Released September 4, A Light That Guides Weary Travelers Home represents a new chapter for Andrew Bayer – one shaped by grief, transformation, parenthood, and the search for a place to call home. Written and produced at his home in Potomac, Maryland, the album emerged from a period in which Bayer stepped away from touring to welcome his first son, Wesley, into the world and allow a new artistic vision to take shape.

The album is the latest evolution of an artist who has spent more than a decade pushing against the boundaries of electronic music. His 2011 debut It’s Artificial fused glitch-hop, electronica and progressive house, while If It Were You, We’d Never Leave earned critical acclaim for its adventurous blend of electronica and instrumental hip-hop. 2018’s In My Last Life showcased his gift for emotionally resonant songwriting, before 2022’s ambitious two-part project Duality explored both his indie-pop sensibilities and his forward-thinking trance and progressive sound, accompanied by an autobiographical film now available on Amazon.

Alongside his celebrated albums, Andrew Bayer has built an extensive catalogue of club records, including collaborations with Seven Lions and Armin Van Buuren, while performing at Ultra Music Festival, Electric Daisy Carnival, Madison Square Garden, ASOT, Creamfields and clubs around the world. Widely regarded as one of progressive electronic music’s true visionaries, he continues to blur genre boundaries while maintaining a singular creative identity.

Now, Andrew Bayer is bringing his new chapter back to audiences across North America.

The tour opens in his hometown December 4 at 45 East in Portland, followed by Celebrities in Vancouver on December 5. Bayer returns to Toronto for a special December 30 performance at The Mod Club, then a soon-to-be-announced New Year’s Eve gig alongside one of his longtime regular collaborators. The West Coast leg follows in January with Gods & Monsters in San Francisco on January 15 and Academy in Los Angeles on January 16.

A LIGHT THAT GUIDES WEARY TRAVELERS HOME TOUR

FRI DEC 4  – 45 East – Portland, OR

SAT DEC 5 – Celebrities – Vancouver, BC

WED DEC 30 – The Mod Club – Toronto, ON

THU DEC 31 – TBA

FRI JAN 15 – Gods & Monsters – San Francisco, CA

SAT JAN 16 – Academy – Los Angeles, CA

The post Andrew Bayer Announces Six Night ‘A Light That Guides You Home’ North America Tour appeared first on EDMTunes.

It’s not every day that you get the chance to talk with Andrew Bayer, the author of countless Dance records across 20+ years, four artist albums (now five), and trend-defying sounds spanning Trance, Electro, Ambient, Electronica, and so much more to his own name, alongside so many records co-produced for the greatest names out there. Just to name a few, Above & Beyond, and Armin van Buuren.

Bayer is often considered — and should be if you don’t see him that way already — one of the true trailblazers of the Anjunabeats sound, and the slower, tinted-with-Electro Progressive Trance sound as well, marrying soothing, fly-away sounds with absolutely bestial growls and saws. Don’t believe me? Nine case-in-point mentions below.

Think of songs such as ‘Counting The Points’, ‘One Last Look’ as Signalrunners, or ‘Nothing Ever Lasts’ with Cosmic Gate. Now think of ‘England’, ‘To The Six’ with Boom Jinx, and ‘In And Out Of Phase’ with Matt Lange. Now think of ‘From The Past’, ‘Gaff’s Eulogy’, and ‘Celestial’. All of these, ALL OF THEM, are absolute diamonds of the history of Dance music. And they are all his. I could go on naming records but that proves my point already.

Last Friday, Bayer released his fifth artist album, A Light That Guides Weary Travellers Home, on Seven Lions’ Ophelia, marking a new chapter in his career, one in which he’s found a home outside Anjunabeats, his former home for decades, to venture out into a tangential space where feels are equally as welcome, just in a different container. The album is phenomenal, as you’d know after reading our review of it, and, well, we also landed a tiny little interview with the author of the piece himself!

We teased this a little during our review, and we’re so happy to put out this exclusive chat, which, as all our good interviews in here, turned into a sincere, heart-open conversation very quickly. You’ll get to know so much more about Mr Bayer, ranging from his views on life and music, how this album almost never happened, what these last years have meant to him, and you’ll even take home his favourite albums of all time to take home with you. If I keep teasing, it’s filler. Ladies and gentlemen, our interview with Andrew Bayer. Enjoy.

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) following it represent Andrew’s answers.)

First off, massive congratulations on the release of A Light That Guides Weary Travellers Home. Would you mind sharing with us the story of how, why, and when this entire project came to be?

For a really long time, I was working almost exclusively with Anjunabeats, my whole life was essentially over there. But when I went on the Journey III bus tour with Seven Lions a few years ago—Jeff and I have been friends for over a decade—we started working much more closely together. That tour was such a pivotal, life-changing moment for me that I actually have “Journey III” tattooed on my leg!

I’ve always been a multi-genre artist at heart, but my live sets were historically streamlined into progressive 128 BPM electro-trance. My artist albums were explicitly designed for at-home listening, so I would create separate club mixes just to share those songs in a live setting. Perhaps the clearest example is In My Last Life / In My Next Life. Watching Jeff and the Ophelia crew build naturally multi-genre sets was a massive eureka moment. I thought, “I want to do this in my own way.” I started hanging out with the Ophelia crew much more, and they welcomed me in an incredible way. They pushed my creative boundaries and challenged me in ways I hadn’t experienced in years, encouraging me to combine my at-home album storytelling with my high-energy live sound in a cohesive way.

Historically, people were often confused by me as an artist because I operated in these two distinct lanes: non-clubby home listening and heavy club versions. Marrying those two worlds was the big creative leap for this record. On my previous album, Duality, disc one hinted at this idea, but the two sides were still separated. This time, the inspiration was to fully merge them, keeping the heartfelt, engaging songwriting while taking the energy up to eleven across multiple genres. Being surrounded by a new group of supportive friends who kept teaching me and challenging me created the perfect environment to make that happen.

You mention learning new things, which feels almost surreal because you’ve always been viewed as a technical pioneer. How do you create those moments of inspiration, and when does creativity usually strike for you?

Whenever I feel like I’ve stopped learning, I feel weighed down by it. Learning is the single most important element in keeping creativity exciting, it recaptures that raw, childlike inspiration you felt when you first started making music. When you get too comfortable, you stop growing.

This album was a massive experiment done on a purely selfish quest to challenge myself in every conceivable way. Anytime I listen back to my own discography, I can hear the moments where I was pushing myself versus when I was playing it safe. For this project, I deliberately disrupted my entire workflow. I switched DAWs to Ableton after more than 15 years on Logic, forcing myself out of my bubble even down to that very detail.

Do you remember a specific moment during the writing process where you felt like you had something truly magical in your hands?

One hundred percent. The very first song I wrote for the album was with Jonathan Mendelsohn, a track called ‘I Wish You Well’, which I initially rushed to get ready for Dreamstate a few years ago. Writing that track brought together several self-imposed challenges: adapting to Ableton, returning to 140 BPM trance, and weaving an emotional backdrop with personal storytelling.

Reconnecting with Jonathan and creating something so authentic was a massive turning point. For years, I had locked my live sets into a strict 128 BPM template. Going back to 140 BPM—which used to be my starting template when I was a teenager—made me feel like a kid again in the studio. Realizing the depth of the story we wanted to tell made me say, “Shit, there’s so much more to this. I have to do a full album.” I have to thank Jonathan massively for kicking my ass into gear, and the Ophelia crew for diving in and helping me listen through hundreds of clips and demos.

When you listen back to a demo and get that obsessive feeling where you’re proud of it and instantly need to replay it, that’s when you know you’ve created something special. I’m a selfish musician, I have to make music for myself first. If people like it, that’s amazing, and if they don’t, honestly that’s amazing too. It has to click for me internally. Even playing the same chords I’ve used throughout my career felt completely fresh once I sped them up to 140 BPM. Piano parts that didn’t work at 128 suddenly clicked at faster tempos, opening up an entirely new playground.

Does the tracklist follow a specific narrative pattern or structure, or is it ordered purely by musical preference?

I take sequencing very seriously! There are many valid ways to structure a tracklist, but for me, it was intentionally ordered from start to finish. Releasing singles during the album campaign was actually quite painful because I was sitting in limbo waiting for the full piece to drop.

I view the album as a singular piece of music structured in three distinct acts, very much like a film. Each act has its own defined progression, narratively through the lyrics, sonically, and emotionally, and it all leads to a very specific closing piece.

To be completely honest, I still struggle to listen to the last ten seconds of the album without crying.

The final piece is quite frankly amazing. How did that closing track come together?

Oh, the first time I tested the final masters right before delivery, I was weeping on stage. The very end of the album, ‘Home’ features a voice recording of me feeding my son breakfast and him repeatedly saying “hi” back to me for the first time. Originally, I had a much darker, epic piece planned for the finale, but at the last moment, I realized the ending needed to feel like a pure celebration. Gemma Hayes came in and completely blew my mind with her vocal performance, and finishing the record with that recording of my son was the only right choice. I get choked up just talking about it!

People nowadays often use the phrase “this is my most personal work to date”, so I try to avoid that cliché. But this album is easily the most important achievement of my career. The entire process was hands-on, and doing so much of it myself gave me a profound sense of satisfaction. Knowing this story is permanently cemented out in the universe means I can go to sleep happy at night. I almost don’t care about how it performs commercially. It performs beautifully for me.

Moving away from the record for a while, you’ve inspired so many producers over the years. So we’d like to ask, who inspires you? Who got you into music originally, and who do you listen to when you need creative fuel, electronic or otherwise?

In the very early days, I was making trance over dial-up internet with people around the world. I was part of a duo called Signalrunners, which was my entry point into the industry. When I was 15 years old during spring break, I literally flew to Scotland to meet our record label! Judge Jules took a liking to our Signalrunners project, and we had this insane feedback loop where we’d finish a track, send it over, and hear it played on BBC Radio 1. Experiencing that as a teenager was a massive adrenaline hit. That specific experience isn’t really possible in today’s landscape with the way streaming works and how the industry prioritizes social media content creation over music itself.

In terms of ongoing inspiration, most of mine comes from outside electronic music. Within the electronic space, Clark has been a massive influence ever since my days at Berklee. The way he pushes dissonant, detuned elements into a beautiful electronic tapestry is incredible. Outside electronic music, I sound like a broken record, but Bon Iver and Sufjan Stevens are my absolute go-tos whenever I’m at a loss for what to listen to. I was also inspired by the vocalists and collaborators I worked with on this record while putting the music together.

How I see you, and judging but what you’ve already told us, you constantly push your sound into new territory rather than staying inside one single genre or identity. Do you view that constant evolution as essential to who you are as an artist, that inability to “box” your sound?

Absolutely. If you get stuck in the same loop for too long without pushing yourself, the music becomes stale. To prevent that, I have to constantly set new technical and artistic challenges to overcome. This was, by a country mile, the most challenging record I’ve ever made.

I deliberately handled everything myself: the mixing, the mastering, learning string orchestration from scratch rather than outsourcing it, learning a new DAW, and managing the release without a traditional management team, relying instead on a wonderful group of supportive people. Those challenges keep you on your toes both creatively and within a modern music industry that can be a pretty scary place for artists right now.

To remain my most authentic self, I have to keep changing. This album is a radical shift, and I know a fair amount of trance purists might hear certain sections and say, “Oh, now he’s making dubstep!” But from front to back, the record reads as orchestral trance with moments of halftime energy that I wouldn’t even classify as dubstep. To me, those sections are deeply trancy, just a different flavor. More than a number on a screen, the essence of trance is that emotional undertone that makes you feel something. Opening up the floodgates to explore whatever tempo felt right was a massive inspiration.

Back to albums, since we’re already touching on this topic. What are albums in your eyes? I’ve talked to many who say they’re not really profitable, they’re quite unfashionable, the algorithm doesn’t like them, and so on. But yet artists keep making them and people keep consuming them. So what gives?

That perspective is a direct byproduct of a (scary) modern music industry that prioritizes rapid consumption over lasting art. Traditionally, albums were built to promote touring and generate long-term revenue. My own goals shifted quite a bit when I took parental leave to raise my son. I went dark on social media, stopped releasing music for a while, and then jumped straight into this campaign. Coming back was pretty traumatic because the industry doesn’t like artists taking time off. Your absence is noted immediately, and you’re expected to constantly sell yourself.

Historically, an artist would release an album, tour it, take a year off to write the next one, and repeat. That traditional cycle barely exists now because platforms demand constant output. But frankly, I don’t give a fuck about how the modern music industry works! People can look at my Instagram numbers or metrics, and I truly don’t care. I will always present my art in the way that authentically encapsulates who I am at the time.

After finishing Duality, which was a long, exhausting writing and touring process, I really felt lost and swore I would only release singles and EPs moving forward. But having that eureka moment with Ophelia reignited my spark. I am an album artist at heart, and this record reminded me that I will always make albums regardless of whether they are profitable or algorithmically favored.

You brought up the word “art,” which feels central to your ethos. Focusing on genuine creative expression over viral trends seems to be what keeps the process meaningful for you.

One hundred percent. I have willingly taken a hit commercially by refusing to engage in viral social media tactics or forced content creation. No shade to the people who enjoy that side of things, it’s just not for me. I enjoy writing music, feeling a deep connection to what I’ve made, putting it out into the world, and seeing what happens. The cherry on top is stepping on stage, playing music I’ve poured my soul into, turning it up loud, and dancing with people. That’s the ultimate celebration.

Social media pressure can feel completely disconnected from the actual craft of making music. It’s probably one of the things I like the least about today’s industry.

Exactly. I didn’t get into music to become a DJ or stand on stage, let alone make social media videos. Early on, I was petrified of getting on stage. But during the 2006–2012 Beatport era, seeing artists like Deadmau5 and Eric Prydz use DJing and live shows as a vehicle to present their own productions showed me a viable path forward.

When I perform now, it’s a complete release. If you’ve ever seen me play live, I dance like a total lunatic up there! By the time I step off stage, it feels like a full workout. I’m lip-syncing my lyrics, channeling drag performers, and losing my mind because it’s a moment of pure celebration. I’ve had comments online saying “he’s cringe” or “he’s doing too much,” but I don’t care.

My stage energy is heavily inspired by — and I’m so lucky to say this — seeing Kate Bush perform live in London: that time she came out barefoot in a muumuu, swaying around and completely losing herself in the music. That’s authentic self-expression. If being on stage for someone else is purely a polished photo opportunity, more power to them, but that’s not my vibe. I’d much rather look like an absolute mess on stage and genuinely feel the music.

How I see it, it’s exactly that absence of rationale, that sincere, nude madness on stage: that’s what builds a lasting connection with an audience. Call it passion.

We are currently experiencing a drought of authenticity across the industry, from AI-generated tracks topping charts to artists prioritizing content over craft. Seeing someone completely lose themselves in their work is deeply human. There’s a quiet underground community of artists and listeners who value genuine authenticity, and I firmly believe we are reaching a critical tipping point where people are getting sick of artificial content and seeking out real art again. But even if that underground never becomes mainstream, I’m equally happy remaining part of a tight-knit, authentic community. Suddenly, I’m underground!

What are your personal “comfort zone” records, the albums you return to when you need to reset yourself? Those that you can’t listen too often too so you don’t burn them out.

You are so right, you have to ration those special albums so you don’t burn them out! Bon Iver’s discography is a major seasonal comfort for me, as is Sufjan Stevens—his records Carrie & Lowell and Javelin are completely devastating, so you have to pick the right emotional moment to listen to them.

For newer music, Ignorance by The Weather Station gets played constantly in our house on the weekends; it pays a subtle, beautiful nod to Talk Talk’s experimental era and feels like a warm hug. For plane rides or for relaxation, Brian Eno’s Music for Airports and Stars of the Lid’s The Tired Sounds Of and Their Refinement of the Decline are essential for recentering. Also, A Winged Victory for the Sullen’s self-titled record is a total masterpiece that I have to save for specific, sacred moments.

Another huge record for me is Jóhann Jóhannsson’s IBM 1401, A User’s Manual. Jóhann’s work is that special kind of devastatingly beautiful. When I heard the news of his passing I was on tour in Poland. I collapsed onto the floor and sobbed, had to question how I’d go ahead with my show that night. His music really fed my approach to contemporary classical and ambient textures. If you strip back the electronic elements and heavy drums on my new album, at its core, it functions very much like a contemporary classical singer-songwriter record.

I love this question. If you could travel to the past and meet your past self, any number of years, maybe 10 years, maybe 15, 20, even more, however many you need to, what would you tell that younger Andrew? Were you worried about anything that was really not necessary?

That’s a heavy question. Growing up in the closet for a long time left me with very little self-confidence, both as a person and in my ability to contribute to the music industry. I was extremely hard on myself.

I wish I could go back and tell my younger self to believe in my own music and prioritize making music for myself. Because I lacked the confidence that I could build an actual career out of my solo music. I always felt I had to do outside work to facilitate it. I wish I had believed in myself more. I wish I could give my younger self a hug and say, “You’re going to be okay personally, you’re going to be okay as a musician, and you need to believe in yourself.”

Finally, for an aspiring producer reading this who looks up to your journey, what is the most powerful advice you could offer them?

Never stop learning. When I started out on dial-up internet, technique was heavily gatekept on old message boards and MSN Messenger before I went to Berklee. Today, there is an unlimited, free ocean of knowledge available at your fingertips.

Whenever I feel stuck or uninspired in the studio, I pull up my running list of tutorial links on my phone and watch other people work. Seeing what young creators are doing inside tools like Serum 2 completely blows my mind! If you ever feel like you’ve hit a plateau or gotten too comfortable, go onto the internet and learn from someone else. Take full advantage of how accessible knowledge is today, stay curious, and keep learning every single day.

Final Words

If you’ve read up to this point, I’m allowed to break character. What a privilege. Andrew was for years one of my absolute referents, and he still is. Still in high school I’d put on my trustworthy earphones and listen to record after record, wondering if he had a sort of Midas touch for music or what, and being absolutely hooked by, one of those artists I’d very confidently admit, helped cement my transition from Spinnin’ Records to the Trance scene.

Andrew says he’s a selfish musician. Well, in my role in press I’m a selfish journalist. I cherish moments like this one, where I’m allowed to meet those who shaped who I am today, while also serving as a proper instrument for them to open up in a much more human manner, leaving the artist persona and the streams and pie charts aside for a little while. I’m so thankful for this space that I have, and that funnily enough I also generate for others.

Andrew Bayer’s A Light That Guides Weary Travellers Home is out now. Stream below. And stay tuned to EDMTunes for the latest news and views from all across the Electronic space.

The post [INTERVIEW] Andrew Bayer Talks Latest Album, Music As Art, Career, And More appeared first on EDMTunes.

I know many people out there listen to albums as a collection of singles, a view that is even backed up in today’s industry with the act of lifting singles ahead of the full LP’s release date. And while that is a totally fair way of consuming an album…

If you’ve read my reviews in the past, you’d know I always treat albums as a full story rather than a fragmented collection of songs. And I value very dearly when an artist thinks the same and ideates their baby as a tale and not a compilation. I’m lucky to know firsthand that this record in particular was crafted to be understood as an undivided, full-length concept.

The Light, The Travel, The Home

I’ve always looked up to Bayer’s work. And I’m happy to officially catalogue this album as a monumental release. What makes it so compelling is that his core identity remains unmistakable: it’s uniquely, unequivocally Bayer-esque. I haven’t been online too much to check but I’m sure there’ll be people out there saying, “Oh, he’s changing directions, again; where is the thread to the earlier Andrew?”, but there is! You can feel him. You can hear him; you perceive his hand in every arrangement, it’s just another outfit, or a differently shaped vase for the same liquid contained inside.

And frankly, that container isn’t even so dramatically different. There are new textures, some detours, and the elephant in the room called the Ophelia sound. And we’re therefore allowed to experience Andrew Bayer in a different landscape than before, weaving the scent of old school with threads of current Melodic.

Pure, Nude and Sincere

Beyond the technical achievements, however, the record offers a truthful, genuine reflection of life, painting a picture that is a still photograph of Bayer’s past years. Concepts involved are family, touring, comfort zone, experimenting, feeling alive, and many others that you’ll get to read very soon when we reveal our exclusive interview with this guy. (Oops, did I just leak something?)

That sincerity with which this album was written is incredibly special. In today’s music ecosystem, where creative decisions are too often dictated by stream counts, short-term metrics, and corporate pie charts, a project like this shouldn’t be taken for granted. Andrew remains an artist who uses music as a vessel to tell genuine stories. TikTok could never.

Writer’s Picks

While the entire tracklist flows seamlessly, a few specific moments took hold of me. ‘Raindrops‘ is an absolute standout—quite possibly my favourite track on the entire LP. The piece immediately before it, ‘If It Kills Me’, provides a brilliant contrast, but I just am too much of an emotion seeker to position it over ‘Raindrops’. When the hairs in your arms rise, that’s when you know it’s special.

And speaking about that, at the end of it all, the closing track, ‘Home‘, had another one of those moments waiting for me to arrive. It is an excellent way to close the story. It’s the happy ending, it’s the victory cry, but a tender, soft cry at the end of the day. ‘Home’ ties every preceding story together, bringing the overarching journey to a fulfilling, nude, vulnerable close.

Allow me to drift away for a bit. To visualise my perceived structure of the album and its closing, imagine driving down a massive, six-lane motorway. The album’s songs jump from lane to lane, weaving through traffic, and shifting gears. Every track serves a distinct purpose, and every placement on the tracklist feels just right. Then, after miles of wide-open highway, the road narrows. You end up going down a quiet, single-lane passage leading directly to a warm house at the end of the lane.

That is precisely what ‘Home’ achieves. It siphons all the grand, powerful elements of the record down into a singular, delicate point of arrival. It feels brave, personal, delicate. A true rare feat in modern electronic music, and a moment I devoured in awe.

And don’t get me started on the absolute end of the album. You must experience those final ten seconds. They give me the goosebumps every single time. Those closing moments really anchor the multi-year journey of A Light That Guides Weary Travellers Home. If you ever had a “why?“, those last moments are the undeniable answer to why this album needed to exist. That is true power.

Andrew Bayer – A Light That Guides Weary Travellers Home Tracklist

1. Shield From Harm with Vök
2. I Wish You Well with Jonathan Mendelsohn
3. Luminous World with Richard Walters
4. The Fifth Movement
5. Afterlight with Jonathan Mendelsohn
6. Path Of Little Deaths with Cross Record
7. If It Kills Me with STAR SEED
8. Raindrops with Gemma Hayes
9. Burn For You with Vancouver Sleep Clinic
10. Home with Gemma Hayes

Final Words

I don’t know if there’s something I haven’t said about the album already. And, at the same time, I don’t think my words could ever equate the amount of wordless language present in this wonderful, wonderful piece of work. These albums seem to reach me at the right time in life every single time. Call it destiny, call it God, call it matrix, but every time that an album comes my way and it challenges my comfort Trance & Organic House bubble, it ends up marking me. In a way, they are a lighthouse to guide me to a safe shore of that current chapter in life.

Bayer’s latest is no exception to that magical thing that happens to me. I hope it heals you too.

Listen to Andrew Bayer‘s brand-new album, A Light That Guides Weary Travellers Home, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.

The post Andrew Bayer Releases Next Album Chapter, A Light That Guides Weary Travellers Home appeared first on EDMTunes.

‘Burn For You’ features a collaboration with Australian singer-songwriter Vancouver Sleep Clinic, also known as Tim Bettinson. The song started as a simple piano and strings piece, but Bettinson’s powerful vocals added emotional depth. The track is personal for Bayer, as it honors his husband and reflects their experience welcoming their son into the world through their surrogate. It explores themes of love and finding hope after difficult times.

‘Burn For You’ showcases world-class vocals and intricate musical production

Musically, ‘Burn For You’ builds slowly, starting with emotional vocals before it reaches a strong, bass-driven peak. This shift from vulnerability to power demonstrates the emotional range of A Light That Guides Weary Travelers Home, showcasing Bayer’s skill in combining storytelling with electronic music.

For over ten years, Andrew Bayer has been a key figure in electronic music. His first album, It’s Artificial, blended genres like glitch-hop and progressive house. His second album, If It Were You, We’d Never Leave, received praise for its unique sound. In 2018, In My Last Life highlighted his talent for heartfelt songwriting, and in 2022, his two-part project, Duality, explored indie-pop and trance while also telling his personal story through a film available on Amazon.

Andrew Bayer continues to push his limits as an innovative producer

Bayer has also released many club records and collaborated with major artists like Seven Lions and Armin Van Buuren. He has performed at significant events such as Ultra Music Festival, Electric Daisy Carnival, and Madison Square Garden. Known as a visionary in progressive electronic music, he continues to push genre limits while staying true to his creative style.

With ‘Burn For You,’ Andrew Bayer gives fans a strong preview of A Light That Guides Weary Travelers Home, showing the album’s emotional depth and musical ambition before its release on September 4.

The post Andrew Bayer Sets Mesmerizing Tones in ‘Burn For You’ appeared first on EDMTunes.

‘I Wish You Well’ follows June’s lead single ‘Shield From Harm‘, which featured Icelandic band Vok. Where that track set the tone for the record, this one digs deeper into its emotional core. Bayer describes it as one of the album’s centerpieces, a kind of farewell to the past that doesn’t shy away from acknowledging old wounds while still reaching toward something better.

Sonically, the track moves through shifting tempos and genre textures, which has become something of a signature for Bayer over the years. It’s layered and patient rather than built around an obvious peak-time moment, and that mirrors the wider scope of the album it’s pulled from. The songwriting and vocal performance carry as much weight here as the production itself, which tracks with how Bayer has approached his more introspective work in the past.

Bayer has spent more than a decade building a catalog that resists easy categorization. His 2011 debut It’s Artificial mixed glitch-hop, electronica and progressive house, while If It Were You, We’d Never Leave leaned into instrumental hip-hop influences. 2018’s In My Last Life pushed further into emotionally driven songwriting, and 2022’s two-part Duality project split his indie-pop leanings from his trance and progressive roots, complete with an autobiographical film now streaming on Amazon.

Beyond his solo albums, Bayer has racked up club collaborations with artists like Seven Lions and Asbjorn, and has played stages including Ultra Music Festival, Electric Daisy Carnival, Madison Square Garden, ASOT and Creamfields. ‘I Wish You Well’ builds on the groundwork laid by ‘Shield From Harm’ and gives a clearer picture of what to expect from A Light That Guides Weary Travelers Home this September. Based on these first two singles, it’s shaping up to be one of Bayer’s most personal records yet.

Stream ‘I Wish You Well‘ below.

The post Andrew Bayer Shares New Single ‘I Wish You Well’ appeared first on EDMTunes.

Driven by sweeping trance melodies, radiant builds, and OAKS’ vocal performance, ‘Hurricane’ balances euphoric and cathartic elements within detailed melodic production. The release follows previous collaborations between the artists, including ‘Places I Belong’ with Andrew Bayer and ‘Past You’ with OAKS. Across each project, the trio has developed a shared sound that blends trance, melodic bass, and cinematic songwriting, with ‘Hurricane’ further expanding the mythos and sonic identity established on Asleep in the Garden of Infernal Stars.

The single arrives ahead of Seven Lions’ upcoming album tour, which begins in April and includes headline dates at Red Rocks Amphitheatre, Brooklyn Storehouse, and Bill Graham Civic Auditorium. Known for immersive production and emotionally driven live performances, Seven Lions continues to expand the world surrounding Asleep in the Garden of Infernal Stars with today’s release of ‘Hurricane’, marking the next phase in a career that began with his 2012 remix contest win for Above & Beyond and has since grown to include more than a billion streams worldwide.

The post Seven Lions Starts His Next Chapter with New Single ‘Hurricane’ appeared first on EDMTunes.

Via an Instagram post, Andrew Bayer announces to us one of the big news stories of 2026. It effectively signals that after a relatively quiet period following his 2024 EPs (Be Kind Rewind and Places I Belong), the “Bayer Era” is officially restarting in 2026.

For over a decade, Andrew Bayer has been the “mad scientist” of the Anjunabeats roster. Often referred to as the unofficial fourth member of Above & Beyond, together with Oliver Smith, the Grammy-nominated producer has built a career on defying expectations. Now, following a string of high-octane singles like ‘I Don’t Want You‘ and ‘Lighter‘ (with Jason Ross and Dia Frampton), Bayer is preparing to drop his fifth full-length studio album.

While Bayer has kept the specific title and track list close to his chest, the “breadcrumbs” he’s left in his recent DJ sets—including a standout performance at ASOT 2025 in Rotterdam—suggest a return to his “club-focused but emotionally devastating” sound.

We can expect a blend of his signature “cock-crushing” (as the community affectionately calls his heavy-hitting intros) basslines paired with the ethereal, cinematic melodies that only a producer of his caliber can engineer. Andrew Bayer doesn’t just make tracks; he builds worlds. If his previous albums are any indication, the fifth record won’t just be a collection of songs—it will be a narrative journey.

Between the biggest speculations we can find in post is the supposed Ophelia shift and a collaboration with Armin van Buuren. Some commenters mentioned that Armin even “named” the track during a recent set, and there’s hope this high-profile collaboration is a lead single for the album. Adding the album could explore the most emotional side of artist, as he and his husband recently became parents.

In a scene that can sometimes feel repetitive, Bayer remains one of the few artists who treat the “album” format as a sacred art form. As a proud and vocal LGBTQ+ artist in the electronic space, his return also reinforces the diverse, inclusive spirit that has defined his career and the Anjuna community at large.

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This track is a culmination of their long-standing connection, the song Jason knew he’d always write together with Andrew Bayer. The track leans into their trance roots and it feels both nostalgic and fresh. You can hear the blend of classic trance elements with modern production techniques and a contemporary feel. It bursts with old school eurodance basslines, angelic synth melodies, larger than life breakdowns, and hopeful vocals. Furthermore, Dia Frampton, known for her distinctive voice and previous collaborations (including with Jason Ross on ‘Don’t Give Up On Me’ and Seven Lions), lends her vocal talents to ‘Lighter’. Ross has praised her contribution, saying she “truly took the song to another level.” Her vocals add that hopeful sentiment, which aligns with the uplifting nature often found in trance.

Jason Ross is heavily touring with a busy schedule in Houston, Los Angeles (Lost in Dreams Festival, Academy LA), Denver, and Groove Cruise Miami 2026. ‘Lighter’ follows his recent music releases including ‘Destiny‘ and ‘Pantheon II‘. As for Andrew Bayer, he celebrates the birth of his new baby boy! And coming up, his touring schedule includes Celebrities Pride in Vancouver, Sunbar Tempe, DAS ENERGI in Salt Lake City, and Ora Nightclub in Seattle. This track follows his recent music release of ‘I Don’t Want You‘ with Armin van Buuren on the A State of Trance 2025 mix album.

Listen to ‘Lighter’ below.

Andrew Bayer, Jason Ross – Lighter | Buy/Stream

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The Pantheon project has achieved significant success, marked by both its musical impact and the associated live experiences. Its success is also attributed to its massive collaborative nature, bringing together a lineup of prominent artists. This collaborative energy translated into a powerful and dynamic musical experience. Furthermore, the tours and live performances provide immersive experiences for fans, showcasing the music in a high-energy environment.

Ophelia Records, the brainchild of Seven Lions, stands as a testament to the power of community in electronic music. This label champions independent artists across a broad spectrum of dance genres, from melodic bass to psytrance, building a dedicated fanbase in just five years. With a catalog exceeding 200 releases from top artists and consistent playlist recognition, Seven Lions has also solidified his presence through successful live events at iconic venues and major festivals.

Pantheon II is out now on all streaming platforms.

Seven Lions – Pantheon II | Buy/Stream

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“This is a track that covers a fair amount of ground: Euro dance, contemporary classical, hard trance, and techno. It was also the first full song I’ve made from start to finish in Ableton.” said the artist.

Andrew Bayer has been a trailblazer in the electronic music world, renowned for his genre-blending abilities. A key figure in the Anjunabeats family, he has delivered groundbreaking albums like If It Were You, We’d Never Leave and Duality. Known for his ability to oscillate between progressive house, trance, and experimental electronica, Bayer consistently pushes the boundaries of his sound.

Ophelia Records
Founded by Seven Lions in 2018, Ophelia Records has become a haven for innovative electronic music, championing melodic bass and emotionally driven tracks. The label has quickly gained a reputation for supporting artists who combine technical prowess with heartfelt storytelling.

‘The Way’ is a captivating journey that highlights Andrew Bayer’s evolution as an artist while fitting seamlessly into Ophelia Records’ stellar roster.

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