Executive Vice President David Granville-Smith said the in-house development team can take on another two to four projects over the coming year and a half.

Where The Spheres Would Go

Currently there is one venue in Las Vegas and two announced projects.

Construction is underway on Sphere Abu Dhabi, on Yas Island, with a capacity of up to 20,000 and completion expected by the end of 2029. Abu Dhabi’s Department of Culture and Tourism is funding it with a $1.7 billion investment and will own the building, with Sphere Entertainment collecting franchise fees and royalties.

The second is a 6,000 capacity venue at National Harbor outside Washington, D.C., structured differently: a third party funds and owns construction while Sphere holds a long-term lease and runs the venue. Dolan said that financing should close shortly, on top of $200 million in state, local and private incentives, and that the site plan has been filed with Prince George’s County. He still expects it open in under four years.

No third location has been named. Dolan said the company is in serious talks with a couple of markets and expects another announcement by the end of 2026, or the first quarter of 2027 at the latest.

Losses Are Shrinking In Las Vegas

Sphere Entertainment reported $313.6 million in second quarter revenue, up 11% year over year, and a total operating loss that widened 22% to $61.3 million.

That widening came from the other half of the company. MSG Networks, its regional sports television unit, saw revenue fall to $87.3 million from $107.1 million on a roughly 16.5% subscriber decline, and operating income drop 75% to $8.3 million.

The pairing is a leftover from how the company was built. Sphere Entertainment is the former Madison Square Garden Entertainment Corp., renamed in April 2023 when the arena business, including Madison Square Garden and Radio City Music Hall, was split into a separate company that kept the MSGE name. Sphere Entertainment held onto the Las Vegas venue, Sphere Studios and MSG Networks. The Dolan family controls both, and Dolan chairs both.

Las Vegas moved the opposite way. The Sphere segment generated $226.4 million, up nearly 30%, and narrowed its own operating loss 17% to $69.6 million. Adjusted operating income rose to $39.9 million from $24.9 million. The venue still posts a loss on a reported basis, largely because of the depreciation on a $2.3 billion building, but that gap has been progressively closing.

Most of the revenue comes from The Wizard of Oz at Sphere, which opened August 28, 2025 and has sold nearly 3.6 million tickets for approximately $450 million across 220 performances in the quarter alone. An enhanced version arrives in September and The Rocky Horror Picture Show at Sphere is expected in 2027.

Three EDM Runs Have Happened

Electronic music has headlined the venue three times. Anyma went first with The End of Genesys, the venue’s first electronic residency, running 12 shows between late December 2024 and early March 2025 after his opening nights sold out. Insomniac and Tomorrowland followed with UNITY across nine nights, the first festival branded production made for the room rather than a single artist. ILLENIUM ran ODYSSEY from March 5 to 14 and April 2 to 4 before closing with two July dates, built around an album written alongside the show. That’s surely not all, as Tomorrowland previewed a return to Las Vegas during this Summer’s festival. Sources indicate it will be yet another Sphere residency of some kind.

Sphere builds content to move between venues, and every location runs the same tech stack. If the count reaches five, a production built for Las Vegas has four more rooms to play.

The post Sphere CEO Wants Five Or More Spheres Operating Within Six Years appeared first on EDMTunes.

Now, in conjunction with the Abu Dhabi Department of Culture and Tourism (which committed an enormous $1.7 billion investment in the project), Sphere released a preview render of the upcoming location. The preview clip shows a faux time-lapse of the upcoming construction process, followed by simulated footage of people walking toward the completed structure.

Expected to open in 2029, the new venue underscores the UAE’s goal of economic diversification by continuing to increase tourism in the region. While no events have been announced for the UAE location (understandable, given the estimated construction time), notable EDM shows at the Las Vegas Sphere included residencies from Anyma and Illenium, as well as the Insomniac x Tomorrowland Unity takeover; it’s likely that the new Sphere will also aim to bring similar caliber performances to the developing region.

The post [WATCH] Sphere Previews New Abu Dhabi Location on Yas Island appeared first on EDMTunes.

Newly released Q1 earnings, Sphere Entertainment posted $386.4 million in revenue for the quarter. This is a 38% year-over-year jump, with the Sphere division alone generating $266 million. Even more impressive? The company actually swung into profitability, reporting operating income of $7.2 million after bleeding cash this same time last year.

The biggest driver wasn’t even a concert residency. It was The Wizard of Oz at Sphere, the venue’s immersive cinematic experience that has quietly turned into a monster business. Since launching last summer, the production has reportedly generated more than $370 million in total revenue and sold nearly 3 million tickets.

For Dance Music, Illenium’s residency was part of this boost. Insomniac and Tomorrowland’s partnership, Unity, also sold incredibly well. Outside of dance, Phish sold out its recent 9-run show. Metallica is selling out 24 concerts this fall, and Backstreet Boys plans for a second 21-show residency this summer.

Wall Street has completely flipped its tone on the company. Analysts who previously questioned whether Sphere was scalable are now discussing global expansion opportunities, including planned venues in Abu Dhabi and outside Washington.

The post Las Vegas Sphere Revenues Jumps Higher Thanks To Wizard of Oz and Residencies appeared first on EDMTunes.

LLENIUM Presents ODYSSEY at Sphere, which previously took place March 5, 6, 7, 12, 13, 14, April 2, 3 & 4, marks a bold new chapter for ILLENIUM. His show is emotional, with stunning production, and world-building around his latest album ODYSSEY (Republic Records). This is more than a EDM event it is a cinematic experience.

This is a must-see show as ILLENIUM Presents ODYSSEY is a multi-sensory experience featuring Sphere’s next-generation technologies – including the world’s highest-resolution LED display and its advanced concert-grade audio system, Sphere Immersive Sound.

Pre-sale tickets launch on April 20 at 10 am with regular on-sale set for April 24 at 10 am. Find the link here for more information. We won’t spoil the show for you, as you have to be there to fully immerse yourself.

The post ILLENIUM Announces ODYSSEY Return To The Las Vegas Sphere appeared first on EDMTunes.

The Las Vegas Sphere recently dominated the industry, taking the top spot on both Billboard’s and Pollstar’s 2025 global revenue charts. To build on this momentum, Sphere Entertainment is expanding its worldwide footprint—adding National Harbor and Abu Dhabi to its roster—using new, scalable designs that offer the same trademark immersion as the Nevada original.

National Harbor, a popular Potomac River destination known for its hotels and retail, has been selected for the next U.S. Sphere location. Unlike the full-sized venue in Abu Dhabi, this Maryland project will be among the first to utilize the smaller-scale design that the company first introduced last March.

The world was captivated when the Las Vegas Sphere first illuminated the desert sky, but Maryland residents won’t have to book a flight to Nevada to experience the future of live entertainment.

“Our focus has always been on creating a global network of Spheres across forward-looking cities.Sphere is a new experiential medium.”- Executive Chairman and CEO James Dolan

While this new Sphere will be more intimate—seating 6,000 guests, less than the 17,000+ in Vegas—it will be just as striking. The exterior will feature the same ‘Exosphere’ LED technology, turning the building into a massive digital canvas for the eye-catching art and branding that made the original a global icon. Fans can expect the same “Exosphere” LED exterior that transforms the skyline, along with a 16K interior wrap-around screen, haptic seats that let you feel the music, and 4D effects that bring every performance to life.

To get the Maryland project moving, state and local leaders have pledged about $200 million in tax incentives and public funding. However, this deal still needs the green light from the General Assembly, which is currently grappling with a significant $1.4 billion budget gap. With a projected annual economic impact of over $1 billion, the Sphere is expected to bring:

Regional Rebirth: Coming on the heels of major sports and entertainment shifts in the area, the Sphere provides a high-tech “anchor” for the DMV (DC, Maryland, Virginia) region.

Thousands of Jobs: Over 7,000 total jobs between construction and daily operations.

Year-Round Tourism: A major draw for the millions of visitors who already frequent the National Harbor’s shops, casinos, and waterfront.

“This will be one of the largest economic development projects in Prince George’s County history – proving once again our state is the best place in the country to bring dreams to life. ‘We’re excited for what this means for our people, and how it will showcase the best of what Maryland has to offer to everyone who visits.” – Governor Wes Moore

The project is currently in the proposal and agreement phase, with a targeted opening around 2030. While there are still approvals and definitive agreements to clear, the “Intent to Develop” signals a serious commitment to bringing this cutting-edge landmark to the Potomac River. Keep your eyes on the National Harbor skyline—it’s about to get a lot brighter.

The post A New Sphere Venue is Coming to Maryland Outside DC appeared first on EDMTunes.

EDMTunes: Thanks for speaking with me today. I’m Scott here with EDMTunes talking to Pasquale Rotella. You guys have your big Sphere Unity finale this weekend (last weekend). So, first things first. Since you’ve been to probably all of the shows so far, what is your favorite viewing area for the show?

I would say the 200 section seats. I like those seats a lot. You not only have a good view, but you also have the energy. You get a perspective of the Sphere itself as well as the energy of the people, which I love. Because I’ve gone to every single one that, it is nice to go and explore the experience from all the different areas. It’s such a different experience depending on where you’re sitting or standing. It’s really enjoyable from all these different angles. But if I have a good friend or from the industry coming, and I really want them to see it and feel it, I put them in the 200 seats.

EDMTunes: Did you have the same experience as me in the Sphere, that you immediately start thinking about how this is like a new format for entertainment? Have you been thinking about a future where there’s a Sphere-type stagt at an Insomniac event?

You know, I love the idea. We explored, a long time ago, having domes at our festivals. That was kind of a new thing back then, but nothing like the Sphere in Vegas. There was a moment where entrepreneurs were making these kind of spherical environments that were in domes, so we played with that a little bit.

Even something less impressive than the Sphere would be very hard to pull off. Being at every single Sphere show, I’m still wowed every time at the grandeur of the experience and the technical marvel that it is and I am always striving for us to do something that is next level. I feel like a dome would never be able to feel the same, because it would have to be a temporary structure. However as far as a simiarly immersive environments, that’s something we’re always working on.

Actually, I was just on a call about a new Circuit Grounds at EDC and we’ve always meant for that stage to be immersive. I mean, it is a little bit, but not nearly enough. The challenge is that it’s such a big environment. It’s easy to do 360 in a smaller stage of maybe 10,000 capacity. When you’re talking 50,000 capacity in one area, how do you make that immersive? We’re constantly working on that every day and we’re constantly trying to think of innovative ways to create a different experience, like the Sphere or like a dome, that is an enhanced environment. The Sphere has absolutely inspired us and it’s been really exciting and fun to work on it.

EDMTunes: People have long awaited Tomorrowland’s re-entry int the US market. Can you tell us about how this partnership came about

It’s been great working with them. It came about because I’ve been talking to the Sphere since before it broke ground. The Owner, James Dolan, would come to EDC before the Sphere came to fruition, and he was loving it. It’s been a while that we’ve been dreaming up what to do there. In one of my meetings with them where we were getting closer to starting a Sphere project, they mentioned that Tomorrowland had reached out to them. I thought “oh, very interesting” because this is a really big building and it’s hard for dance music artists and promoters to get in there and get a date. At this point there’s been only Anyma, UNITY, and next is Illenium, but there has been a lot of bands and there’s a lot more coming. The reason there’s not as many dance acts in there is because it’s so expensive to produce the content and you can’t do two dates, you have to do 8 more – and that’s just to break even.

But you’re doing this because you’re passionate about playing in this beautiful building and not everybody can do that. It’s a little over 17,500 tickets a night. So when I heard about that phone call I was actually at the Sphere when it was brought up. I was already in discussions with Tomorrowland about CORE (LA) and we didn’t really have our concept fleshed out yet. We had a tentative name and some content prepared, but I was still tweaking it and playing with exactly what we were going to do there. When I heard about them reaching out I immediately had the desire to call them and say “are you open to doing this together? How do you feel about that?”. The answer was “wow, that sounds great”. So it really was that simple, it was one phone call. I think I might have suggested the name UNITY.

We’re two different companies on different sides of the world doing very different types of events but at a similar scale. When you think about all of the division in the world, wouldn’t it be cool for two big party promoters to come together and do a show called UNITY? So it was simple and came together pretty quickly. We met with them in person at ADE and that’s where we through names around and we chose UNITY for it.

EDMTunes: In bringing these two EDM titans together, what have you learned about eachother?

Although we were talking about CORE before the Sphere show and other collaborations, I never really worked with them before. So this was the first time working together. I knew it would be fun, but it was even more enjoyable than I expected. Socially, learning about the different characters over there and them learning about our cast of characters. It was a learning experience socially, but also stylistically.

We are culturally, very different. What they do is beautiful and I respect it a lot. I’m so excited that we’re working together, and I got the same feeling from them. I think they also didn’t know much about us, like they do now. I know this because we talked about it a little bit. We were always friendly, even though most people might assume we were super competitive. I’ve gone to their shows and they show up to ours and we host each other at a high level. You can see the differences in the show as an attendee, you know? There’s people of Tomorrow, and then we have headliners. Even that, it’s very different, but it’s been a lot of fun and I’m learning every day. We have partners all over the world. You learn that there are just so many people doing amazing things.

We’ll get behind a promoter that does underground parties or 2000 person events and I’ll learn from them too. That also applies to promoters we aren’t working with – you know? They’ll call us for advice and I’ll get a gauge on something. I listen to as much things as I can but sometimes there will be a guy putting on amazing underground parties and I’ll ask “hey so who;s playing these parties and who are people loving?”. I love that about our scene and that’s the way it should be. Sometimes it might not seem that way to an outsider, but that’s what we’re always striving for. This experience has been all about getting to know the teams and seeing how they do things vs how we do them. It’s going to make us stronger for our next event, CORE in LA.

EDMTunes: You knew were I was goiung next. You already namedropped it, but our readers are very excited about CORE coming to LA. Is there anything you can tease about future collaborations plans?

Well I would not want to tease something unless we knew exactly what it would be and we were both aligned on that. I can speak for Insomniac on this that we love working with them and we’re looking to do more stuff together. This has nothing to do with business but some of my favorite moments from the Sphere was hanging out with their team afterwards at Pepper Mill . I don’t know if you’eve ever heard of it, but you gotta check it out. It’s like a diner.

You know when we did our partnership announcement, and we didn’t say what it was, but we just showed the butterfly and the owl. For me, that was not only announcing the Sphere shows, but also announcing that we were working togrther. I had to actually respond because people got so hyped up thinking it was a one-off Sphere deal and I always have to correct them and say that we definitely plan on doing more together, and then we announced CORE shortly thereafter. I look forward to doing more, and I cant say what those things are but we dream big and so do they and they’ve been great.

EDMTunes: It’s great because Tomorrowland, being a closely held company, a lot of their team has been together for over 20 years. They have a very family-type vibe at their events and it’s cool that you guys get to learn that about them and they get to experience that same vibe on your side.

There’s a lot of narratives out there that people do things just to make money, but it’s much more than that. This has to be part of your lifestyle, your family, friends and all come together to help. It takes so much to accomplish these things that we do. Event producers and artists that have been able to reinvent themselves are still here. There’s a reaosn why thousands of people in events and the music world have come through and don’t survive. It’s so hard.

It applies to artists as well. Look at Tiesto and how he’s been able to reinvent himself so many times because he’s so passionate and he loves music and the culture so much. That takes work, a lot of work. There have been tens or hundreds of thousands of people that have contributed to this culture and this scene that are not here anymore. Look around – I can count maybe 5 people in the whole nation that are still around from “back in the day”. It’s not because they didn’t want to – it’s just very very hard.

So you have to have good people around you that love it as much as you do. It’s a big commitment, and at Insomniac and our partners at UNITY are all lifers, and people have to love it because if you don’t you’re just not going to make it. It’s beyond the job, you have to wake up in the morning thinking about it and go to bed thinking about it, you have a chance to keep doing it. If you clock in and clock out – it won’t work. We don’t, and those guys, do not clock out. It’s not a 9 to 5, that’s for sure.

EDMTunes: Let’s pivot over to the East Coast for a bit. There’s been a lot of talk about Insomniac and Factory Town and a plan to reimagine the venue. They say the plans call for permanent staging and year-round events – so can you tell us what you envision for that space?

I LOVE Factory Town, let me just start off saying that. I wish I could pick it up and duplicate it in Vegas ad LA and other places. I love wearhouse vibes and it’s where we come from. I still love the rattling of the warehouses and the aesthetic of those parties. The first day I walked into that property and we were thinking about whether we should do it or not – it was an immediate “yes”. I think it’s a crime to only use it a handful of times a year. We definitely want to do more there.

In regards to production, we always want to enhance the experience and make it better. We can make things feel, such a way, that the regulars can feel the love that we’re putting into it – that there’s something new and we’re not just leaving it be. There are some things that we can do to make things more efficient. Why should we always have to rent barricades and and bring the same stage back in and out every time? So we’re definitely goint to add some permanent infrastucutre there, but that’s not just for us. That’s also so local Miami promoters can come in there for events, and their costs are lower because they don’t have to bring their own stage. We’re not only wanting to make it a great venue for attendees, but we also want to make it better for Circoloco and other promoters to have space to be able to afford to do more there. Whether it be music or art installations, we’re trying to make it a better venue for attendeess, fans, promoters.

We want it to be an asset for the community -we want to contribute to the community and support locals so wif we can do that, that’s the goal.

EDMTunes: When will attendees be able to see the results of these new efforts?

Hocus Pocus

EDMTunes: Moving up north a bit, at the end of EDC Orlando 2024 you wrote about expanded grounds to improve crowd flow. Can you tell us more about the plan for that this year?

We have pushed it and we’re pushing it more to get every foot we can get. Last year, there was talk online about events being over capacity – but we never do that. The event would get shut down. Everything is monitored by Fire Marshalls and it’s all extremely legit. They use ticket scanners as soon as people walk in. The Fire Marshall is going to have live information on this.

What happens is that these events are booked a year and half in advance. Behind the scenes we’re doing a lot of work. So maybe an artist you’re booking at the time is a smedium-sized artists or a decent sized artist, but by the time the event happens that may change a lot. You have to talk to agents and managers to decide what stage the artist is going to be on, the time slot, who’s on before and after them. Sometime it happens that in the months leading up to a festival an artist will simply blow up. If the festival is 2 stages and a capacity of 50,000 – that means it’s 2 stages with 25,000 capacity each (for this example). Then before the festival one artist blows up from a viral moment or something else. Now one stage has 30,000 people and the other has 20,000. It’s not oversold, it’s just the flow of the crowd and the growth of the artists.

Sometimes we’ll call an agent or a manager and say “you’ve gotten too big and we want to move you”, but then we have to call the other artist that is getting moved and sometimes they say “you’re not moving me! I have a great time and I want my big moment”. So there’s a lot going on that you don’t realize. So when people say the stage was crowded and that the festival must have been oversold, it’s not that. We are always getting better at this and sometimes we even consider cancelling an artist if they got too big. Safety comes first – and we counterprogram. You have to try to predict it in advance and maybe one artists didn’t counterpogram the way you expected in a certain market.

I think we did that really well this year. After time slots were set (internally) we had to go back and make some changes. We didnt announce them so you’ll never know what they were. We also pushed out as far as we could – VIP areas are bigger. We’ve come up with some other ideas like maybe purchasing some land adjacent to Tinker Field. We are always tweaking and adding every inch we can get. We’ve moved some storage offsite to add space. We look at who people have scheduled in the Insomniac App. If we have to make another change we will. The long story short is that it’s so much deeper than you realize.

EDMTunes: Next year the Tinker Field stadium is undergoing a huge facelift that will take a few years. How are you going to deal with that?

We’re in the plans so there’s no disrupting EDC Orlando even during construction. There can always be changes or somethign that isn’t anticipated, but the city loves the event so we’re making sure there’s no skipping of years. The construction will improve the operations of the site for sure. This is part of that discussion I mentioned about purchasing adjacent property, and even tearing down some buildings on the property. Planning is still going on and nothing is solidifed yet, but the overarching goal is more room for us. The construction will not disrupt EDC or make the site smaller or anything like that.

EDMTunes: And finally, are there any artists you’re watching at the current moment?

Yes and they’re not new artists. With the 30 year anniversay I’ve been really deep in conversations with artists and internally about highlight artists that younger generations don’t know about. We’re talking Frankie Bones – he’s a legend in the scene. He coined the term PLUR, and I’m not just going to throw him on a stage. It’s not going to be an art car – it’s going to be a big stage. We need more of that. It’s not just a respect thing, but these guys are still making great music.

We’re going to be putting out information about these artists and it’s not going to be a one-off. I think it’s our duty to do this. I think we need to support tose who have put their blood sweat andtears into this. If they’re still doing great things we should highlight that. This scene is always about what’s next and things move so fast – we need to take a beat and appreciate more.

My head spins from all the new artists. I discover them literally all the time. We have an entire team dedicated to this and yet there is still not enough hours in the day to listen to everything out there. For now the goal is to continue to give love to those who have really contributed to the scene and what it is today.

EDMTunes: It’s been a pleasure speaking with you. Thank You so much!

The post [Exclusive] Pasquale Rotella Talks Sphere UNITY, Factory Town Upgrades & More appeared first on EDMTunes.

This spatial video shot on iPhone is available for free exclusively on the Spatial Gallery app for Apple Vision Pro. The film is also available to watch in 2D on Apple Music across other Apple devices like iPhone, iPad, and Mac. Apple Vision Pro is Apple’s spatial computer, designed to blend digital content with the physical world, enabling immersive experiences that wouldn’t be possible any other way. Spatial Gallery showcases an exclusive selection of spatial photos, videos, and panoramas from leading artists, brands, and creators, all thoughtfully curated by Apple. Fans can book a demo of Apple Vision Pro at their local Apple Store online and see this film in the Spatial Gallery app. Demos are hosted at all Apple Store locations where Apple Vision Pro is available. More information on Apple Vision Pro HERE.

Anyma was announced as a Coachella 2026 headliner, where he will premiere his new show Æden. Previously, Anyma announced he will bring his “Quantum Genesys” show to Egypt for the very first time, live at the Pyramids of Giza on October 10th (Click HERE for tickets). He will also be bringing his Quantum show to the highly-anticipated return of Ushuaïa Dubai Harbour Experience on October 31st, presenting his first-ever solo show in Dubai (Click HERE for tickets). 

The post Anyma Launches End of Genesys Spatial Video Experience for Apple Vision Pro appeared first on EDMTunes.

ILLENIUM PRESENTS ODYSSEY AT SPHERE will be the only place fans will be able to experience ILLENIUM’s forthcoming sixth studio album live. In bringing his vision to life, ILLENIUM is working with Berlin based animation studio Woodblock, celebrated for their cinematic storytelling and immersive design.

Music featured in the ODYSSEY show will include his newly released singles ‘Forever‘ with Tom Grennan and Alnaand ‘In My Arms’ with HAYLA which already has reeled in over 9.1 million Spotify streams in addition to inciting critical acclaim with Billboard praising, “each artist dials up their respective talents to 11, with the song fusing ILLENIUM’s soaring, anthemic future bass with Hayla’s power-lunged, chest thumping vocals.”

Serving as his artistic canvas, Sphere’s next-generation technologies – including the world’s highest-resolution LED display that wraps up, over and around the audience and the world’s most advanced concert-grade audio system, Sphere Immersive Sound. It will be a jewelbox for the multi-sensory experience of ODYSSEY, ILLENIUM’s most ambitious project to date.

Pre-sale tickets for ILLENIUM PRESENTS ODYSSEY will be available starting Tuesday, September 23 at 10am PT and general on-sale begins on Friday, September 26 at 10am PT. Click here for ticketing information.

The post ILLENIUM Announces New Album and Sphere Residency appeared first on EDMTunes.

Shares climbed roughly 19.3% this week, closing at approximately $58.33. This marks the fourth straight weekly gain for the company. The Wizard of Oz at Sphere reportedly opened to robust ticket sales and critical acclaim. The show cost over $100 million to produce, and so far it has outperformed earlier Sphere film projects like Postcards from Earth and V-U2.

Because the Sphere venue is expensive to build and maintain — particularly with such a massive, high-tech setup — it depends on consistent high utilization to turn a profit. Live shows often split revenue with artists and performers, but weekend runs of The Wizard of Oz give Sphere a greater share of ticket income.

The Sphere has been taken over from the dance side thanks to Insomniac and Tomorrowland. Their Unity shows have been a huge hit with the community, and they continue to add more. They have shows scheduled for September and October with DJ Snake, Alan Walker, MEDUZA & James Hype, SLANDER, Sara Landry, and Subtronics all billed as headliners.

The post Sphere Continues To Soar High Thanks To Wizard of Oz Success appeared first on EDMTunes.

Job Opportunities

For operations, Tomorrowland is hiring a Ticket Coordinator to join its team. Moreover, they are also looking for an HR Manager, Partnerships Account, and Marketing Manager. Nevertheless, applicants must be advanced/proficient in Thai and English to fulfill their duties within the company successfully. These are all Bankgkok positions, and we doubt there’s a remote option.

Furthermore, more job openings are available in their main headquarters in Antwerp. All job openings require English and Dutch/Flemish proficiency in Belgium. Job openings in Antwerp include Ticket Coordinator, Financial Controller, Talent Buyer, Booking Agent, IT, and more. For the full list of job openings, click here.

What’s Next?

Tomorrowland rose from the ashes this summer as a fire on the main stage threatened the festival shortly before doors opened. Nonetheless, after making the impossible happen, the festival hosted top-notch acts across both weekends, involving a few tweaks and adjustments to the stage and set times.

Insomniac is debuting its collaboration with Tomorrowland this weekend at the Sphere in Vegas. Unity will showcase an audiovisual experience including multiple of their known festivals and stages. And for the second half of the show, the special musical guest will take attendees on a sonic journey. Artists that will play at the Sphere Unity show through October include Chase & Status, Eli Brown, Kaskade, Sara Landry, and Subtronics.

And of course, the next edition of Tomorrowland Brasil will take place on October 10-12

Tomorrowland Thailand

Scheduled for December 2026, the Thai edition of Tomorrowland will cost approximately $79 million, and it has a minimum commitment of 5 years. More info here,

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