Like That,” which established the project’s lane between club releases and broader streaming-friendly dance music.
BUNT. has developed a touring profile through European festival and club infrastructure, with documented appearances at festivals such as Parookaville and Lollapalooza Berlin, alongside international dance events including EDC Las Vegas and Ultra Europe. The project’s momentum has also been tied to consistent touring rather than one-off viral moments, which is why it shows up repeatedly across multi-city lineups. In the context of EDC Thailand, BUNT. is positioned as a melodic, crossover booking rather than a genre-niche act, which broadens the range of the debut list beyond bass, techno, and hard dance.
Cassian (Sunset Set)
Cassian is an Australian producer associated with melodic techno and progressive electronic music. He is widely recognized for his work with Anyma and RÜFÜS DU SOL, including contributions and collaborations tied to tracks such as “The Sign,” “Together,” “On My Knees,” and “Alive.” His solo releases, including “Landa,” “Magenta,” and “Running,” sit in the same melodic lane and have supported his presence on international lineups that prioritize longer, building sets.
His booking profile is closely linked to the Afterlife ecosystem, which has become one of the most visible touring brands in melodic techno over the last few years. Cassian has appeared at major global events including Tomorrowland, Coachella, and Burning Man, and at Afterlife shows in destinations such as Ibiza and Tulum. A sunset set billing fits how his music is typically programmed, since the sound is designed for longer transitions and atmosphere rather than short peak-time punch-ins.
KI/KI
KI/KI is a DJ and producer originally from the Netherlands and now based in Berlin. She is known for trance-influenced techno and acid-leaning rave music, with a modern approach that references classic trance structure and faster club tempos. She gained broad attention through a 2021 Boiler Room set and followed it with releases including “Blue Steel,” “5 Mins of Acid,” “Feelin’,” and “Leave It To The Future,” which helped define her sound in recorded form beyond live sets.
Her touring and bookings have been anchored in Europe’s major techno and festival circuit, including appearances at Dekmantel, Awakenings, Time Warp, and Creamfields, plus high-profile club bookings that place her within the main European touring lane. Her rise has been tied to both platform visibility (recorded sets) and repeat bookings at major events, which is why she is now a recognizable name beyond niche trance spaces. For EDC Thailand, she is one of the clearest “new-to-Thailand” names for fans of faster techno and trance-adjacent programming.
NOVAH
NOVAH is a Belgian DJ and producer associated with hard techno and faster rave-oriented club music. Her catalog includes tracks such as “Rave From The Grave,” “No Control,” “Aggression,” and “Valkyrie,” and she has appeared on labels tied to modern hard techno movement in Europe. The sound is characterized by higher BPM ranges and a club-focused approach that aligns with the current European hard techno wave.
She has performed at major European-facing events including Tomorrowland, Awakenings, Extrema Outdoor, Time Warp, and I Love Techno, building visibility through both festival and club infrastructure in Belgium and neighboring markets. NOVAH’s rise has also been connected to the broader interest in harder techno programming across large mainstream festivals, not only underground bookings. For Thailand, her presence is notable because it brings a harder European techno booking into a lineup where Thai ravers have mostly experienced her sets through recorded platforms and international clips.
Suae
Suae is a harder-styles DJ and producer whose public artist identity is directly positioned around hardstyle and high-tempo hard dance. He has branded himself as part of the harder-styles lane rather than mainstream EDM, and his catalog is built around hardstyle sets, edits, and mixes shared through his official channels. That positioning matters because it places him closer to hard dance programming rather than techno or bass stages.
In terms of footprint, Suae’s visibility is strongest through online performance content and harder-styles community channels rather than a long list of globally indexed festival credits. What can be stated safely and clearly is that he is a hardstyle-focused act, and his inclusion at EDC Thailand supports the festival’s harder styles representation alongside other hard dance names on the lineup. For your debut article, the clean angle is the genre: he represents the hardstyle side of the debut list, not the melodic or bass side.
YDG
YDG is a South Korean DJ and producer associated with bass, trap, and club-focused electronic music. He has built recognition through releases and remixes, including tracks such as “Diamond,” “Go Dumb (YDG Remix),” and “2 Step,” and through consistent release activity that connects him to modern bass-oriented festival programming. His recorded output is oriented toward high-impact drops and set-friendly structures that translate clearly into festival performances.
He has appeared at major events in East Asia such as Ultra Korea and has been part of EDC-branded lineups in the region, including EDC China, which places him within a recognizable international touring pathway for Asian electronic artists. His profile is also supported by platform distribution through established dance music networks, which is how many Thai fans will already know his sound before seeing him live. In Thailand, this booking broadens the debut list into bass and trap territory rather than only techno and hard dance.
Vertile
Vertile is a Dutch hardstyle producer, DJ, and vocalist known for combining hardstyle production with live vocal performance. He became widely recognized in the hard dance world through releases such as “Change This Place,” “Together We Grow,” and “Complex Aftermath,” and through collaborations that placed him alongside top-tier hardstyle names such as Headhunterz. His music is structured around dramatic builds, vocal hooks, and high-tempo hardstyle climaxes.
He has played at major hard dance festivals including Defqon.1, Qlimax, and Decibel Outdoor, which are core reference points for modern hardstyle touring credibility. Vertile’s presence is especially significant because he is not only a producer but also a live vocal identity within hardstyle, which is still a rarer format compared with standard DJ sets in the genre. For EDC Thailand, he anchors the debut list on the European hardstyle side, bringing a name that is firmly tied to the Netherlands hard dance ecosystem.
VTSS
VTSS is a Polish DJ and producer known for fast, modern techno programming and rave-oriented sets. She built international visibility through widely circulated platform sets and a touring profile that connects her to contemporary European techno, including releases associated with labels such as Intrepid Skin and Steel City Dance Discs. Her output and DJ identity are tied to higher BPM ranges and techno programming that often crosses into trance, electro, or hard-edged club music depending on the set context.
She has played major festivals including Dekmantel, Awakenings, Primavera Sound, and Sonar, along with a wide range of European club bookings that have reinforced her as a high-demand touring DJ. VTSS is also a name that many people first encountered through recorded sets and clips before seeing her on festival posters, which is common for modern techno artists. For Thailand, her booking gives the debut list a major European techno representative with a clear global touring resume.
With EDC Thailand 2026 just days away, this is our short list of artists making their Thailand debut this year, from GRiZ and Loud Luxury to KI/KI, NOVAH, Suae, Vertile, and VTSS. It is a lineup that brings together first-time appearances across house, melodic techno, bass, hard techno, and hardstyle in one place over the January 16–18 weekend at Rhythm Park, Phuket. If you are going to EDC Thailand this year, which of these debut sets are you most looking forward to seeing?
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