This anniversary edition runs under the theme The Eternal Now, a concept built around the idea of staying present at a time when everyone’s attention is pulled toward a screen. It’s less of a marketing tagline and more of a framing device for a festival that’s spent a decade turning a stretch of Brazilian coastline into one of the region’s go-to New Year’s destinations.

Beyond the four headliners, the lineup digs deep into house and techno with names like Jimi Jules, Kerri Chandler, Mau P, Monolink, WhoMadeWho, Hot Since 82, Carlita and Franky Rizardo rounding things out. There’s also a run of notable back-to-back sets on the schedule, including Adriatique b2b Vintage Culture, Mochakk b2b Maz and Adam Ten b2b Mita Gami.

Brazilian music gets equal billing this year, with Gilberto Gil joining Gilsons for a set alongside forró artist João Gomes, plus Thiaguinho and Syon Trio. It’s a reminder that Réveillon Carneiros has always positioned itself as something broader than a pure electronic music festival — the local sound is baked into the identity as much as the techno and house programming.

For 2026/27, the festival is also launching its first Wellness Club, built in partnership with NOW Festival. Think sauna, ice bath and massage treatments alongside yoga, pilates, workouts and talks — all accessible throughout the day with both the Full Pass and Night Pass. The existing Ritual programme, which covers meditation and sound healing sessions, returns as well.

Three Stages, Five Nights, Six Sunset Parties

To mark the milestone, Réveillon Carneiros is expanding to three stages. The new Labyrinto Stage joins the existing Main Stage and Trópico Stage, built in collaboration with Labryinto, the collective known for its gatherings in Guanacaste, Costa Rica. The Main Stage will carry the festival’s larger productions, while Trópico Stage leans into a more intimate, house-focused setting.

Night Celebrations run from 10pm to 6am across the five main nights, with New Year’s Eve itself stretching from 8pm to 8am. Both the Full Pass and Night Pass include open bar and food service from Arcádia throughout. Outside the core nighttime programming, Mouton Beach Club hosts six sunset parties running 4pm to 10pm, with Villa Mouton acting as a central hub for the festival’s various offerings across the eight days.

A decade in, Réveillon Carneiros has grown from a regional New Year’s party into something with genuine international pull — last year’s edition drew attendees from 68 countries and every state in Brazil. Tickets and full details for the 2026/27 edition are available now at reveilloncarneiros.com.

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Over 1,600,000 (1.6 million) people attended the show, filling up multiple city blocks to witness the now-historic set. For context, a premier electronic festival might host around 150,000 people per day; Calvin Harris’ performance brought over ten times that to one stage.

The set included updated versions of the artist’s major hits, including ‘Sweet Nothing,’ ‘Outside,’ ‘This Is What You Came For‘ and ‘Summer,’ plus other exciting tracks and edits from his extensive catalogue. While no full recording is publicly available, a partial tracklist can be found here.

Following the record breaking performance, Calvin Harris recently made history in Brazil once again, when he became the first electronic music artist to headline the main stage at the Rock In Rio festival. He continues playing shows around the world with upcoming club and festival appearances in Europe and North America confirmed through the end of the year.

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The project will be developed through a Live Nation-led joint venture with Cidade Center Norte. Live Nation says it will be Brazil’s first purpose-built, world-class arena and the largest indoor live entertainment venue in South America. Brazilian outlets including Rolling Stone Brasil and Billboard Brasil value the investment at R$1.5 billion.

What A 21,000-Capacity Arena Changes For Brazil

Brazil’s largest electronic events happen outdoors. Tomorrowland Brasil returns April 30 to May 2, 2027 at Parque Maeda in Itu, and Lollapalooza Brasil runs at Interlagos. Indoors, the ceiling is much lower: Vibra São Paulo, one of the country’s largest indoor rooms, holds 7,000.

A purpose-built 21,000-capacity room changes the math for touring acts who currently need a festival slot or a stadium to play the city at scale. Live Nation already holds a large share of that festival pipeline through Rock World, its majority-owned Brazilian subsidiary, which created and produces Rock in Rio and The Town and produces Lollapalooza Brasil.

Design And Projections

Blueprint Studio, Live Nation’s in-house design and development group, is designing the venue. Its previous work includes Moody Center in Austin and Barclays Center in New York. Plans call for three seating levels, a dedicated VIP suite level, climate control, and acoustic treatment intended to limit noise impact on the surrounding neighborhood. The site will include a 2,000-space parking garage, dedicated rideshare and taxi zones, and direct connections to public transportation and major roadways.

Live Nation expects the arena to host more than 200 concerts and sporting events a year and welcome over 2 million attendees annually. Citing Oxford Economics, the company projects approximately US$159.9 million in direct attendee spending and more than US$311.2 million in total annual economic impact across Brazil by the arena’s fifth year of operation, supporting roughly 1,800 jobs a year.

Michael Rapino, President and CEO of Live Nation Entertainment, stated in the announcement that São Paulo Arena will serve as a home for both Brazilian and international artists. Cidade Center Norte CEO Flavio Fernandes framed the venue as an extension of the developer’s commitment to São Paulo’s North Zone, which already includes malls, an exhibition and events center, hospitality, residential, education, and healthcare hubs.

The announcement lands while Live Nation continues to contest the U.S. antitrust verdict against it and Ticketmaster. Neither company has announced programming for the São Paulo venue.

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The producer, born Joel Zimmerman, published the screenshots to Threads on July 27. His caption: “I don’t normally dox people, but I also don’t appreciate death threats. Do whatever.“

He Answered With Jokes

Zimmerman did not only post about the messages after the fact. He replied inside the DM thread itself, and the tone was mockery rather than alarm. He asked whether real gangsters use Instagram to threaten people, dismissed the weapon in the photo as a .22, questioned whether it was meant for target practice at a range, and suggested that anyone serious about threatening someone should at least bring a 9mm. He signed off by noting the gun looked small enough to fit in a purse.

The post drew thousands of likes and over a thousand replies within a day, and circulated widely across social platforms.

History with Brazil

Zimmerman’s most recent Brazilian date was at Tomorrowland Brasil, where he played the LIFE Mainstage on Friday, October 10, 2025 at Parque Maeda in Itu, São Paulo. He has no announced Brazilian shows on the books. Nothing in the posted screenshots ties the threat to a scheduled performance, and the sender’s location has not been confirmed beyond what the messages themselves claim.

Brazil has been a regular stop for him rather than a rare one. He headlined Rock in Rio’s New Dance Order stage on September 13, 2024, taking the closing slot of the night, then played Laroc in São Paulo the following evening. His first Brazilian booking goes back to Lollapalooza Brasil in March 2013.

He Has Not Always Laughed These Off

The jokes sit against a record of Zimmerman treating this category of message seriously. In his December 2016 NME cover interview, he described running his own social accounts and reading every private message that reached him, including ones from people telling him they would kill him at a show. His response to those, at the time, was that it “could be it.“

He pointed in that interview to Dimebag Darrell, the Pantera guitarist shot dead on stage in Columbus, Ohio in December 2004. Zimmerman put himself at a comparable level of fame and said there would always be one or two unstable people in the room. He was critical of venue security in the same conversation, and told Rolling Stone in a later interview that stories like Dimebag’s are why he enforces a strict rule keeping people off his stage during performances.

Zimmerman has not said whether he has taken the current messages to police, and none of his scheduled dates have changed.

Who Is deadmau5

Joel Thomas Zimmerman was born January 5, 1981 in Niagara Falls, Ontario. He founded mau5trap in 2007 and launched it with ‘Faxing Berlin’. Random Album Title broke him to a mainstream audience in 2008 behind ‘I Remember’, and the oversized mau5head became one of the few pieces of stage design in dance music recognizable without a name attached.

He has six Grammy nominations and no wins, plus three Juno awards. Outside his solo catalog he records as Kx5 with Kaskade, as Rezzmau5 with Rezz, and under the techno alias TESTPILOT. deadmau5 also scored the 2019 film Polar, and has collaborations in games like Fortnite and Rocket League.

His Cube stage production debuted at Coachella in 2010 and evolved through several builds. The touring festival version, Cube v3, arrived at Ultra in 2019 as a three-sided rig standing 21 feet tall and 22 feet wide, and was officially retired in October 2025 ahead of a new live show at Red Rocks that November. A separate nightclub-scaled build he calls The Other Cube is what he has used for his Las Vegas club dates.

His last full studio album, W:/2016Album/, arrived in 2016. A new one is due in 2026, previewed so far by ‘Ameonna’ and ‘Science’ with Stevie Appleton.

He is a 2026 resident at Wynn Nightlife in Las Vegas, playing XS Nightclub and Encore Beach Club at Night. He is booked for Nocturnal Wonderland at Glen Helen Regional Park on September 19 and 20, followed by two nights at Red Rocks over Halloween weekend, October 30 and 31.

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Positioned near the DreamVille entrance, the display reads “Tomorrowland Uniting the World in 2027” before listing six destinations: France, Las Vegas, Brazil, Ibiza, Belgium, and Thailand.

The banner greeted thousands of campers as they checked into DreamVille ahead of The Gathering, Tomorrowland’s exclusive opening celebration for DreamVille guests. While many stopped to snap photos, others immediately started trying to decode what the list could mean.

At first glance, the destinations appear random. However, many fans noticed they closely match Tomorrowland’s 2027 calendar in chronological order.

France comes first with Tomorrowland Winter, scheduled for March 20–27 in Alpe d’Huez. Las Vegas appears next on the banner before Tomorrowland Brasil, which returns April 30–May 2. Ibiza follows with Tomorrowland’s annual residency at Ushuaïa Ibiza during the summer months. Belgium comes next with the flagship Tomorrowland festival before Thailand rounds out the list later in the year.

One destination immediately stands out.

Unlike every other location, Tomorrowland has not announced a Las Vegas event for 2027 or any time yet, for that matter.

Why Fans Are Looking at EDC Las Vegas

That placement has sparked plenty of speculation among fans. Because the banner appears to follow the 2027 calendar, many believe Las Vegas could represent an event scheduled between Tomorrowland Winter and Tomorrowland Brasil.

Interestingly, that window lines up with EDC Las Vegas 2027. Next year’s edition will expand into two festival weekends, with EDC Dusk taking place May 14–16 and EDC Dawn following May 21–23. The new “Dusk Till Dawn” format will also include a 12-day citywide experience between festival weekends. Since we know Tomorrowland and Insomniac have a burgeoning partnership, it would not surprise us to learn that Tomorrowland was consulted by Insomniac in its move to expand to two weekends.

A Tomorrowland Takeover?

Some attendees at DreamVille have already begun connecting the dots. While Tomorrowland hasn’t explained the Las Vegas teaser yet, festivalgoers have started speculating that it could hint at a collaboration with Insomniac during EDC Las Vegas.

Another possibility has also emerged among fans. Rather than announcing a standalone Tomorrowland event, the teaser could point to a Tomorrowland-curated experience during EDC week. Some options include a full-scale Tomorrowland stage coming to EDC Vegas, an EDC stage curated by one of Tomorrowland’s stage brands (CORE, Atmosphere), or appearances from artists closely associated with the festival, such as Dimitri Vegas & Like Mike, Alok, Lost Frequencies, or Steve Aoki in the form of Tomorrowland Presents.

It’s worth mentioning that Insomniac’s Bass Rush brand is hosting a stage takeover at Tomorrowland during Weekend 2 next week. Repaying the kindness seems logical, but is that a big enough event to be worthy of such a teaser?

The theory isn’t without precedent. In 2025, Tomorrowland partnered with Insomniac to present UNITY at Sphere Las Vegas. The audiovisual experience brought together both festival brands across multiple weekends and became one of the year’s biggest dance music events. However, we don’t think that this will be a rehash of the Sphere residency, unless it’s a takeover during EDC Week. Our sources are actually indicating that the Sphere is the most likely outcome here, but we don’t know anything beyond that.

For now, Tomorrowland has offered no explanation for the Las Vegas stop on the banner. Until an official announcement arrives, fans can only speculate about what comes next. Whether it leads to another Sphere experience, a Tomorrowland presence at EDC Las Vegas, or something entirely different, one thing is already clear: the mystery has become one of DreamVille’s biggest talking points before Tomorrowland 2026 has even reached its first festival day.

What could it mean? Stay Tuned!

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Together as Immersed, the duo explores a more melodic and atmospheric direction built around groove, tension, and meticulous sound design, where every layer serves a purpose and sonic detail drives the narrative of each track. They recently did a pop-up performance in NYC on the City Soul school bus. We at EDMTunes sat down with them to discuss the new project:

1. How did you guys first think to become Immersed?

It happened pretty naturally. Öwnboss and I had been friends for years and had already worked together on Nari & Milani – Atom’s remix before. We realized we shared a lot of the same references and a similar vision for where dance music could go.

We were doing a couple of guest appearances to play that remix together and we felt a different energy. At some point, we started making records that didn’t feel like an Öwnboss track or a Scorsi track. They felt like something else entirely. Instead of forcing them into our solo projects, we decided to give that sound its own identity.

2. Your chemistry first started developing around the “Atom” remix sessions. What was happening creatively in those early studio moments that made you want to keep building together? The biggest thing was how easy it felt. There was no ego in the room and we weren’t trying to impress each other.

One of us would throw out an idea, the other would take it somewhere unexpected, and the track would end up better because of it. The Atom remix was one of those projects where everything clicked really naturally.

After that, it felt like there was still a lot more music for us to make together.

3. You’ve described Immersed as being heavily focused on precision sound design and world-building. How do you approach creating records that feel cinematic and immersive beyond just functioning as club tracks?

We usually start with a feeling before we start with a genre. A lot of dance records are built around what will work in a club. We tend to ask ourselves what kind of world we want people to step into first. Once we have that, the sound design, vocals, textures and arrangement all start serving that bigger picture.

If a track works in a club, that’s great. But we also want it to work in your headphones, in your car, or on a random Tuesday when you need to escape reality for a few minutes.

4. The Immersed sound balances emotional melodic elements with heavy dancefloor energy. How important is that contrast between tension and release when you’re building a track?

It’s probably one of the most important parts of our music.

The heavy moments only feel heavy because there’s something emotional around them. And the emotional moments hit harder because there’s tension and energy building underneath.

We’ve always loved music that takes you somewhere instead of staying in one lane the whole time. That contrast is what keeps things interesting for us, both as producers and as listeners.

5. Visually, the project already feels very intentional, especially with the red-centered aesthetic and high-contrast branding. How did the visual identity of Immersed come together, and how closely does it connect to the music itself?

The visual side came together the same way the music did: pretty naturally.

We knew we wanted something bold, simple, and instantly recognizable. Red became the center of it because it represents energy, passion, intensity, and movement, all things that are already present in the music.

For us, the visuals aren’t separate from the songs. They’re just another way of expressing the same feeling. If you mute an Immersed video, it should still feel like Immersed.

6. Öwnboss already had massive global success with ‘Move Your Body.’ How has that experience shaped the vision and ambitions behind launching a completely new project like Immersed?

Having a global hit definitely gives you perspective.

One thing we’ve both learned is that success is amazing, but it can’t be the reason you start a project. Immersed exists because we genuinely love making this music together, not because we were trying to recreate something that already worked.

If anything, that experience gave us the confidence to take more risks, trust our instincts, and focus on building something with a long-term identity instead of chasing a moment.

7. Tracks like ‘Now You See Me,’ ‘Tantra,’ and now ‘The Last Time’ all show different sides of the project. Was it important for you early on to establish Immersed as something with range rather than being tied to one specific sound?

We never wanted Immersed to be defined by a BPM, a genre tag, or a trend. We wanted it to be defined by an identity

If you listen to our releases, they’re not all trying to do the same thing. But they all feel like Immersed. That’s a much more interesting challenge for us than repeating the same formula over and over.

8. With the six-track EP arriving this summer through Sony Music Entertainment, what can listeners expect from the project as a full listening experience, and how do you want people to feel after hearing it front to back?

Expect a journey more than a collection of tracks. The EP shows different sides of Immersed, but everything is connected by the same emotion and atmosphere. It moves between club records, cinematic moments, and even more mainstream hyper-pop leaning anthems, but it all feels part of the same world. We spent a lot of time making sure it felt cohesive from beginning to end.

Hopefully, when people finish it, they immediately want to hit play again and discover things they missed the first time.

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The incident has sparked a firestorm of debate across the electronic music community regarding “backstage culture” and the proximity of VIP attendees to working artists. Known for marathon sets and connection with his audience, Ruiz’s decision to end the set early shows a shared frustration among performers who face the lack of education of the crowds closest to the booth. While security promptly removed the woman from the venue, the harm was still thousands of fans disappointed and many industry professionals calling for a total removal of on-stage VIP sections.

Support Pours in for the Brazilian Icon

Following the incident, social media has been flooded with messages of support for Vintage Culture. Fans have largely condemned the “lack of respect” shown by the individual. “Electronic gear and water are a dangerous mix“, one technical director noted in an online forum, “Lukas did the only responsible thing by shutting down the power immediately“.

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During Carnival, Rio de Janeiro has always been a global magnet. In 2026, BOMA turns that gravitational force into a new epicenter for electronic music culture.

The Brazilian cultural platform announces its most ambitious Carnival program to date, returning to Rio de Janeiro with six nights of curated experiences at the Museu do Amanhã — the most visited museum in Latin America and one of the most iconic architectural landmarks in the world.

Designed by Santiago Calatrava and set against Guanabara Bay, the museum once again becomes more than a venue. It becomes a symbol: a meeting point between Brazil’s ancestral celebration of freedom and the future-facing language of global electronic music.

Born from the desire to create the experience its founders wanted to live, BOMA — Born Of Music Addiction — has evolved from a party into a cultural platform operating at the intersection of sound, art, fashion and contemporary behavior. Its approach goes beyond line-ups. It’s about how music occupies space, how people move together, and how collective memory is built on the dancefloor.

Guided by four pillars — outstanding experience, desirable line-up, loyal community and cultural tastemaking — BOMA has established itself as one of the most respected boutique platforms in Brazil, occupying architecturally and culturally significant locations and curating experiences where sound, space and identity are inseparable.

Carnival is where this vision reaches its full scale.

The journey begins on February 13, with Jamie Jones opening the week alongside Adam Ten b2b Mita Gami, Miguelle & Tons and GIU. The night sets the tone for what follows: a meeting point between global house culture and BOMA’s signature sense of flow, progression and collective energy.

Tickets

On February 14, Black Coffee returns to BOMA to lead a night dedicated to afro-house, groove and rhythmic sophistication. Joined by Carlita, Ahmed Spins, Bhaskar, Jackson, Malive and Unfazed, the evening highlights the genre’s deep roots and contemporary evolution, echoing the global pulse of dance music today.

Tickets

February 16 brings together Mochakk and Dennis Cruz, with a special Bob Moses (club set) performance, plus OsGemeos and Halfcab. It’s one of the most anticipated line-ups of the season — a dialogue between generations, where new-school energy meets old-school sensibility inside one of the most striking spaces in the city.

Tickets

On February 17, the Museu do Amanhã is taken over by ARTBAT and CamelPhat, joined by special guest LP Giobbi, alongside Departamento and Tato. The night is built around powerful, melodic and cinematic mainstage sounds, turning the museum into a widescreen dancefloor framed by architecture and light.

Tickets

The celebration peaks on February 20 with Vintage Culture, accompanied by WhoMadeWho (hybrid DJ set), Omri, Eli Iwasa and Doozie. Known as “Champions Friday”, the date coincides with the announcement of the winning samba school of Rio’s parades, making it one of the most emotionally charged moments of Carnival, where Brazil’s global electronic voice meets its most iconic cultural ritual.

Tickets

The journey closes on February 21 with a collaboration with Dawn Patrol, featuring hosts Maz and Antdot, inviting special guest Kölsch, alongside Riascode and Bakka. Guiding the crowd into sunrise, the final chapter unfolds as one of BOMA’s most celebrated rituals — a moment of release, connection and collective reset.

Tickets

BOMA’s presence in Rio during Carnival is now a tradition. Over the years, the platform has transformed its city editions into a cultural landmark, attracting audiences from Brazil and abroad while blending music, design, artistic interventions and sensorial experiences.

What began as a platform driven by creativity and community has evolved into one of the defining forces of contemporary Carnival, proving that electronic music has a central place in the country’s most important cultural moment.

In 2026, BOMA elevates this legacy with its most ambitious programming yet, reaffirming its role as a leading creative voice in Brazil’s electronic scene — and as a cultural bridge between local identity and global influence.

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Designed as both celebration and ceremony, Day Zero Milagres reflects the spiritual and sonic ethos Lazarus has cultivated in previous editions like Tulum and Masada. The sunrise session, led by Lazarus himself, remains a central ritual fusing storytelling, rare selections, and transformative energy that bridges night into day.

A Fusion of Global & Brazilian Talent

This debut edition celebrates Brazil’s surging presence on the global electronic stage. Artists like Vintage Culture, Mochakk, ANNA, Maz x Antdot, Bhaskar, Malive, Jackson, and Meera represent the country’s new wave, blending melodic depth, bold experimentation, and massive international appeal.

Internationally, the lineup pulls heavy hitters from all corners of the scene, including Black Coffee, Honey Dijon, Dennis Cruz, Traumer, WhoMadeWho, and Deer Jade offering a curated mix of house, minimal, Afro-tech, and live electronic expression.

São Miguel dos Milagres: A Sacred New Chapter

Set where “emerald jungle dissolves into turquoise sea,” São Miguel dos Milagres offers a mystical backdrop rich with Indigenous heritage and spiritual resonance. The region becomes Day Zero’s newest vessel following past editions that honored the sacred Mayan lands of Tulum and the ancient energies of Israel’s Masada.

As always, Day Zero is committed to harmonizing with the land it inhabits, crafting an experience that respects local culture, uplifts the community, and invites renewal through sound, movement, and nature.

This Brazilian debut is produced in collaboration with Entourage Live, Plus Network, Tamo Junto, Gaz Events, and BOMA.

Day Zero Milagres 2026 Lineup (Alphabetical):

ANNA, Bhaskar, Black Coffee, Damian Lazarus, Deer Jade, Dennis Cruz, Honey Dijon, Jackson, Malive, Maz x Antdot, Meera, Mochakk, OMRI., Traumer, Unfazed, Vintage Culture, WhoMadeWho

Tickets are available now.

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‘Don’t Mess With The Fire’ sees ALOK join a soundtrack full of heavy hitters, including artists like Alan Walker, Steve Aoki, Solomun, and Afrojack across 19 custom tracks. The full soundtrack doesn’t only add a new layer to the aesthetic immersion of FATAL FURY: City of the Wolves, but further injects the game’s ethos into today’s mainstream.

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About FATAL FURY: City of the Wolves:

SNK’s beloved Fatal Fury series first hit the market in 1991, spearheading the fighting game boom of the 1990s that swept the industry thereafter. GAROU: MARK OF THE WOLVES (released in 1999) has, for some time, served as the franchise’s most recent installment. But that is all about to change: 26 years on, a brand-new entry – FATAL FURY: City of the Wolves – is set to arrive on the scene! FATAL FURY: City of the Wolves features a unique art style that stimulates the senses, an innovative REV System that supercharges the excitement, plus a host of other battle systems even more robust than before. The game also breathes new life into the series by introducing two distinct control schemes (ensuring fun and excitement for newcomers and veterans alike) as well as other fresh features and elements. The streets of South Town are a hotbed of action, wild dreams, and even wilder ambition. Here, at long last, a new legend is about to unfold… 

About ALOK

ALOK is a bona fide two-time Latin-GRAMMY nominated dance music superstar and philanthropist holding the title of the second biggest Instagram following of any electronic artist globally, with over 28 million fans. On Spotify, ALOK concentrates more than 33 million monthly listeners and 5 billion streams, making him the most listened to Brazilian artist internationally. In 2024, he received his first two Latin GRAMMY Music Award nominations in the new ‘Best Latin Electronic Music Performance’ category for his songs, ‘Pedju Kunumigwe’ with Guarani Nhandewa from his The Future Is Ancestral album, and ‘Drum Machine’ with DJ Pickle. In 2023 he was named the No. 1 DJ in Latin America and 4th Best DJ in the world, according to the prestigious DJ Mag Top 100 DJ Poll.

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