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While SOBEWFF is known globally as a premier food and wine celebration, its cultural footprint has long spilled into the worlds of nightlife, entertainment, and Miami’s signature festival energy. For readers of EDMTunes and anyone who follows dance music’s intersection with lifestyle events — this is one of those annual Miami moments that shapes the season.

SOBEWFF is a national, star‑studded, four‑day destination event showcasing world‑renowned chefs, culinary personalities, and top wine and spirits producers. It’s entering its 26th year in 2027, having grown from a one‑day event at FIU’s Biscayne Bay Campus into a massive cultural anchor for South Beach.

That blend of culture, community, and celebration is exactly why SOBEWFF resonates so strongly with Miami’s dance‑music crowd. It’s not just a food festival — it’s a full‑scale city takeover.

Why EDM Fans Should Care

Miami’s festival ecosystem is unlike anywhere else. Ultra, III Points, Art Basel week, countless club residencies — the city thrives on experiences that merge music, art, food, and nightlife. SOBEWFF fits right into that rhythm.

Here’s why it matters for the dance‑music community:

• The crowd overlaps heavily with Miami’s nightlife scene. The festival’s beachfront events, late‑night tastings, and celebrity‑driven activations attract the same audience that fills dance floors from Wynwood to South Beach.
• Brands and artists often use SOBEWFF weekend for pop‑ups and crossovers. EDMTunes has covered countless Miami events where culinary and nightlife worlds collide — from DJ‑hosted brunches to festival‑week pop‑ups.
• It’s a prime weekend for unofficial afterparties. With thousands of visitors descending on Miami Beach, the city’s clubs and promoters reliably build programming around SOBEWFF weekend.
• The festival’s energy mirrors the excitement of a major music event. The Instagram announcement is already filled with hype comments like “Let’s gooooo!!!” and “I’m ready!” — the same kind of anticipation you see before a lineup drop for Ultra or EDC.

Key Dates

• October 19 – Lineup goes live
• October 26 – Capitol One Cardholder Presale
• November 2 – General On Sale

These dates matter because SOBEWFF’s most in‑demand events sell out fast — especially the nighttime programming that tends to attract the music crowd.

EDMTunes has always highlighted the ways dance music intersects with broader cultural experiences — from Miami’s restaurant openings tied to DJs, to nightlife‑driven charity events, to festival‑week culinary pop‑ups. SOBEWFF has appeared in our coverage over the years as one of those signature Miami weekends that shapes the city’s entertainment calendar.

Expect more coverage as the 2027 lineup drops, especially if any DJs, nightlife brands, or music‑adjacent personalities appear in the programming (which has happened before). You can learn more and get in on the presale at the website here.

The post SOBEWFF 2027: Miami’s Biggest Culinary Party Returns — And Dance Music Fans Should Absolutely Pay Attention appeared first on EDMTunes.

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Landmark albums like Mesmerizing the Ultra (2005), Cozmic Sound (2007), and Vava Voom (2012) laid down the blueprint for underground bass culture. Later LPs like Noise vs. Beauty (2014) and the Unlimited series pushed boundaries further, blending cinematic orchestrations with crushing low-end frequencies. Bassnectar wasn’t just defined by studio records; it was an immersive live culture. He curated mass gatherings like Bass Center, specialized multi-night holiday runs (such as NYE360), and festival sets at Electric Forest, Coachella, and Ultra established a standard for audiovisual production and community-driven loyalty.

He posted a preview of the first album track on X on Wednesday.

After controversies in 2020 and multiple allegations of sexual misconduct—which he denied while admitting that “some of my past actions have caused pain”—Bassnectar’s project went on an indefinite hiatus. The case was dismissed with prejudice in February 2025 after a confidential settlement, with no admission of guilt or finding of liability, and Bassnectar has consistently denied all allegations. His absence left a huge gap in the bass music scene, leaving fans to wonder if he’d ever return. In a social media post, he declared that “2026 is a year of new beginnings and re-awakenings,” noting that while there had been occasional shows and releases in recent years, he’s now stepping into “a brand new future for Bassnectar and bass music.” Following nearly three years away from the public, he uploaded a new mix titled Music for Optimists to his Mixcloud profile in January 2023 and has released new albums annually ever since.

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The original ‘Wide Open’ is well known to anyone versed in techno history — Hyperactive has been a fixture of the Chicago underground since the early ’90s, counted among Daft Punk’s so-called “Teachers,” with more than 100 releases and three decades of sets at venues like Berghain, Tresor and Movement Detroit to his name. Justus keeps the stripped-back, hypnotic character of that original intact, but builds it out with added weight and a fuller low end suited to current-day main rooms.

“I’ve always loved the original ‘Wide Open’ and the other versions that has been made,” Justus said. “It’s one of those records that has such a simple but timeless energy to it, and I’d had the idea of doing something with it for a while as I wanted to make a version that I could play in my sets. So I started playing around with it and ended up taking it into a more techno house direction that fits great with what I’m playing in my sets right now.”

“I wanted to keep the character and rawness of the original while giving it my own take,” he continued. “I’ve been playing it out for a while now and the reactions have been great, so I’m really excited that it’s now coming out on MADMINDS as my first release with the label.”

The track has already picked up a fairly heavyweight list of co-signs before its official release. Adam Beyer has been dropping it in his sets, including a recent clip posted to Instagram, while label boss Layton Giordani, Nicole Moudaber, Agents of Time, Bart Skills, Armin van Buuren and Miss Monique have also been playing it out. Bart Skills’ play can be heard below.

Justus, born in Amsterdam, has spent the last several years working across both house and techno, with collaborations alongside Kaskade and Armin van Buuren, an official remix for David Guetta and Sia, and a reworking of Benny Benassi’s ‘Satisfaction’ on his resume. He’s picked up support from Diplo, Gordo, Calvin Harris, MK and Swedish House Mafia along the way, and runs his own imprint, Just Records, on the side.

‘Open Wide’ marks his first outing on MADMINDS, the label Layton Giordani has built into one of techno’s more consistent peak-time outlets in recent years.

‘Open Wide’ is out now on MADMINDS.

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The lead-up started a couple of weeks ago when Netsky wiped his social media and pointed followers toward netsky.sh, a site built with a deliberately glitchy, webcore aesthetic. It’s a fitting move for a producer who has been vocal about his interest in tech and coding outside of music. The site appeared with no formal announcement, carrying snippets of new music and little else to go on.

Netsky then scrubbed his Instagram entirely, leaving fans to speculate for days before he posted a single update: a screen recording of the site itself. For anyone tracking the clues, where this was headed wasn’t exactly a mystery. The payoff came on Friday, September 25, when ‘Feel Again’ premiered simultaneously on BBC Radio 1, Studio Brussel, 3FM, and a handful of other major European stations as part of Europe’s Biggest Dance Show.

‘Feel Again’ pairs Netsky with vocalist Hannah Boleyn, landing in that space between euphoric and personal that’s defined a lot of his catalogue over the years. It’s a lane he’s occupied before, and one that’s made him one of drum and bass’s more recognizable crossover names since he broke through in the late 2000s.

The release adds to a discography that already includes collaborations with Lil Wayne, David Guetta, Dua Lipa, and Bebe Rexha, alongside festival sets at Coachella, Glastonbury, and Tomorrowland’s Mainstage. Splitting his time between Los Angeles and Antwerp, with UK bass music running through his sound just as deeply as his Belgian roots, Netsky has built a career that resists being boxed into a single scene.

‘Feel Again’ makes that range clear again, and going by the rollout alone, it looks like the opening move in a longer run of releases rather than a standalone single.

The post Netsky Returns With ‘Feel Again’ Featuring Hannah Boleyn appeared first on EDMTunes.

Joining the headliners are Carlita, Chloé Caillet, Dixon, GORDO, HoneyLuv, Luciano, Palms Trax, Prospa, Rampa, salute, and Seth Troxler, rounding out a bill that leans heavily on names who’ve built their reputations on both the underground club circuit and the main stage festival grind. Nearly 20 artist, label and party-brand stage programs are set to run throughout the week, alongside a handful of specially billed back-to-back sets and visual art installations spread across the property.

What sets Factory Basel apart from a standard festival lineup announcement is the structure. Rather than booking artists onto a single generic stage rotation, Factory Town hands over curatorial control to labels, collectives and individual artists, letting them build out their own corner of the event. It’s a format that’s more common on the European festival circuit than in the U.S., and it gives Basel attendees a chance to bounce between entirely different scenes without leaving the venue.

This year’s stage hosts include Carlita Presents Senza Fine, Chloé Caillet Presents SMIILE, Franky Rizardo Presents FLOW, Gordo Presents TARAKA, Luciano Presents Vagabundos, Malóne Morez Presents WHYNOTUS, Omar+ Presents Omar Plus Friends, OMRI. Presents Collecting Dots, Rafael Presents Cheetah Print, salute Presents Infinite Passion and Solomun Presents Diynamic. Established party brands Circoloco, Deep House Bible, elrow, Factory 93 and Revival are also taking over stages, with additional programming from GENNARO, NAIMA and Zack Fox filling out the week further.

Beyond the stage-takeover concepts, the broader artist lineup pulls from across the house and techno spectrum. Jimi Jules, Jubilee, Mason Collective, Max Dean, Miguelle & Tons, Mike Servito, Paco Osuna, Sedef Adası and UNIIQU3 are among the names set to perform, mixing established festival staples with selectors who’ve built followings on the club and warehouse circuit.

Factory Basel is also leaning into its back-to-back pairings this year, with several combinations that don’t happen often. Solomun B2B Chris Lake is the marquee pairing, but the schedule also includes Carlita B2B Ben Sterling, Dennis Ferrer B2B Rafael, DJ Minx B2B DJ Holographic, Franky Rizardo B2B The Martinez Brothers, HAAi B2B Coffintexts, Make A Dance B2B Paula Tape, salute B2B TEED and Zack Fox B2B Jyoty, among others still to be detailed.

The visual side of the event remains a key part of Factory Basel’s identity. Known Gallery’s Casey Zoltan is curating this year’s art program, which includes new murals, installations, a group exhibition and a cloBBer pop-up, in addition to Factory Town’s standing collection of murals from artists including 1010, DOES, Drew Merritt, Jason REVOK and Shepard Fairey.

Five-day GA and VIP passes for Factory Basel 2026 are on sale now via DICE.

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This marks the official split of Tale of Us and MRAK’s official departure from the label, as he most recently announced the release of his debut album for the fall. The split finalizes a two-year saga, in which rumours surrounding the end of Tale of Us began. Throughout many performances, dynamic changes, word of mouth, and a final performance together in January 2025 in Tulum, everyone was expecting an official statement from the artists. Nonetheless, fans would eventually find out.

The label also saw fewer events throughout the world and only had one final release: Kevin de Vries’s ‘Born Like That’ back in 2024.

Going Solo

Anyma jump-started his solo project with major performances across the world. Of course, his Las Vegas Sphere residency took over for the first half of 2025, which led to his third album release. Most recently, he debuted his newest augmented reality show with his ÆDEN WORLD TOUR 2026. In addition, the multidisciplinary artist started his very own label of the same name last month, merging music, fashion, and community.

On the other hand, MRAK has also been touring solo with his We Don’t Follow project. This Friday, the artist is debuting his solo album of the same name.

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Their point raises a larger question about modern music culture: has talking become too pervasive and disruptive or is it simply a part of the experience?

Bringing the Dance Floor Back to Dancing

As John Summit has continued his global touring throughout 2026, he’s certainly had plenty of experience watching large crowds respond to his music. Most recently, his Experts Only Festival returned to New York’s Randall’s Island on September 19th and 20th to a sea of eager fans. While his one-off and festival performances are certainly memorable social moments for his audience, it appears the focus outside of the music itself has become too noticeable to stay silent.

Max Styler, too, performed at Experts Only Festival alongside Summit and shares similar opinions, asking fans to “please stfu on the dance floor” in his post. While their comments aren’t necessarily linked to the New York festival, they certainly feel timely in an age of social and digital distraction where full presence feels harder to come by.

DJs are Talking Less Too

Interestingly, this subject mirrors another shift happening on the opposite side of the DJ booth. In March, Relentless Beats published an article examining why DJs have been using microphones less during their sets. The piece argues that audiences can better anticipate builds, drops, and musical cues without needing a DJ to tell them how and when to react.

The article believes that removing constant mic interaction can create a more immersive experience as an audience discovers impactful moments for themselves. And while less microphone use doesn’t insinuate they’ve disappeared altogether, it does reflect a shift towards longer climbs and atmospheric transitions designed to fully transport an audience in the moment.

Summit and Tyler’s views seem to align with the broader trend towards building more immersive experiences for fans. No matter your stance, every once in a while it can certainly be worth putting conversations on pause and letting music get the final word.

The post John Summit & Max Styler Want Fans to Talk Less on the Dancefloor appeared first on EDMTunes.

David K. Li and Anthony Cusumano reported that Oxford police seized over 500 units of Kratom, as well as carts of THC, gummies, and other narcotics. Since 2019, the sale and distribution of Kratom have been forbidden in Oxford. The police arrested Yahya Mohamed Mosleh, 51, and Islam Mohamed, 18, for various drug offenses. Moreover, the store owner, 40-year-old Amer Alowdi, has past charges against him for drug possession. However, he fled the country before he could be prosecuted.

The Victims

Last week, freshman Aidan Hamilton and junior Robert Strang, two Ole Miss students, were found dead on campus in separate areas. The cause of death is not clear at the moment. Nevertheless, Kratom was present in both scenes. This continues to raise more concern about the drug. Between 2015 and 2025, Kratom poisoning calls increased by 1200%. Thus far, it’s not clear whether the arrests have any link to the victims.

Kratom

The gas station herb has opioid-like effects. Per NBC News, it has gained popularity as an unapproved treatment for pain, drug dependency, and anxiety.

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In a detailed video breakdown shared with fans, the producer walked step-by-step through his project file to demonstrate how the track, a collaboration with house icon Ultra Naté, Imael Angel, and producer Late Nine, evolved from an AI-connected demo into a fully realized house anthem.

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From Viral AI Demo to Mainstage Anthem

The debate traces back to an online track titled ‘I’m Moving to the Sun,’ an AI-generated idea credited to Imael Angel. After the initial concept gained viral traction online, HUGEL recognized its hit potential and officially partnered with the creator to license the foundation.

HUGEL and co-producer Late Nine then built a complete studio production around the core hook, bringing in legendary vocalist Ultra Naté to re-record and elevate the song’s vocal dynamics. Addressing the speculation head-on, HUGEL explained that while AI served as a starting spark for the creative concept, human craftsmanship, studio arrangement, and real instrumental production drove the final record to completion.

“The idea moved from an AI-connected starting point to a finished record through real studio work,” HUGEL demonstrated during his video walkthrough. “It’s about taking an initial spark and executing it with genuine production, arrangement, and world-class live vocals.”

Chart Dominance Amid Scrutiny

The scrutiny arrives at the peak of the single’s massive commercial success. Reaching the top spot on Shazam’s global charts and securing a number one position on dance radio, “Movin’ To The Sun” stands as one of the defining dance records of 2026.

HUGEL’s open response highlights a growing industry conversation: as AI-generated hooks and Suno-created demos proliferate across social media, the line between sample clearance, ghost-writing, and AI inspiration continues to reshape modern music production. By opening his DAW to the public, HUGEL aims to set a precedent for transparency in the new era of electronic music creation.

The post HUGEL Addresses AI Allegations Regarding ‘Moving To the Sun’ appeared first on EDMTunes.

Barricades Buckle Under Pressure

On paper, the entry plan sounded straightforward: fans would line up neatly and grab wristbands. In reality, massive college crowds don’t exactly stick to the script. Around 9 PM, as soon as the gates opened, the crowd surged forward. Thousands pushed against the temporary chain-link fencing until it bent and gave way. Chaos erupted as people rushed toward the stage, trampling barriers and plowing through event staff. Those caught in the crush said they could barely breathe, while several security guards were knocked to the ground in the stampede.

Knoxville Resources Were Already Stretched Thin

Knoxville law enforcement was already stretched thin before the chaos began. Country artist Ella Langley was headlining a concert at Thompson-Boling Arena, drawing away a large portion of University of Tennessee police officers. Once the fence fell, private security gave up on maintaining the perimeter. Frat members and designated sober monitors stepped in to try calming the crowd, shouting through small megaphones that couldn’t compete with the roar of screaming students. By 10:20 PM, The Chainsmokers ended their Instagram story over safety concerns, and soon after, police cruisers and emergency vehicles flooded the streets to break up the dense crowd.

The Hard Truth About Free Campus Shows

Booking an arena-level act for a free pop-up demands massive infrastructure. This was obvious earlier this year in Miami when Calvin Harris and John Summit hosted a free promotional show and the gates were quickly overrun. You can’t fault college kids for chasing a wild night when Ella Langley tickets cost hundreds, but things turned dangerous fast. It shows how quickly a party can spiral without solid steel barriers and a heavy police presence. Universities should take serious notes from this fiasco. When 10,000 people show up, makeshift fences are guaranteed to fail.

Original and local news article found here

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