Retaining the title of The World’s No.1 DJ caps another remarkable year for the French superstar. His tracks have racked up another five billion streams, while he became the first artist to land 22 number ones on the US Dance Airplay chart. Not only is he the most-streamed DJ on Spotify, but he also consistently ranks among the world’s 10 most-listened-to artists on the platform, across any genre. This year’s victory takes him to six wins overall, making him the most successful DJ in Top 100 DJs history.

Guetta’s year

Guetta has played an undeniable role in reshaping the global pop landscape and establishing dance music as one of its dominant forces. Last summer’s sold-out Stade de France shows, featuring guest appearances from Armin van Buuren, Afrojack, Black Coffee, Jennifer Lopez, Akon, Bebe Rexha and Black Eyed Peas, proved Guetta operates on a scale historically reserved for rock & roll behemoths. He shifted over 240,000 tickets across those three historic sold-out shows in Paris, while also taking his gigantic Monolith show to Red Rocks, Coachella and arenas and stadiums around Europe — all while holding down his two Ibiza residencies, F*** Me I’m Famous! at Ushuaïa Ibiza and Galactic Circus at [UNVRS].

The World’s Number 1s

During the Top 100 DJs LIVE ceremony at [UNVRS] — which was awarded as The World’s No.1 Club in its first year of operation — awards were presented to David Guetta (The World’s No.1 DJ), Charlotte de Witte (The World’s No.1 Techno DJ), Indira Paganotto (The World’s No.1 Psy DJ), Dimitri Vegas & Like Mike (The World’s No.1 DJ Group), Luciano (Outstanding Contribution) and Anastazja (Future Star). The night also featured DJ performances from David Guetta, Anyma, Charlotte de Witte, Vintage Culture, GORDO, Korolova and Anastazja. Additional award winners, revealed online, include Armin van Buuren (The World’s No.1 Trance DJ), FISHER (The World’s No.1 House DJ), Sara Landry (The World’s No.1 Hard DJ), and Josh Baker (Highest New Entry).

New Entries and New Trends

Across the wider poll, 2026 saw some significant shifts, with 13 new entries and three re-entries across the list. The results also point to a continued rise in House and Techno, with a wave of new and fast-rising names from both genres placing on the poll.

Shortly after playing the DJ Mag ceremony, Anyma climbs seven places to No.3, while directly thanking his fans for their support via his Instagram channel. Moreover, Charlotte de Witte rises to No.6, shortly after taking over the decks after Anyma. Fred again.. jumps 17 places to No.16, while John Summit, Mau P and CHRIS STASSY each climb 22 places, sharing the accolade of Highest Climber. Indira Paganotto rises 10 places into the top 30, becoming the first winner of The World’s No.1 Psy DJ award, while UK house artist Josh Baker is this year’s Highest New Entry, debuting at No.40.

Bridges For Music

For the second year, the Top 100 DJs results were accompanied by a fundraiser, in aid of Bridges for Music, the groundbreaking non-profit and music academy based in the Langa township, South Africa. DJ Mag canvassed artists featured in the poll to consider giving back by sponsoring students from under-served communities to join the Bridges for Music programme, a holistic initiative combining music, mental health support and entrepreneurship, and providing access to the music industry. At the time of publication, the partnership had raised £120,000, enough to fund the education of 120 students at the Bridges for Music Academy.

DJ Mag

DJ Mag is an electronic music, DJ and club culture magazine that originated in the UK in 1991. Much more than just a magazine, the highly influential title has grown into a global multimedia brand with offices in 17 countries worldwide, a global monthly audience of 74 million and properties spanning print, digital, video and events.

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‘DANGER DANGER’ brings out the spectacular musical talents of Solomun, Dom Dolla, and Skepta

‘DANGER DANGER’ showcases Skepta’s distinctive vocal style over a robust bassline and sharp rave stabs. The gritty production complements his delivery, contributing a layer of intensity that enhances the overall impact of the track. The bridge introduces unfolding arpeggios, which create a sense of space, thereby amplifying the weight of the bassline upon its re-entry in the latter half of the composition. By combining energetic rave elements with expansive melodies, ‘DANGER DANGER’ is the perfect track to engage with even the most discerning audiences on the dancefloor.

The upcoming performances in the Americas for Solomun

As mentioned prior, the release of this track marks the conclusion of Solomun’s summer engagements on “The White Isle” (a nickname that Ibiza has), while his touring plans are already taking shape. Following a brief interlude after his +1 finale at Pacha, Solomun will embark on a tour of Latin America in late October, with confirmed performances scheduled in Córdoba, Buenos Aires, Santiago de Chile, Curitiba, and São Paulo. Additionally, his itinerary includes a significant performance on Hollywood Boulevard in Los Angeles on November 27, followed by a return to Tulum on January 7, 2027. ‘DANGER DANGER’ will be available for worldwide streaming beginning October 2, further establishing its significance within the current musical landscape.

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What made the sellout notable wasn’t just the scale of the event — it was how fast it moved. Tickets for the closing party sold out in under three hours, marking the first time in the venue’s 50-year history that’s happened without a single name on the lineup being announced. For a club that’s built its reputation on substance over spectacle, that kind of demand says something about the loyalty Amnesia has built up since opening in 1976.

The day will start at 17:00 with an open-air festival segment, bringing Ibiza’s outdoor dancing tradition back to the Amnesia grounds for the first time. Luca Donzelli will open, followed by back-to-back sets from Alisha and Julian Fijma, Groove Armada and Max Dean, and Kolter and Traumer, before Joseph Capriati takes over for a sunset set heading into the night.

Once the sun goes down, the party will shift into the club’s three rooms. A new space called El Taller will make its debut, hosted by longtime residents Jason Bye, Les Schmitz, and Franco Moiraghi. The Main Room will lean into harder, techno-driven sounds courtesy of Deborah De Luca, Estella Boersma, Future666, Katnada, Klangkuenstler, Luca Donzelli, Nina Kraviz, and a back-to-back from Yanamaste and Serafina.

The Terrace, arguably Amnesia’s most storied dancefloor, will carry its own stacked bill with residents Caal and Mar-T, plus back-to-backs from Enzo Siragusa and Saoirse, Luke Dean and Locky, Marco Faraone and Obskür, and Max Dean and Sidney Charles. The night — and the season — will close with a sunrise set from Joseph Capriati and Josh Baker going back-to-back as daylight breaks over the Terrace.

A Club Built on Fifty Years of Showing Up

Amnesia has operated since 1976 as one of Ibiza’s foundational clubs, and its closing parties have long served as an unofficial marker for the end of the island’s season. The venue has never leaned heavily on flashy production or celebrity culture to draw crowds — its pitch has always been about the room, the sound system, and the people on the dancefloor. This year’s anniversary edition doubles down on that identity, splitting the closing party into two distinct chapters: an open-air festival from 17:00 to 23:00, followed by the full club experience from 23:00 through to noon the following day.

For a club celebrating half a century in business, selling out a closing party without a lineup is as strong a statement as any about where it stands in Ibiza’s crowded nightlife landscape.

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As September comes to a close, Tomorrowland is reflecting on a season that extended well beyond club events. Alongside its Ushuaïa residency, the brand operated a fan-focused retail and media hub while expanding its sparkling wine project in nearby Catalonia.

Much of the activity centered on the Tomorrowland Ibiza Store. Throughout the summer, the venue served as a gathering place for fans, artists and media. It also hosted regular broadcasts from One World Radio, led by broadcaster and DJ Carly Wilford.

Guest DJs included Lilly Palmer, Korolova, ELFIGO, The Shapeshifters, EDX, R3HAB, Joel Corry, Steve Aoki, Markus Schulz, Sam Divine, Plastik Funk, Topic and Henri PFR. The lineup reflected the broad range of sounds featured throughout the season.

The store also hosted an album release event with Roger Sanchez, best known for the house classic ‘Another Chance.’ The appearance drew an intimate crowd and highlighted the store’s role beyond merchandise sales. Instead, the space functioned as an extension of Tomorrowland’s radio platform and artist community.

The season is not over just yet. On October 17, the Tomorrowland Ibiza Store will close for the year with performances from Neon, Felix da Funk and PRETTY PINK.

Tomorrowland has steadily strengthened its relationship with Ibiza through its Ushuaïa residency. This year’s additions, including the wine harvest and expanded radio presence, suggest a broader long-term vision. Whether that leads to an even larger program in 2027 remains unclear. What is clear is that Ibiza has become a central part of the Tomorrowland ecosystem rather than a side project.

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The compilation doubles as a companion piece to Chef’s Kiss, Moretti’s monthly SiriusXM show on Diplo’s Revolution (Ch. 53). This past summer, she brought the show to Ibiza itself, recording live episodes on-site during her residency run. Chef’s Kiss Radio Vol. 1: Ibiza is essentially a snapshot of that season, pulling together the guests who passed through her booth over the summer.

The guest list reads like a rundown of who was actually playing Ibiza’s more interesting rooms this year: Radio Slave, Heidi Lawden, Scarlett O’Malley, Uffie, Kapote and ALOT, Cesária Évora, Alex Kahan and HYANNI (Hen Yanni) all show up across the tracklist, alongside Moretti’s own productions.

The digital release lands as a 10-track collection spanning originals and remixes. A vinyl pressing follows on November 13 with a slightly adjusted tracklist, swapping in a remix of Cesária Évora’s ‘Bia Lulucha’ from French producer Myd. The 12-inch is limited, and given the names attached, it’s likely to move as a collector’s item as much as a DJ tool.

Chef’s Kiss Radio Vol. 1 Tracklist

1. Kapote & ALOT – ‘Get Down’
2. Heidi Lawden – ‘Nocturnal Animals’
3. Scarlett O’Malley – ‘La Orquestra’
4. Mia Moretti – ‘GET READY!’
5. Mia Moretti – ‘GET READY!’ (Bárbara Boeing Remix)
6. Mia Moretti ft. Uffie – ‘backseat baby’
7. Mia Moretti ft. Uffie – ‘backseat baby’ (Radio Slave Remix)
8. HYANNI – ‘Enjoy Life’
9. HYANNI – ‘Enjoy Life’ (Alex Kahan OT Remix)
10. Vinyl only: Cesária Évora – ‘Bia Lulucha’ (Myd Remix)

Moretti’s own contributions come from her GET READY! EP, including ‘backseat baby’ featuring Uffie. The track receives a fresh remix from UK house veteran Radio Slave, while Bárbara Boeing puts her spin on the EP’s title track. The Los Angeles-based DJ and producer has spent more than a decade building a reputation around vocal-driven, disco-infused house music and was named DJ of the Year by PAPER magazine. Her productions frequently draw on samples from artists such as Letta Mbulu and Baltimore gospel-house vocalist Vonita White. More recently, she made her Crosstown Rebels debut with ‘Safe With Me’ featuring Irma Thomas, backed by remixes from David Morales and Tiger Stripes.

Heidi Lawden contributes ‘Nocturnal Animals’ to the compilation. She cut her teeth in London’s club and rave scene before moving to Los Angeles, where her eclectic sets have become known for weaving together house, techno and disco.

Chef’s Kiss Radio Vol. 1: Ibiza will receive a limited vinyl pressing on November 13. Fans can also tune into Moretti’s Chef’s Kiss show on the first Saturday of every month on SiriusXM’s Diplo’s Revolution channel.

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The performance features a mix of the contributing artists’ songs with other techno and trance records, and includes a handful of engaging IDs throughout the hour-and-a-half runtime. Armin van Buuren stuns the crowd with 2008 classic favorite, ‘In And Out Of Love,’ and Argy shows off his hit Anyma collaboration, ‘Voices In My Head.’ Of course, Armin van Buuren and Argy also play ‘Like A Child,’ their first-ever collaboration released earlier this year. View the full tracklist here.

The F2F format differs from typical B2B co-performances: rather than sharing one mixing set-up, Armin van Buuren and Argy instead stand face-to-face, each with their own equipment. They fully rely on live communication, hand signals and ear matching to coordinate the set, resulting in an intensely personal experience. Now, as Armin van Buuren’s string of F2F pairings continues, fans can only hope that footage from other shows will follow.

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Police in Sant Josep de sa Talaia are using drones to locate and disrupt unauthorized villa parties as authorities intensify their crackdown on unlicensed nightlife events across the island.

In footage released earlier this month, officers demonstrated how they tracked a suspected illegal gathering after discovering an invitation circulating through a WhatsApp group. The message reportedly included the meeting point, location details and scheduled DJs.

According to local reporting from Periódico de Ibiza, police deployed a drone to monitor the area, eventually identifying suspicious vehicle activity near the designated location. Officers intercepted a driver and disrupted the gathering before it developed into a larger event.

The operation follows several similar interventions throughout the summer. In July, authorities evacuated more than 250 attendees from an alleged unauthorized party at a luxury villa in Es Cubells, where drone surveillance was also reportedly used.

The crackdown targets unlicensed gatherings that can create safety concerns, traffic congestion and disturbances for nearby residents. According to El País, violations involving illegal villa events can carry penalties reaching €300,000, depending on the circumstances.

For anyone planning an unauthorized Ibiza after-party, there’s now another thing to consider:

That light hovering above the dance floor might not be part of the production.

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The new page is dedicated to behind-the-scenes content, career highlights and more personal moments from Armin’s life. It offers another way for fans to connect with the trance icon beyond his main Instagram feed.

A New Side of Armin

UNFILTERED is designed to show more of what happens behind the scenes. That includes moments from Armin’s career, personal updates and stories that may not fit into his regular music-focused content.

The launch also comes with a fitting first look at what fans can expect.

Armin’s first UNFILTERED post features a clip from his new 10-minute mini-documentary, The Psychology of the Dancefloor. The full film explores the emotional side of club culture and what happens in the minds of fans during his five-hour sets at [UNVRS] Ibiza.

For the documentary, Armin teamed up with professional psychotherapist Rachel Giddings. Together, they explore why people can feel connected to complete strangers on a dancefloor and how music can create such powerful shared experiences.

Rather than focusing only on the DJ behind the decks, the documentary puts the spotlight on the people experiencing the music.

What Can Fans Expect From UNFILTERED?

The new Instagram page gives Armin space to share content that goes beyond releases, festival sets and tour announcements.

Fans can expect more behind-the-scenes moments, archive footage and glimpses into different parts of his career. The page also creates room for more personal updates from Armin himself.

That makes UNFILTERED a natural extension of the world he has built around A State of Trance, while giving fans something more intimate.

The timing also feels fitting. Armin is currently celebrating 25 years of A State of Trance while continuing his residency at [UNVRS] Ibiza.

With UNFILTERED now live, fans have another place to follow that journey from a different perspective.

Follow Armin van Buuren’s new UNFILTERED Instagram page for more behind-the-scenes content and updates.

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“This documentary is very special to us because it is about you: the person on the dancefloor”.

The residency is his first official run at UNVRS: five consecutive Mondays from September 7 to October 5, each with a five-hour set, marking 25 years since A State of Trance launched as a radio show in 2001. Every night also includes a vinyl only hour.

A framework built on ritual theory, not a lab study

Giddings is a BACP accredited psychotherapist who works with artists and music companies, and in the film she introduces herself as “a psychotherapist, but I’m also a raver.” Her five stages are not an established psychological model, and nothing was measured on the UNVRS floor. The description says as much. The framework draws on anthropologist Arnold van Gennep, sociologist Émile Durkheim, anthropologist Victor Turner, psychologist Mihaly Csikszentmihalyi and research on music and social bonding by Robin Dunbar and colleagues, and “its application to the experience of a live set is the interpretation of Rachel Giddings.”

The backbone is van Gennep’s The Rites of Passage from 1909, which describes life transitions in three phases: separation from ordinary life, an in between period he called liminal, and incorporation back into society. Turner expanded that middle phase in 1969 and named the bond people form inside it communitas. Giddings lays that arc over a night in the club. Some of her stages line up with real research on crowds and music. Others are a therapist’s reading of the room.

1. Arrival (1am)

Giddings frames the first hour as van Gennep’s separation: butterflies at the door, “leaving our old identities behind,” and having “not yet become the person we’re going to leave as.” One fan in the film puts it more plainly: “The first time I stepped into the main stage, my soul left my body. Like being in Disneyland for adults.”

This one is theory. Van Gennep was writing about births, initiations, weddings and funerals, and nobody has tested his phases on people walking into a superclub.

2. Entrainment (2am)

Once the room stops feeling new, Giddings says, “we begin to sync our heart rate, our breath, our movement to the room and to one pulse.” Her summary: “Instead of being me and you, we become us.”

Research backs part of that. In a 2015 study in Biology Letters, Bronwyn Tarr, Dunbar and colleagues found that dancing in sync and dancing with effort each raised people’s pain thresholds, a stand in for endorphin release, and made them feel closer to the group. A 2021 study in Scientific Reports tracked 98 audience members across three live concerts and found their heart rate, breathing and skin responses rising and falling together, most strongly at transitions and repeated phrases in the music. Those concerts were a string quintet, not a trance set, and bodies responding in step is not a room sharing one heartbeat. The direction of her claim holds up. The literal version goes further than the data.

3. Collective Effervescence (3am)

The third hour depends on the room getting everything right: sound, visuals, temperature. When it does, Giddings says, “we almost go quiet in our brains. We switch off and then we start to merge.” She names it directly: “That is the term collective effervescence.”

Durkheim coined the phrase in 1912 to describe the charged energy of religious gatherings. It is a sociological idea, not a measured state. The switching off she describes overlaps with Csikszentmihalyi’s flow, which includes a loss of self consciousness among its markers. The point about the environment has some of the best evidence in the film. At a 2022 McMaster University LIVELab show by electronic duo Orphx, researchers switched very low frequency bass on and off below what the crowd could hear, and people danced about 12% more when it was on. A 2021 Frontiers in Psychology study of 481 ravers, led by Martha Newson, found that when people felt awe at a rave, it was tied to a sense of personal transformation and stronger bonds with other ravers.

4. The Release (4am)

Hour four hands control to the DJ. “We start to be led by Armin,” Giddings says. He “holds us” through the peak, “and then he releases us.”

This is the most interpretive of the five. It echoes Turner’s communitas, though the film doesn’t name him here, and no study has looked at a DJ holding and releasing a crowd. Anyone who has waited out a long trance breakdown will know the feeling she means. Her closing line on this hour, “It is the most powerful thing a human being can experience in their life,” is her claim, not the research’s.

5. Reintegration (5am)

The last hour is van Gennep’s return. Time has warped, Giddings says, and people start realizing they are about to go back to their lives “carrying something beautiful away.” In her words, “Part of the reintegration is to encode the experience.” People met in that final hour are stored as significant, which is why a stranger “can become family in an instant.” Then: “And that is why we keep coming back.”

Two pieces of this are well established. Losing track of time is one of Csikszentmihalyi’s markers of flow, and emotionally charged experiences are stored more strongly in memory, a process neuroscientist James McGaugh tied to the amygdala in a 2004 review. The jump from there to strangers becoming family is Giddings’ own, though Newson’s rave study, which linked those experiences to ravers giving up something of their own for each other in an economic game, is the closest support.

Armin on why the floor matters to him

Between the stages, Giddings interviews Armin, and his answers explain why he made the film. “When I started listening to dance music when I was 15, 16, I felt like I was really weird for liking that kind of music,” he says. “I remember feeling super lonely in the early days of my career when people just weren’t understanding what I was playing or making.” Finding school friends who loved dance music and going to shows with them “made me feel like I belonged and I wasn’t crazy for liking this music.”

Giddings brings up a line he once said 10 years into his career: “I know my family will always be here. But will my fans?” His fans answered that they would still be there in 20 years. “That gets me emotional actually,” he says. He ends the film on it: “I make music for myself, but if nobody listens, what’s the point? So, yeah, it gives my life purpose and I’m eternally grateful for that.”

The residency runs through October 5, with Face to Face sets alongside ARGY on September 21 and Funk Tribu on September 28 before Armin closes it on his own. Tickets are available through UNVRS.

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More than 20 years after the final Tiësto In Concert show, the legendary DJ and producer has announced the return of the iconic format. On June 19, 2027, Tiësto will take over Legia Stadium in Warsaw, Poland, for a special four-hour performance as part of the Warsaw Music Festival.

A Return to Tiësto’s Roots

Tiësto In Concert originally became a defining moment in dance music history during the early 2000s.

In 2003, Tiësto became the first DJ to headline a solo stadium concert when he performed an eight-hour set at GelreDome in Arnhem. Around 25,000 fans attended the landmark event, which featured live vocalists and large-scale production.

The concept returned in 2004 before eventually coming to an end later that year.

Now, more than two decades later, Tiësto is bringing it back.

The Warsaw performance will run for four hours and take fans through music from across his career. It also marks the first-ever Tiësto In Concert show in Poland and the only event of its kind in Europe.

Revisiting The Trance Era

The timing feels particularly fitting for Tiësto.

Over the past year, the superstar has increasingly returned to the sounds that helped establish his career. Classics such as ‘Traffic’, ‘Lethal Industry’, ‘Suburban Train’, ‘Love Comes Again’, and ‘Adagio for Strings’ remain some of the most recognizable tracks from his trance era.

Tiësto has also been teasing a new trance-inspired album, with the first three tracks already released. More unreleased material has appeared in his recent sets.

His recent schedule has also included a solo show beneath Brussels’ Atomium, a performance at Creamfields, and a five-week residency at UNVRS Ibiza.

Tiësto In Concert Returns

The Warsaw show offers Tiësto a chance to revisit the music and atmosphere that helped turn him into a global dance music icon.

This time, the stage will be in Poland. The date is June 19, 2027.

Tickets for Tiësto In Concert at Legia Stadium go on sale September 14 at 7 PM.

After more than 20 years, the wait for another Tiësto In Concert is finally coming to an end.

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