Saturday’s show got interrupted by high winds sweeping through the venue, forcing organizers to pause the event for roughly three hours while the site was checked and cleared. When Above & Beyond finally got back on stage, it was raining, and the set that followed turned into one of the defining moments of the weekend — thousands of fans who’d waited out the weather packed back in to see Group Therapy through to the end.

That performance is now out in full as Group Therapy 700 Live from The Gorge Amphitheatre, streaming on YouTube and across DSPs. It’s a heavy one — eight brand new Above & Beyond IDs, fresh music from Anjunabeats artists Oliver Smith, Genix, Grum and AVNT, plus new remixes from CVMRN and station2station reworking two Super8 & Tab classics. The trio also debuted new versions and previously unreleased material alongside cuts from their latest album, Bigger Than All Of Us.

The encore is where things really shifted gears. Above & Beyond gave the first-ever public performance of a downtempo version of ‘Sun & Moon’ featuring Richard Bedford, turning one of their most enduring tracks into something entirely different for a mass singalong under the Gorge sky. The new version dropped officially two days later on Anjunachill, offering the first taste of the upcoming Anjuna:Chilled 01 compilation.

Friday told a quieter story. In keeping with ABGT milestone tradition, the trio opened the weekend with a Deep Set — except this time it was open to the public for the first time, with more than 10,000 fans watching Above & Beyond debut new IDs against The Gorge’s backdrop. Nourey, Amy Wiles, and Grum b2b J Ribbon rounded out the pre-party. That full Deep Set is also up on YouTube now, with a DSP release to follow.

Sunday closed things out with Anjunadeep Open Air, featuring Ben Böhmer, Marsh, James Grant & Jody Wisternoff, HANA, Durante b2b Ezequiel Arias, Because Of Art, Leaving Laurel and Rezident.

ABGT700 marked the first Group Therapy milestone celebration at The Gorge since ABGT250 back in 2017, a venue with deep history for the band and the wider Anjunafamily. Previous ABGT milestones have landed at Madison Square Garden, Alexandra Palace and Drumsheds in London, Amsterdam’s Ziggo Dome, Banc of California Stadium in LA, and most recently ABGT600 in Mexico City. You can watch the full video above.

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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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The 75-minute set spans multiple generations of dance music and Tiësto’s career, with house, techno, trance and bigroom tracks flowing seamlessly throughout. Standout moments include the 2025 remix of Delerium’s ‘Silence,’ ‘Lethal Industry,’ ‘Adagio For Strings‘ and several unreleased IDs, including a new remix of ‘Plummet – Damaged‘ (not to be confused with Eli Brown’s recent take on the record).

Unsurprisingly, Tiësto drew a massive crowd and kept them engaged and dancing to close out an intense festival weekend. Creamfields’ incredible production only further elevated the experience. Luckily, attendees can relive the set and those who missed it get a chance to experience the musical journey at home. View Tiësto’s Creamfields full tracklist here.

Tiësto’s upcoming tour schedule takes him all around the world, with exciting club and festival appearances across North America, Europe, Asia and Australia already scheduled through February of next year.

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Boris usually lives in that punchy, quirky, 128 BPM pocket with rolling basslines and ticking hihats. Eric is the master of the ten-minute build, huge cinematic chords, and dark warehouse techno under his Cirez D alias. A lot of high-profile b2b’s end up feeling like two guys taking turns playing their own Spotify playlists while politely nodding at each other.

This was not that.

Watching the full set that just went up on Youtube, you can tell they actually figured out where their worlds overlap. Eric knew he couldn’t just play bright, floaty progressive tracks over Boris’s punchy drums, so he showed up ready to throw down. He tapped into his darker Cirez D bag early, matching Boris’s signature bounce on tracks like “Last Call” with nasty, unreleased IDs that had the Brussels crowd losing their minds.

A few standout moments to look out for:

• The groove didn’t let up: Boris Rinsed favorites like “Endor” and his massive remix of Sam Paganini’s “Rave“, keeping the energy driving the entire two hours
• The ID stash came out: Eric tested out a stack of unreleased Pryda and Cirez D heat, including that chunky “Rebel XX” rework laced with “Pump Up That Jam“.
• The festival crowd-pleaser: Hearing Eric’s iconic blend of New Order’s “Blue Monday” and Daft Punk’s “Harder,Better, Faster, Stronger” echo off the historic palace walls was pure magic.

They closed the whole thing out with a gorgeous private dub of Digitalism’s “Circles” blended over the vocals of Kings of Tomorrow’s “Finally“, leaving the courtyard in a haze of smoke and smiles.

It didn’t feel like an ego contest or an awkward booking gimmick. It was just two legends having a blast in front of 10,000 people and letting the tracks speak for themselves. If you’ve got two hours or need a good set to hit the gym with and a decent sound system, put this on and let it ride.

Check it out here!

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On paper, pairing the undisputed titan of trance with tech-house’s reigning superstar seems like mixing oil and water. On the decks at Legia Warsaw Stadium, however, it translated into pure synergy.

What made the performance stand out was the F2F format itself. Unlike standard back-to-back sets that can sometimes feel rigid or turn into an alternating playlist, Armin and Summit stood directly opposite one another. The visual and musical chemistry was immediate: they fed off each other’s energy, read the crowd together, and made spontaneous, real-time track selections that kept the stadium guessing.

For Summit, stepping into the ASOT arena highlighted his versatility. Known for pairing rolling basslines with massive, emotional vocal hooks—evident in anthems like “Where You Are”—his sound gained extra weight and euphoria when matched with Armin’s iconic stadium energy. Meanwhile, Armin delivered the transcendent, melodic builds he has mastered over decades, with Summit’s punchy, low-end drive grounding the mix and keeping the dance floor locked in.

The tracklist bridged the gap between both worlds, blending reimagined trance classics with modern house grooves and unreleased IDs. Beyond the music, the set captured something essential: the erosion of genre elitism. When artists at the very top of their game cross paths just to take risks and have fun, the crowd wins every time.

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A key takeaway from the discussion is that Tiësto’s return to trance was not driven by simple nostalgia, but rather by the genuine inspiration he found in a new generation of artists. As the genre has evolved into high-BPM, techno-infused soundscapes, Tiësto revealed that witnessing younger producers re-energize the scene provided him with a fresh perspective on his own artistic identity.

“I started hearing all these incredible young DJs taking trance elements and putting this totally new, fast, raw energy into it. It made me realize that trance wasn’t stuck in 2005 anymore—it’s alive, it’s evolving, and it inspired me to dive back in with a fresh mindset.”

For years, critics accused Tiësto of abandoning his roots for mainstage pop success. However, in his chat with Resident Advisor, the producer opened up about what the genre meant to him at different stages of his life. Walking away in the late 2000’s was a matter of creative instinct he felt trapped by fan expectations and wanted to push himself into new territories. But coming back decades later feels like completing a circle on his own terms.

Recently he released a full 3 hour trance set from the Atomium in Brussels that highlights is past and present sounds. Tiësto isn’t done yet as he has hinted at a new trance album and continues to release singles. With his most recent trance inspired single ‘Echo Sax Finale’.

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Standout performances include Martin Garrix, David Guetta, Nicky Romero, Meduza³, Oliver Heldens, Illenium, Fisher, Alesso and Sebastian Ingrosso. Recordings of notable B2Bs include HI-LO B2B Layton Giordani, Hardwell B2B Sub Zero Project, Dyen B2B Maddix, Afrojack B2B R3hab and Ayybo B2B Odd Mob, granting fans worldwide the chance to experience these rare bookings and unique Tomorrowland sets in full.

Whether you attended either weekend in person or watched online, with this much footage from both weeks, there’s guaranteed to be something amazing you haven’t seen yet. Dive into the official playlist and find it!

While Tomorrowland will likely not reveal next year’s ticketing details anytime soon, (tickets for the 2026 edition went on sale in January), prospective attendees should still sign up for information and pay close attention to the official Tomorrowland website.

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Known for producing some of dance music’s most cinematic festival recaps, Tomorrowland once again captures the energy, emotion, and scale that define its flagship event. The latest aftermovie combines breathtaking stage production, crowd moments, fireworks, and performances from some of electronic music’s biggest names into a short film that celebrates this year’s festival.

The video also revisits the magic of the 2026 theme, bringing together scenes from across the festival grounds while highlighting the atmosphere that made this year’s edition so memorable. From daytime celebrations to late-night closing moments, the aftermovie showcases the experience that thousands of People of Tomorrow shared across both weekends.

Meanwhile, the soundtrack helps drive the story forward, pairing emotional moments with high-energy festival highlights. As a result, the film captures both the excitement of the mainstage and the intimate moments that unfold throughout Tomorrowland’s many stages.

For those who attended, the aftermovie serves as a reminder of the memories created in Boom. At the same time, it offers fans around the world a glimpse into the festival’s unique atmosphere and world-class production.

Although Tomorrowland 2026 has come to an end, the release of the official aftermovie keeps the experience alive while fans begin looking ahead to what the festival has planned next.

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Dimitri Vegas and Marlon Hoffstadt combine their individual styles, taking listeners on an intense musical ride with eurodance, trance and hardstyle inspired records. The performance featured IDs from each respective artist, a possible unreleased collaboration and, of course, ‘Makina Time,’ the duo’s festival anthem with Like Mike and DJ Konik released earlier in the year. The DJs concluded their debut B2B in style, with a collaborative remix of Michael Sembello’s 1983 hit, ‘Maniac.’ A full tracklist is available here.

Following Tomorrowland, Dimitri Vegas continues his Ushuaïa residency throughout the summer, while his brother and co-performer, Like Mike, takes a hiatus for medical reasons. Marlon Hoffstadt, similarly, will play at clubs and festivals across Europe, before heading to California for CRSSD and Portola. Given the consistently busy schedules of dance music superstars, it’s unclear when the collaborators may reunite. Listen to the full set now and enjoy the unique B2B!

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The show was staged at the invitation of the Consulate General of France in New York, timed to mark both the 140th anniversary of the Statue of Liberty and America’s 250th anniversary of independence. The Statue of Liberty was originally a gift from France to commemorate America’s centennial, making the Franco-American angle central to the event’s concept.

Canitrot’s Monumental Tour is built around the idea of transforming culturally significant heritage sites into immersive concert experiences. Previous editions have taken place at Mont-Saint-Michel, the Eiffel Tower, the reopening ceremony of Notre-Dame de Paris, and other UNESCO World Heritage Sites. Liberty Lights marks the project’s first stateside outing.

The performance opened with a narration by actor Jean Reno, before Canitrot performed a set of his electronic productions — including three tracks written specifically for the show: ‘Arcadia,’ ‘Icon,’ and ‘Horizon.’ The lighting design was handled in collaboration with show director Romain Pissenem of High Scream, whose previous work includes David Guetta at Stade de France, Black Coffee at London’s O2 Arena, and Tiesto’s live set at the Great Pyramids of Giza.

Canitrot spoke about the project’s intent: “Monumental Tour emerged from the aspiration to foster a dialogue between music and locations that convey narratives beyond our individual experiences. The Statue of Liberty epitomizes this universal significance, and envisioning an artistic creation for this iconic site today constitutes a profound privilege.”

Beyond the live audience, Liberty Lights had a significant broadcast reach. The performance aired on July 3rd as part of Disney Celebrates America, with multi-platform coverage across ABC, Disney+, ESPN, Hulu, National Geographic, Freeform, FX, and ABC News Live.

Following the Statue of Liberty performance, Canitrot heads to Houston for an appearance at Fast Ferrari HTX on July 10th.

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