The Dutch trance legend returns with the kind of long-form performance he’s built his reputation on. Armin van Buuren has spent more than two decades at the top of the scene and is the founder of A State of Trance, and one of the most consistent live draws in electronic music. His sets are known for big melodic peaks, emotional vocal tracks, and that signature progressive-trance journey that builds for hours rather than minutes.

Expect the classics ‘This Is What It Feels Like’ and ‘In and Out of Love,’ mixed with newer material and the high-energy reworks that have defined his recent live shows. Armin rarely phones it in on an extended set; these nights usually stretch deep into the early morning with layered builds, crowd-singalong moments, and the kind of sustained intensity that keeps the floor locked in.

Support comes from two strong trance-friendly names. Hannah Laing is one of the hottest acts in the scene right now, blending high-energy trance with techno, hard house, and bounce—her recent back-to-backs and Face 2 Face with Armin lit up the community. Ruben de Ronde, Armin’s longtime A State of Trance collaborator, also joins as the show marks 25 years of ASOT. It’s a lineup that should keep the night firmly in trance territory.

Armin was last in New York in May at Industry City. This Friday offers a chance to hear him in pure club form—no concept, just the music.

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Pacha’s room handled the post-festival crowd well. Entry moved efficiently for a sold-out afters and you’d think that it would be overcrowded where there was not enough space to move but that was not the case. People who had just come from the island mixed easily with the local attendees and it definitely felt more of a festival vibe with everyone coming in with their festival and experts only gear. The programming stayed true to the house all night billing. Early sets warmed the room with rolling grooves and peak-time tools that had the floor moving immediately.

Starting from 11pm, Innellea took the decks and started off the night with a deeper vibe. The Munich-based producer is known for his hypnotic, atmospheric approach, and he delivered exactly that—long, immersive journeys with dark, rolling techno edges and carefully layered melodies.

Adam Ten stepped up at 12:30am and flipped the switch. The Tel Aviv talent brought a harder, more peak-time edge—punchy tech-house and progressive tools that raised the BPM and the intensity. His mixing was seamless, and the room visibly leveled up as he pushed bigger drops and more aggressive grooves. By the time his set hit the 2am mark the energy was fully peaked, setting the stage perfectly for the main attraction.

John Summit hit the decks at 2am and the place erupted. Fresh off his extended 2.5 hour festival set earlier that day, Summit came in locked and loaded. He leaned hard into the progressive house and tech-house sounds that have defined Experts Only—big melodic moments, familiar anthems mixed with fresh IDs, and that signature ability to read a room that’s already been dancing for hours. The crowd was fully with him from the first track, hands up and locked in for the full hour. As always his crowd favorites always hit hard with the crowd singing in unison and you have to give the guy credit for being able to stay hyped with energy even that late in the night.

The night closed with a special three-way back-to-back: John Summit b2b Adam Ten b2b Innellea from 3am to 4am. The chemistry was immediate. The three traded tracks without effort, blending Summit’s melodic peak-time energy, Adam Ten’s driving edge, and Innellea’s atmospheric depth into one continuous, escalating ride. It felt less like a formal b2b and more like three friends finishing the night the way they wanted—unscripted, high-energy, and completely in sync. When the lights finally came up, everyone was in high spirits for such an insane event at Pacha New York. Production was also top tier with CO2 and lasers blasting and yes the venue was still packed with loads at people at closing time. This event was one for the books for sure.

In addition to the special night, every ticket purchased also went to a good cause. In partnership with PLUS1, $1 from every ticket sold to the afterparties was donated to Femme House, supporting its work to create opportunities for women, gender-expansive, BIPOC and LGBTQIA+ creatives in music production.

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Empire of the Sun played Forest Hills Stadium on the Ask That God: Afterlife Tour and delivered a tight, high-production synth-pop set that mixed newer material with their biggest tracks.

The historic outdoor venue suited the scale. Luke Steele took the stage in full costume with a live band and dancers. Large screens, sharp lighting changes, and consistent stage movement kept the focus on the performance throughout. Sound was clean across the stadium—synths, bass, and vocals all cut clearly without mud.

They opened with ‘Desire,’ then moved through ‘Changes,’ ‘Half Mast,’ ‘Old Flavours,’ and ‘Cherry Blossom.’ Crowd energy built steadily from the first few songs. People were engaged early, moving and watching the stage closely. The first major response came on ‘We Are the People,’ with the stadium singing the chorus back in full volume. Mid-set held steady with ‘Television,’ ‘High and Low,’ ‘Music on the Radio,’ ‘Revolve,’ and ‘Swordfish Hotkiss Night.’ Newer tracks sat comfortably next to the older ones and avoided turning the night into pure nostalgia. The crowd stayed locked in through these sections, responding on the stronger hooks without dropping off between songs.

The closing run started with ‘Walking on a Dream,’ which brought the biggest sing-along of the night. The full stadium locked in on the chorus and stayed loud through the end of the track. ‘Tiger by My Side’ followed immediately and kept the momentum with a faster pace and sharper edges. They closed on ‘Alive,’ where the production peaked—full lighting and stage visuals running at maximum. Steele and the band pushed the final section hard without extending it past its natural end.

To recap, Empire of the Sun delivered an exceptional performance where there was never a boring moment, and that’s to be expected when they have such an extensive discography of hits. The sold out stadium was in high spirits throughout the night with everyone singing along and vibing to each lyric and drop.

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The event brings the long-running Ibiza night, which started at Pacha in 1981, to the U.S. for the first time. Grammy-nominated producer and Saved Records founder Nic Fanciulli joins Grammy-winning house pioneer Roger Sanchez for the show, part of Pacha New York’s first season.

Flower Power has operated for more than 40 years, adapting to changes in dance music while keeping its core focus on the dancefloor. The New York version will feature immersive production and live performance elements. The night is structured to move through the house and dance sounds that have shaped club culture over the past three decades, tracking shifts across eras rather than sticking to one style.

Pacha New York opened this summer and has already hosted Solomun, Michael Bibi, Black Coffee, ANOTR and others. The venue continues to book established international names as it builds its presence in Brooklyn. Flower Power’s arrival adds another direct link to Pacha’s Ibiza history.

The September 27 date pairs two artists whose careers cover key periods in house music and marks the first time the Flower Power concept appears under the cherries in New York.

Tickets and VIP reservations for upcoming events at Pacha New York 2026 are available now at pacha-nyc.com

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ABOUT PACHA NEW YORK

Pacha New York marks a new chapter for one of dance culture’s most influential global brands, reimagined for the energy, diversity, and creative spirit of Brooklyn. Rooted in New York’s legacy as a global capital of music, nightlife, and cultural innovation, the venue builds on the foundations of Brooklyn’s most iconic dancefloor while introducing a new era of world-class production, artist programming, and guest experience. Part of The Pacha Group – the international hospitality and entertainment brand founded in Ibiza in 1973 – Pacha New York brings over five decades of dance music heritage into dialogue with the sound, style, and subcultures that define New York City. The space is designed as more than a venue: it is a cultural platform where global electronic artists, local creative communities, and next-generation audiences converge. Blending cutting-edge technology, human-centric design, and elevated hospitality with Brooklyn’s raw creative pulse, Pacha New York represents the evolution of nightlife – honoring the past, powered by the present, and built for the future of global dance culture.

ABOUT FLOWER POWER

Born as a tribute to Ibiza’s hippie heritage, Flower Power — the island’s longest-running party at Pacha Ibiza — celebrates peace, connection, creativity, and boundless love. Rooted in authenticity, self-expression, and joyful rebellion, it has become a cultural cornerstone of the island. This legendary event takes guests on an electrifying journey through time, seamlessly blending the transformative sounds of the past and present. Each year, Flower Power welcomes an iconic lineup of DJs and performers to the decks, with past highlights including Boy George, Roger Sanchez, Purple Disco Machine, Bora Uzer, Kings of House (Louie Vega + David Morales), Flight Facilities, and Sophie Ellis-Bextor, among many others. More than a party, Flower Power is the White Isle’s enduring emblem of liberation through music — born from love, fuelled by freedom, and defined by self-discovery and creative expression.

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Fresh off the Freedom Stage at Tomorrowland and the recent launch of Rave The World Records (the evolution of his Controversia imprint), ALOK delivered exactly what the packed dancefloor came for. Support from SIDEPIECE, Bhaskar, and InntRaw set the tone early, but once the Brazilian superstar took over, the energy shifted into full festival mode inside a club setting.

ALOK’s Rave The World show is built for connection and movement. He moved fluidly between festival anthems, newer material from the Rave The World EP, and classic edits that had the whole place singing and jumping. Tracks like the title cut ‘Rave The World’, ‘Around,’ ‘They Want Your Soul,’ and ‘Fvck Your Bad Vibes’ landed hard, while older favorites — ‘Hear Me Now,’ ‘Deep Down,’ ‘Jungle,’ and big VIP treatments — turned the floor into a full singalong.

He kept the energy high without ever losing the groove, mixing melodic house warmth with bass weight and those crowd-pleasing peaks that define his live shows. The production visuals matched the music perfectly, amplifying the immersive side of the Rave The World concept without overshadowing the DJ. By the end it felt less like a standard club set and more like a two and a half hour festival highlight dropped right into Brooklyn.

Pacha New York continues to establish itself as a new home for world-class music and culture in New York City. With a summer lineup spanning global dance music, hip-hop icons and genre-defining talent, the venue continues to build on the legacy of one of nightlife’s most iconic brands while writing its next chapter in Brooklyn.

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From house anthems to festival classics, these 10 songs were among the most searched and identified tracks from DJs’ sets, highlighting the records that caught the attention of crowds in Boom, Belgium.

Leading the list is ‘Free Your Mind’ by Prospa and Cloonee, followed by Dimitri Vegas, Sylver, and Pat B’s ‘Turn The Tide (ft. Sylver).’ ANOTR’s ‘Talk To You (feat. 54 Ultra)’ and the collaboration between Dimitri Vegas, Like Mike, Marlon Hoffstadt, and DJ Konik, ‘Makina Time,’ also ranked among the festival’s most discovered tracks.

The list also features major crossover moments, including Madonna and Martin Garrix’s ‘Bizarre,’ Cassian and AR/CO’s ‘Come To Life,’ and Martin Garrix’s fan-favorite ‘High on Life (feat. Bonn).’

Rounding out the list are Dimitri Vegas and Junkie Kid’s remix of ‘Woops’ by Bountyhunter, Twr72’s remix of Fatima Yamaha’s ‘What’s a Girl to Do,’ and ‘Om Namah Shivaya’ by Electric Universe and Greg Hilight.

‘1. Free Your Mind’ – Prospa & Cloonee
2. ‘Turn The Tide (ft. Sylver)’ – Dimitri Vegas, Sylver, & Pat B
3. ‘Talk To You (feat. 54 Ultra)’ – ANOTR
4. ‘Makina Time’ – Dimitri Vegas & Like Mike, Marlon Hoffstadt & DJ Konik
5. Bizarre’ – Madonna & Martin Garrix
6. Come To Life’ – Cassian & AR/CO
7. Woops (Dimitri Vegas & Junkie Kid Remix)’ – Junkie Kid, Dimitri Vegas, & Bountyhunter
8. What’s a Girl to Do (Twr72 Remix)’ – Fatima Yamaha
9. High on Life (feat. Bonn)’ – Martin Garrix
10. Om Namah Shivaya’ – Electric Universe, Greg Hilight

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With Maribou State warming things up, RÜFÜS hit the stage and immediately locked in. Tyrone Lindqvist’s distinctive vocals drove the night, backed by tight live instrumentation from Jon George on keys and James Hunt on drums. They blend deep grooves, soaring melodies, and raw energy without leaning on gimmicks.

The setlist hit hard with tracks like ‘On My Knees,’ ‘Underwater,’ ‘Eyes,’ and the crowd-pleasing ‘Treat You Better.’ Crowd hits created genuine standout moments, while newer cuts from the album kept the momentum fresh. The production was sharp — clean, powerful sound, dynamic lighting, and visuals that enhanced the music rather than distracting from it. The floor never stopped moving with the crowd all over the stadium singing along to each song. The trio closed with ‘Innerbloom’ and this had to be one of the top edm moments of my life leaving me in sheer awe. Just when the MSG crowd thought that the performance was over, they came back with an encore to play a new song.

Across the four nights, the band showed real command of the arena. They build tension and release it naturally, turning 20,000 people into a connected body. This MSG stint wasn’t just another tour stop — it was a statement. RÜFÜS proved they can command a venue like MSG night after night with their immense discography, live execution, and real atmosphere. A landmark moment for the band and a high bar for live electronic music.

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The new EP expands on the foundation laid in the first installment. ‘Arsenal‘ sharpens the edges of Blanke’s established bass sound with tighter production and higher energy. ‘Beautiful Tragedy‘ leans into the melodic and emotional side of his roots, reframing progressive house elements with current production techniques and a more refined touch.

Together, the tracks maintain a consistent conceptual thread while introducing new textures. Blanke described the release:

‘Part II of the EP cycle, ‘Skyfire’ is another installment to my album series. This time slightly different soundscapes but still living in the same world and still presenting the duality of the world we’re building. This is the second phase of the story, where meteors fall down onto a crumbling Earth, but bring with them something new. Something hopeful. What is meant to be destructive, is instead bringing a new light.’

2026 has been a busy year for Blanke. He’s completed direct support runs with REZZ, played Ubbi Dubbi, and has upcoming performances at Beyond Wonderland at The Gorge and Rampage Open Air in Europe. Meanwhile, his drum and bass project ÆON:MODE has been active with headline shows in the US and UK, appearances at EDC Las Vegas and Coachella, and a European festival run that includes Tomorrowland, Liquicity, and Let It Roll.

This dual output reflects Blanke’s approach. Rather than staying in one lane, he’s developed two distinct but connected identities and moves between them comfortably. ‘SKYFIRE’ fits that pattern: focused, precise, and clearly part of a larger plan.

PART II – SKYFIRE’ is another step in the album campaign, not a standalone release. With the full album on the way, Blanke is methodically shaping what looks to be his most complete statement to date.

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The album, released in late 2025 on Ophelia Records, dives deeper into Seven Lions’ signature melodic bass sound—sweeping orchestrations, emotional builds, and heavy drops that shift between euphoria and darkness. Fans have been talking about the production all tour long, and closing it at a park venue with natural surroundings should amplify the “garden of infernal stars” theme.

The lineup stacked with the full roster below:

• Seven Lions (headline)
• Said The Sky
• Trivecta b2b Kill The Noise
• Last Heroes
• Hidden Axis

The support acts are heavy hitters in their own right that mix uplifting melodic tracks with harder-hitting bass energy, giving the night a full arc from reflective moments to just peak energy.

Tickets go on sale Friday, May 8 at 10AM PT with the link here.

If you’ve been riding with this tour or the new album, San Diego is shaping up as the proper send-off.

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His latest EP is also out now so definitely give that a listen:

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In this interview, we dive into the creative vision behind the album and his continued evolution as a cross-cultural artist.

“BOTAS & RAVE” pulls from very specific styles like banda, cumbia and quebradita. How do you balance staying true to the traditional structures of those genres while ensuring they translate to a global mainstage EDM audience?

First and foremost, I wanna say thank you to everyone for the incredible feedback and of course, thank you to my team for helping me put this project together. It’s true — it takes a village, and for that, I’ll always be grateful. “BOTAS & RAVE” is a collection of different worlds within one world, that world being the Mexican sound, which comes from many different avenues of la cultura Mexicana. For example, banda — and it doesn’t just stop there. There’s so much depth to that alone. Same with cumbia, quebradita and so many other styles.

The journey for “BOTAS & RAVE” actually began when I was a child, without even knowing it. Being at family parties, for some reason, I would always pay attention to the music. I would hear certain songs come on, and my curiosity would keep me engaged with the overall vibe of the party. Whenever I heard a song that I liked but had never heard before, I would repeat it in my head until it was set in stone. I would wait for songs that had that certain drive and energy that would, without fail, get everyone at the party on their feet. With “BOTAS & RAVE,” I got to dive into the sounds that I grew up with. I had the opportunity to really understand the elements, the traditions and so much more that, combined, create a soundtrack of our culture.

All in all, I think because I’ve had that connection with our music since I was very young, my dedication to this project came naturally. It never felt like work, and there was never any stress while putting the music together in the studio. I gave each project all my time, focusing on every sound and making sure I remained humble, never allowing myself to become too comfortable with my knowledge. Coming from the world of electronic dance music, stepping into different genres can definitely feel intimidating, but being able to apply my Mexican culture to electronic dance music is more than just music production. The moment I began producing “BOTAS & RAVE,” my heart immediately connected to it.

What do you want this album to say about the future of Mexican EDM and its place on the world stage?

Well, if I’m being honest, my dream would be for people on both sides to, in some way, become aware of the other side after listening to “BOTAS & RAVE.” I hope those who aren’t familiar with electronic dance music and maybe only listen to banda, cumbia, música norteña and similar genres give this album a chance and let it grab their attention, even in the smallest way — and vice versa. I also hope those in the world of electronic dance music gain even the tiniest bit of curiosity about Mexican culture. Honestly, with that alone, I’m good. That’s more than I could ever ask for. This album is simply a result of my commitment to music because music has taken care of me and everyone around me. This project is me giving whatever I can back to music. It’s me giving back to my fans, and being able to see that it connects with people is more than enough for me.

As a pioneer of the Mexican EDM movement, how do you feel your approach to “bridging the gap” has changed from your early hits like ‘Bailar’ to the tracks we hear on this new 11-track project?

Well, the truth is, the approach honestly hasn’t changed at all. The respect for what I do has always been there. Again, I’m just grateful to be able to make music. With that being said, when I made ‘Bailar’ with Elvis Crespo, it came together just like any idea would — kind of out of nowhere. Like any crazy idea, I thought combining merengue with EDM was crazy, but crazy in a good way. Crazy enough for me to actually go for it.

Coming from the world of electronic dance music, I was very aware of what I was doing. I was diving into a whole new genre, a whole new world that has history dating back way before me. Because of that, I knew I had to respect it and really approach it with patience while applying myself to understanding the merengue sound. After about two years of listening to merengue and learning about the elements, rhythms, history and traditions, I finally felt confident enough to try making my own version of merengue. After three or four tries — and I mean three or four completely different projects with completely different approaches to combining merengue with EDM — I finally landed on something that literally made me jump out of my chair.

At that point, I felt comfortable enough to send it to someone like Elvis Crespo because I genuinely believed I was sending something he could identify with and hear himself in. I wanted him to feel his sound in what I had created. So, long story short, nothing has really changed. Everything I do today is the same way I approached things back then. Every genre I immerse myself in is a whole new journey and a whole new lesson, and I’ll always give it 110% to make sure I bring these crazy ideas to life in the best way possible.

The album features a range of artists such as 3BallMTY, Voces Del Rancho, and Montez De Durango. Can you walk us through the selection process for these collaborations?

To be able to work with artists such as 3BallMTY, Voces Del Rancho, Montez De Durango and Alacranes Musical is honestly a full-circle moment for me. I know that sounds cliché, but it’s the truth. Again, I grew up listening to these sounds — zapateado, quebradita duranguense, cumbia norteña, tribal — and these are all styles that, to me, represent our culture in such an amazing way.

Being able to make each song with some of the very best artists in each genre, pioneers even, is truly a dream come true. I really appreciate the fact that they trusted me and allowed me to help guide each song creatively. They allowed me to write and compose the melodies, which they then brought to life by recording themselves.

For me, the collaboration process was really about working with artists who genuinely connect to these sounds and who helped shape the culture behind them. That authenticity was really important to me throughout the entire project.

You mentioned that this project allowed you to “relive your youth.” Was there a specific song or rhythm you rediscovered during production that instantly transported you back to a childhood memory or a family party?

Definitely. I think one of the genres that I was completely stoked to work on was zapateado. I have vivid memories of my uncles stomping the ground with their boots, holding a beer in their hands and wearing sombreros on their heads. “Zapateado Encabronado” was the anthem. To experience that music while growing up and then later find myself producing it was absolutely surreal. Learning the rhythms, the instruments, the sound of the tarola and its 3/4 time signature, the transitions and everything else that comes with the genre was more than just music production for me. It became an understanding of a sound that connected with me at such a young age.

You’re signed to Peso Pluma’s Double P Records. How has being part of that specific ecosystem influenced the creative direction or the collaborative spirit of this album?

Double P has honestly been one of my biggest blessings. To be able to have a team like this and a community of people who believe in the same things I do means everything to me. It’s a place that I can walk into and immediately feel welcomed. From management to my A&R team, from marketing to even the staff who don’t directly work with me, I genuinely feel their kindness, encouragement and excitement, and that motivates me so much. Having that kind of support system around me really inspires me creatively and pushes me to give my best every single day. I’ll forever do for them what they do for me because I truly owe them so much. I’m honestly incredibly blessed and lucky to have them.

How will your upcoming “BOTAS Y RAVE” shows be different from your regular club/tour shows?

With the album, I’m really hoping it connects with people so that I can fully bring it into my live shows. “BOTAS Y RAVE” is a celebration of the culture, and I want to take it everywhere, so we’ll see what happens. If it connects, we’ll continue developing it, applying it to the shows and seeing how far the sound can go. Right now, I’m currently working with my team and my band during rehearsals. Our goal is to maybe have a 15 to 20 minute segment during the show where I bring the band out and perform some of the songs from the album live. I think that energy and live element could make the experience really special for the fans.

It’s not a secret that you’re a big fan of tacos. It’s 1 a.m., you’re starving and you just finished a club set — what taco order are you getting?

Well, I definitely go through taco phases sometimes, but to be honest, I just love food in general. I’m not picky at all. I’ll take carne asada tacos, al pastor, carnitas, shrimp, fish, quesatacos, quesabirrias… the list honestly goes on and on. Oh, and as far as sauces go, I’m sorry, but I just can’t choose only one. You will find me putting every salsa available on each individual taco. I like it all!

Anything else that you want to share with your fans about the album or the rest of the year?

I just wanna say thank you so much for all the love and support on “BOTAS & RAVE.” Again, this album is a celebration of la cultura Mexicana, and I hope to celebrate with you soon. Remember, everybody’s invited to the celebration, no matter where you’re from.

¡Arriba México!

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Fresh off his coast-to-coast performances at Beyond Wonderland and Ultra Music Festival, Deorro continues to make waves in the EDM space. Known as a pioneer in the fusion of música Mexicana rhythms with EDM, the powerhouse artist has performed at renowned music festivals like Tomorrowland, Coachella, Lollapalooza, EDC Mexico, EDC Thailand, EDC Las Vegas and more and is the creative force behind tracks like “Five More Hours” with Chris Brown, “Bailar” with Elvis Crespo and hit song “Yo Las Pongo” with Los Tucanes De Tijuana. Deorro is currently gearing up for a lineup of upcoming performances including Suenos Music Festival, his Las Vegas residency and his very own ‘BOTAS Y RAVE’ concerts in San Francisco, CA and Seattle, WA. Signed to Prajin Parlay Inc. and Peso Pluma’s Double P Records, Deorro has garnered over 7.8M monthly Spotify listeners, reinforcing his status as a major figure in today’s electronic music landscape.

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