Editorial
Siam Songkran 2025 Was a Reminder of What Made It Great in the First Place
I’ve been going to Siam Songkran since its first edition in 2019. Each year had its own highlights, but something about 2025 felt like coming home. The return to Bravo Arena brought back memories of the early days, when the setup was simpler but everything felt connected. This year managed to take that original feeling and build on it without overdoing anything.
There were proper seating zones and shaded areas that helped when you needed a breather between sets. The food and chill zone was packed with options. I stopped by stalls serving grilled meats, som tam, and crispy pork with rice. That pork stall had a full queue by the time people started arriving in real numbers. Amazon Coffee was set up inside the same area. I went more than once for an iced americano, and every time the booth was already busy.
One part of the festival that stood out was the Muay Thai area. Trainers were holding sessions where people could try simple moves or just watch. It was set along one of the main walkways so you couldn’t miss it. A small crowd was gathered every time I passed. Nearby was a smaller stage focused on Thai DJs. It was a tight space, but the crowd stayed and the sets kept building. I didn’t plan to spend that much time there, but I ended up staying longer than expected because the music pulled me in.
Sets That Stood Out
Dillon Francis had one of the most ridiculous and fun sets of the weekend. He pulled out a giant Thai inhaler mid-set and sniffed it on stage like it was nothing. The crowd around me started laughing, but he didn’t make it a big deal. He just kept going. The music jumped around like his sets always do. Nothing was predictable. There were no awkward pauses, no dragged-out sections. Just him doing what he does best without taking it too seriously.
Yellow Claw and Flosstradamus went back-to-back and it turned into one of those sets where you didn’t want to move. I was front row with friends and we didn’t stop dancing the whole time. Every drop hit the way it should. There were moments when the crowd shouted before anything even happened. The trap sections brought everyone together. It felt exactly like the kind of set we needed.
Hardwell brought out all the bigroom tracks people were hoping for. He gave space for the older stuff but didn’t turn it into a throwback set. The last fifteen minutes were the part that stuck with me most. He dropped his new collab with Sub Zero Project and it hit straight away. Right before ending, he thanked his tour manager who was stepping down after years on the road. It was a quiet moment but it meant something. Then he closed out strong without dragging it out.
Dimitri Vegas and Steve Aoki playing together felt personal. I’ve grown up listening to both of them so seeing them share a set was something I didn’t think I’d get to experience. They didn’t overdo anything. They just played everything they knew would work. It was track after track and every one of them landed. For someone like me, that set was the kind you walk away from smiling without needing to explain why.
Transitions That Deserved Attention
Siam Songkran 2025 took its transitions seriously. Between the big sets, the festival didn’t just rely on background visuals or sponsor reels. Instead, there were short performances that brought Thai culture to the front. Traditional instruments were played live on stage alongside Thai dance routines. The performers came out in full costume and moved across the platform while the crowd watched quietly. It wasn’t something people ignored. Most stayed in place and watched the entire thing.
There was no talking or explanation. It didn’t need any. The performances spoke for themselves. It was clear that Siam Songkran had made a choice to build these parts into the experience rather than treat them as something optional.
At one point, there was a drone show that caught everyone’s attention. The drones moved in unison and created visual shapes that tied back to the Songkran theme. After that, a fireworks sequence lit up the sky. It didn’t feel rushed or thrown in for effect. People actually stopped what they were doing and looked up. For a few minutes, nobody was filming or talking. They just watched.
Siam Songkran didn’t treat these transition moments as background. They gave them space. They gave them meaning. Without forcing anything, it reminded everyone that the festival is still rooted in where it started and why it exists.
Final Thoughts
Siam Songkran 2025 didn’t feel like it was trying to outdo itself. It brought things back to where they worked best. The return to Bravo Arena gave the festival its footing again. The setup was clear. The experience didn’t feel scattered. Everything had a purpose.
The Muay Thai zone made sense where it was. The food and chill area had the right balance. The smaller stage for Thai DJs got real attention. The traditional dance and instrument performances between sets gave people something to stop and watch. The drone show and fireworks were done properly and added something that stuck with people afterward. None of it felt like filler.
I’ve gone every year since 2019. This edition reminded me why. It wasn’t just about the names on the lineup or how loud the production could go. It was about how it all came together. Siam Songkran didn’t try to be something new. It brought back what people liked in the first place and kept it real.
If next year follows the same approach, I’ll be there again. No question.
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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.
Follow Chris Candela:
Spotify / Apple Music / Instagram / YouTube / X (Twitter) / TikTok / SoundCloud
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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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