Latest news with #housemusic
The Sun
29-05-2025
- Entertainment
- The Sun
British DJ Josh Butler drops new collaboration EP as he reveals his hits of the week
BRITISH DJ and producer Josh Butler is well known for his distinctive, deep, driving rhythms and over the last decade, the talented Northerner has become one of house music's hottest properties. With his new collaborative EP, Last Day alongside good friends Chesster and RUZE, landing this week on tastemaker imprint Dansu Discs, Josh will be celebrating the release at London's XOYO club on Saturday 31 May, performing an epic back-to-back-to-back set with Chesster and THEOS as Dansu Discs takes over the club again following their sold out New Years Eve party. 3 Since launching in 2017, Dansu Discs has become a go-to label for fresh, forward-thinking dance music. From Interplanetary Criminal and Seb Zito to Kolter and Luuk van Dijk, the label continues to push underground sounds with style and intent. As always, XOYO provides the perfect setting for Dansu Discs. Known for its razor-sharp sound system and inclusive dancefloor, it's one of London's essential venues. With its ongoing partnership with LWE, XOYO keeps pushing the boundaries of club culture in the capital. We caught up with Josh Butler this week and asked him to put together a playlist of tunes that offer a snapshot of the style of music that is currently fuelling his sets. Also be sure to check out the latest instalment of The Night Bazaar Drum and Bass Music Show with Promo ZO on Mixcloud. Timmy P & James Dexter - You Know Err (Origins Rcrds) One of the favourite recent releases on Origins Rcrds. Timmy P & James Dexter have been such consistent producers over the years and in my opinion should be much wider recognised than they are. Big love to both of these guys!! THEOS feat. Noa Milee (King Street) King Street is such a legendary label and to see my friend THEOS on here is really exciting. Love the soulful energy of this one. Houston (UK) - Sunburst (Origins Rcrds) This is from a brand new producer from the North West of England. I'm a big fan of these more kicked back Cafe Mambo type vibes!! Josh Butler & Chesster & Ruze - Underground Ways (Dansu Discs) I had to include this one, my latest release with Chesster & Ruze which has been getting big support this summer. I'm very proud of this whole EP! The first of many collabs to come with these guys. Prunk & Red87 - Break It Down (Hot Creations) Love what Prunks been doing for the modern House music sound and this is a great example. Massive track and the Bside of his new EP on Hot Creations. Groove Armada - House Musique (Origins Rcrds) This was released a few years back on Origins and was a huge milestone for the label. Groove Armada have been a massive inspiration to me over the years so still very proud to have release this and second EP from those guys! Ranger Trucco & Chesster - Wanna Get High (Range) Another one that has been in my Rekordbox for many months and dropped this in sets all around the world from Manchester to Melbourne. Huge tune and timeless. This will still sound great in 10 years Im sure of it. Happyhead - Digital Love Thing (Underground MK Mix) It was hard to pick with MK remix to include as there are so many bangers from back in the day. But this one is maybe less know and I will try and sneak it into some sets every now and then with the right crowds. Danny Snowden - You Give Me (Origins Rcrds) Danny has been bubbling on the scene for a few years now and feel like 2025 things are really coming together for him. We dropped this on Origins at the start of the year with another huge track on the flip side. 3 3
The Sun
21-05-2025
- Entertainment
- The Sun
All-day inner-city festival returns in just days including four stages, 30 DJs and a stacked lineup
LOVE to be… returns to Sheffield in style on Bank Holiday Sunday, 25 May with an all-day inner-city festival at FORGE, taking over the warehouse, courtyard, and even the streets of Effingham Road. With four stages, over 30 DJs, and a lineup stacked with house royalty including Sam Divine, Todd Terry, Barbara Tucker, The Shapeshifters, and Alison Limerick, it's set to be a huge celebration of house music culture. 2 At the heart of it all is the Music Factory Stage, a nod to Love to be…'s original 90s home, where New York house legend Victor Simonelli will deliver a special set packed with soulful energy and deep grooves alongside Alison Limerick performing the hit single 'Where Love Lives', Gatecrasher resident Allister Whitehead, Hacienda legend Tom Wainwright, Love to be… founder Tony Walker and many more. This is a rewind in time to the glory days of 90s house music. To mark the occasion, Victor Simonelli has curated a playlist titled 'Some of NY's Finest Favorites', showcasing highlights from his extensive label catalogue. He told us: "It would be more fluid for me doing a chart of some of my favorite releases from my own labels... "Besides myself, these labels include releases from many well-known artists and producers. So something like, 'Some of NY's Finest Favorites'.' From timeless vocal collaborations to fresh cuts from new artists (including his son), the playlist is a true celebration of NYC house heritage with Simonelli's signature touch. Take a dive into Victor's selections below, read what he had to say about the music and get a taste of what's to come when he brings the Big Apple to Sheffield this weekend. 2 Groove Committee Feat. Marcie Allen - I Still Believe [Bassline Records] Marcie Allen - the singer on this - and I have been friends since the 80s. Before She and I met, she was in the group Aquarian Dream and worked with Patrick Adams and many others. We have made numerous tunes together including "All Over Me" by Underground Circuit (sampled by Jr Vasquez for "Dream Drums"), "You Need Someone" by Groove Committee, amongst others. This is our latest release together and will also be included on her upcoming album that we are putting together. Soul Magic & Ebony Soul Feat. Ann Nesby - Get Your Thing Together (Odyssey Inc. Remix) [Bassline Records] I wrote this with Lenny D in 1989, and originally recorded it with Martha Wash. That version was never released, but a version with Roberta Gilliam was in around 1990. Fast Forward to approx. 2008, and I recorded a version with Ann Nesby, who added some additional writing to it too. Various mixes have been done on it since, and this is the latest - a new release. NY's Finest, D Train - Stand Up For Your Love (Victor Simonelli Mix) [Bassline Records] It was a Dream for me do a tune with D Train, and this is it. Here is my Original mix of it, released this year. Northbound – A Better Way Feat. Mone (Jazz N Groove Vocal Club Mix) [Bassline Records] This is the first release by Mone. I had met Brian Tappert, one of the owners of Traxsource, and Roy Grant, who later became known as Jazz N Groove, at Winter Music Conference in 1992. At the time, they had not produced or released much. I asked them to send demos when they were ready, and they did. I had started Bassline records around that time, and this was amongst the first releases I assisted them with. We released numerous works of theirs leading up to 1995 and Brian then started Soulfuric Recordings with Marc Pomeroy. Ebony Soul - I Can Hardly Wait (Victor Simonelli Mix) [Unkwn Rec] Released in 1992 initially on Eightball Records, this is a release that is often requested, and another one of my Pseudonyms. There's been an anniversary release of this just recently released with original and various mixes on one of my own labels, Unkwn Rec's. Blind Truth feat Tata & Toney - Why Can't We See (Odyssey Inc. Feat Louis Latino Remix) [Unkwn Rec] Arthur Baker and I originally created this tune together in 1991. I am guessing it sets the record for the tune with most remixes and reworks, ever, with approximately 200 or so, to date. This is the latest remix of this treasure by Odyssey Inc. Brooklyn's Most Wanted - Just A Touch Away [Good Groove Records] Produced by my eldest son, Immanuele Simonelli, and on his label Good Groove Rec's, I assisted him with mixing and arranging this. Setting dancefloors on fire. Sound Of One - I Know A Place (Neapolitan Soul Remix) [Unkwn Rec] Originally released in 1993 and often imitated, here is the latest remix by Neapolitan Soul. Available on Traxsource by another one of my many Pseudonyms, so new there is no Youtube link yet! Serena May - Tell Me Is This Love (Victor Simonelli Mix) [Bassline Records] Serena May is a young new artist and a great songwriter, working with her Dad and Mom on her own tunes. She is from the UK and when her Mom presented me with a downtempo version of this song, I said I would like to remix it. This it the result - just released on Bassline Records. One of my first solely produced releases, made in 1988 and released in 1989. This Dub version still works.
The Sun
20-05-2025
- Entertainment
- The Sun
New song based on real-life heart rate of winning bingo player revealed for first time
An upbeat new house track has been released – based on the real-life heart rate of a bingo player the moment they land a full house. DJ Fish56octagon teamed up with Mecca Bingo to create the house music track, which has been engineered to recreate the excitement of winning every time you hit play. 3 3 The house track runs at 128BPM – the heart rate measured at the exact moment a bingo player completed their ticket and won the game. Called ''FULL HOUSE'', it's packed with tension-building beats and euphoric highs to mirror the thrill of a jackpot call and the bingo experience. It features pulsing bass lines which builds anticipation with the sound of rushing blood heightening suspense, set against the celebratory clink of glasses. The song, which is available on Soundcloud crescendos into a euphoric, chest-thumping cry of 'house', followed by a classic music drop with bingo calls woven throughout. Fish56octagon is renowned for his viral house mixes and signature at-home dressing gown DJ sessions that have earned him over a million followers. He said: 'Innovation is everything in music - you've got to keep surprising people, and blending the tension of bingo with the classic build and drop of house felt like the perfect crossover. 'I wanted to capture that electrifying moment when the numbers are dabbed off and you know you've won - it's a proper rush, and that's what this track is all about. 'House music thrives on that feeling of anticipation and release, and so does bingo - it's all about the buzz before the drop, or the call that matches your final number. 'We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.'' Professor Dan Augustine, medical director at Sports Cardiology, who analysed the heart rate data used to design the track, explained: 'We often associate a racing heart with physical exertion, but our experiment shows that the excitement, anticipation and tense nature of a bingo game can trigger the same response. 'A game of bingo can activate a 'fight or flight' mode - which releases adrenaline and raises heart rate, even in the absence of movement. 'As a result, in that 'full house', winning moment, our lucky player's heart rate surged by a whopping 33 per cent - reaching 128 BPM.'' A study of 2,000 adults commissioned by Mecca Bingo revealed that music taste shifts in summer for 28 per cent. With 41 per cent leaning towards feel-good anthems and 25 per cent craving high-energy, upbeat tunes that match the sunny vibe. Turns out house music one the go-to genre for 23 per cent of 18-34 year old – and of those as many as 76 per cent say it gives them a 'winning feeling', like something brilliant is just around the corner. While more than a third (34 per cent) young fans of house crank it up when doing chores. Almost four in 10 (39 per cent) say it's their soundtrack for smashing gym workouts, while it's the kitchen companion for 29 per cent of the young adults when cooking. And one in five (21 per cent) added a good house tune makes them feel completely unstoppable. A spokesperson from Mecca Bingo said: 'The biggest moment in bingo is undoubtedly when players shout 'House!'' to claim a big jackpot prize, so we wanted to capture that winning feeling in a dance track. 'By combining two classics - bingo and house music - we've created something that celebrates the thrill of the win in an entirely new way.' 3
The Sun
15-05-2025
- Entertainment
- The Sun
Sonic superstar Robin Schulz unveils his alias KOPPY with new single Freaking You Out
AS the sun rises over Ibiza and dancefloors heat up for another unforgettable summer, global dance icon Robin Schulz drops into the season with a fresh sonic twist. Schulz, the most successful German solo artist of all time, has teamed up with Australian sister duo NERVO and his enigmatic new alias KOPPY, to unleash new single, Freaking You Out. 3 This is a high-octane house anthem packed with sultry vocals, a driving four-on-the-floor rhythm combined with euphoric synths. Fresh off a triumphant North American tour, Robin now shifts gears into pure dancefloor mode starting his residency at the legendary Pacha Ibiza, where the summer sound is all about energy, unity, and that unmistakable White Isle vibe. He's compiled an exclusive playlist for us that captures the spirit of that shift, featuring club-ready cuts, uplifting house grooves, and the kind of feel-good moments only he can deliver. 3 Robin and NERVO, will share the stage at Pacha on May 31, giving fans a chance to experience the infectious energy of Freaking You Out live. Check out his playlist below and what he thinks about each track: Robin Schulz, NERVO, KOPPY – Freaking You Out This one is really special to me. Working with NERVO was super fun and the track brings such a special energy. I can't wait to have the girls back at Pacha at the end of May to celebrate our release together. Chris Lake, Ragie Ban – Toxic This track has such a specific and dark driving vibe. It builds tension in the right way and when the drop hits, the energy in the crowd just explodes. It's a real mood-setter. Frank Ocean - Lost (Gabss, Vintage Culture Edit) The original is a classic, and this remix gives it a real club vibe. It's one of those tracks where people sing along but still keep dancing. I heard this one on the US tour for the very first time when I entered the villa and my whole crew were vibing to it. Since then, it has become the tour soundtrack. A very special one for me. AYYBO & Taylr Renee - Obsession Super minimal, super groovy. It's one of those tracks that locks people in without being too loud or in-your-face. Overall, it was super nice, balanced, and the right pick for a proper night. SIDEPIECE – Lick This one is really fun and a bit naughty. It hits hard while the vocal sticks and people always react to it. It's a real banger and brings the right energy to the floor. Dom Dolla feat. Daya - Dreamin (Anyma Remix) Two worlds colliding here. Dom's groove with Anyma's emotional depth. It's a powerful moment in the set where things go a bit more epic and melodic. Cassian – SOS Beautiful and emotional, but still has a pulse that keeps the energy flowing. I love dropping this one because it really has a unique energy. Cloonee, Young M.A & InntRaw - Stephanie (HNTR Remix) This remix has some serious punch. It takes the original to a darker, more driving place which is perfect when I want to shift gears in the set and take things deeper. I loved to play the original one before, but this remix caught me even more. Robin Schulz, OSWALD - eternal life This track means a lot to me. It shows where I'm at musically right now. Emotional, uplifting, but a bit more club-focused. Playing it live always feels special. It's a total classic, and the James Hype edit gives it a fresh energy. Everyone knows it; everyone is going crazy. It's one of those guaranteed moments in my sets.
New York Times
11-05-2025
- Entertainment
- New York Times
Dance Music Is Booming Again. What's Different This Time? A Lot.
In late February, just after midnight, a cavernous warehouse in the Brooklyn Navy Yard thumped with the Ibiza-based D.J. and producer Solomun's dramatic, synth-heavy house music as red light strobed over a sea of raucous 20- and 30-somethings. Two days earlier, he had been at the 20,000-capacity Sphere in Las Vegas opening for Anyma, an Italian American electronic music star whose run of New Year's Eve shows sold out in under 24 hours, grossing $21 million in ticket sales. Just before 2 a.m. a few weeks later, the London-based D.J. and radio host Moxie was shaking Brooklyn's Public Records with a classic '90s house track, smiling ear to ear as she watched over the sweaty 200-capacity nightclub. On a more frigid March night, Zeemuffin, a Brooklyn-based D.J. originally from Pakistan, was onstage at the Bushwick venue Elsewhere, headlining 'Azadi' ('freedom' in Urdu), a bill that featured a wide array of global dance music sounds — Chicago house, Jersey club, Baltimore house, dancehall, the Baile funk of Brazil, the gqom of South Africa — while a sold-out crowd went wild. Zeemuffin (real name: Zainab Hasnain DiStasio) took a trip back to Pakistan around the top of the year to D.J. a club in Karachi where the near pandemonium at her set bordered on ecstasy. 'Never in my whole life — and I'm from there — have I experienced anything like this' in the city, she recalled. She described a crowd of 'queer people, trans people, Black people, white people, Asian people, all in one space,' and sighed. 'It was unbelievable.' Over the past four years, scenes like these are increasingly playing out all over the world, as dance music experiences yet another boom period. Festival lineups are jam-packed with D.J.s, while some of the biggest names in pop music (including Beyoncé, Drake and Charli XCX) have made dance music-inspired or adjacent albums. It's usually at this point — when a newspaper sees fit to write about it — that the comedown starts. This moment, however, is different. Fueled by socioeconomic, cultural and technological changes, dance music and club culture have built on the progress of the past to leave a footprint deeper than we've seen before. As costs skyrocket for live instrumental acts to hit the road, a touring D.J. needs to travel with only a USB stick full of music. The continued evolution of D.J. hardware and software has softened the learning curve (and entry price) for beginners, while expanding possibilities for seasoned performers. And digital platforms like Boiler Room — the hugely popular video series that pioneered the de facto online D.J. video format — have changed the trajectory of what it means to be an electronic music artist or fan. 'Boiler Room has been an enormous force, bringing all kinds of electronic dance music from all over the world to people in their bedrooms, no matter where they are,' said the label owner and veteran music journalist Philip Sherburne. Previous generations logged time in record shops and found parties via fliers. Now, those worlds are a swipe away, chopped up and served algorithmically, in bite-size, hyper-compelling clips. 'After Boiler Room, you're seeing extremely experimental Brazilian funk D.J.s.,' Sherburne added. 'You're seeing grime, you're seeing techno. You're getting the entire spectrum there.' That range is another significant distinction of this moment — no single style of dance music has surged to popularity over the others. Hard techno, Afro house, drum and bass, tech house, U.K. garage: They're all different, and they're all finding audiences. At the same time, local nightlife scenes around the world — demystified by the deluge of online content about them — are attracting more attention than ever. On TikTok, where the 'electronic music' hashtag raked in 13.4 billion views in 2024 (up by 45 percent from 2023), dance music's ever-expanding digital footprint includes influencers explaining the differences between genres, recommending where to hear them or explaining the history of dance music one record at a time. Bedroom D.J.s making music (or sometimes, just memes) can build substantial careers practically overnight. It all adds up to the genre experiencing extraordinary reach: the variety of dance music people are producing and enjoying, the places they're dancing to it, and the amount of media being generated about it. And depending on whom you ask, judging by the many interviews conducted for this article with D.J.s, label heads, bookers and venue owners across the dance music spectrum, that's for better or worse — often both. HISTORICALLY, WHEN DANCE MUSIC cuts across the American mainstream, it's piggybacking on pop. In the '90s, Madonna's 'Ray of Light' and films like 'Go' dragged rave culture into the spotlight, as MTV played videos by Fatboy Slim, the Chemical Brothers and Aphex Twin, and suburban mall rats co-opted wide-legged rave pants. In the 2010s, acts like Calvin Harris, Daft Punk, Skrillex and Diplo brought electronic dance music (or E.D.M.) to Top 40 radio by teaming with Rihanna, Taylor Swift, Pharrell Williams and Justin Bieber. Forbes reported that the 10 highest-paid, high-flying D.J.s earned $298 million in 2017; the list included Harris ($48.5 million), Tiësto ($39 million) and the Chainsmokers ($38 million). The following year, the superstar producer and D.J. Avicii, who had spoken about the stresses of the job, died by suicide. The dance party, at least in the mainstream, seemed to ebb. Five years ago, amid a pandemic and the global lockdown that came with it, the question of when nightlife would resume — let alone, what it would look like when it did — had no clear answer. The world, as it turned out, wanted to dance. A lot. After over a year of social isolation, people of all ages began making up for lost time. Some had missed out on the years when nightlife typically starts to call; others, aging out of it, were catching up on the years that were stolen from them. 'Coming out of that, it was quite overwhelming at times,' said Moxie (real name: Alice Moxom). 'The first show that I announced after lockdown, at a venue called Village Underground, just sold out, like that.' It didn't stop at nightclubs — the mainstream market for dance music exploded, slowly, and then all at once. The electronic artist Fred, again.. went from playing New York's 575-capacity Bowery Ballroom in December 2021 to having a Boiler Room performance go viral in 2022 to headlining Coachella with Four Tet and Skrillex in April 2023. Last summer, he sold out the L.A. Memorial Coliseum — 75,000-plus capacity — with only five days' notice. In 2023, albums by both Beyoncé and Drake nodded to house and club music. Charli XCX promoted her 2024 'Brat' LP at the Ibiza club Amnesia. A track on FKA twigs's pulsing 'Eusexua' was mixed at the Berlin club Berghain. And Katy Perry made a not-at-all inconspicuous appearance at the South African D.J. Black Coffee's celebrity-magnet HI Ibiza residency to push '143.' Still, dance is eclipsing the pop it has used to infiltrate the mainstream. 'Move,' a track released last year by Adam Port, one of the members of the German label Keinemusik, has over 542 million Spotify streams — more than any one song from releases by Charli XCX, Katy Perry or FKA twigs. Artists like John Summit, Sara Landry and Sammy Virji are becoming household names in their own right. 'There seems to be more new dance music than new music with guitars, especially in our venues,' said Josh Moore, a talent buyer who has been booking concerts with Bowery Presents for 18 years. 'We've been booking dance acts in rock clubs for a long time, long before the pandemic,' he added, 'but it definitely does seem to have picked up lately.' Later this summer, Bowery Presents will throw one of New York's biggest concerts of the year: Keinemusik, with an estimated 40,000 planned to attend the event at Flushing Meadows Corona Park. American music festival lineups have become increasingly dominated by dance music acts, and dance music festivals are pulling record crowds: Electric Daisy Carnival in Las Vegas attracted 525,000 attendees last year over three days. (For context, Coachella 2024 drew approximately 200,000 people over two weekends.) The international market for dance music is (as usual) even bigger. Large-scale dance music festivals are becoming destinations, like Albania's UNUM Festival, or in India, where the Amsterdam-based festival DGTL has started editions in Mumbai and Bengaluru. On the smaller end of things, hyper-niche electronic music festivals are popping up and attracting significantly more interest, like New Jersey's Dripping. Or upstate New York's Sustain-Release, now in its 11th year and more mythological than ever: Admission is granted exclusively to those with memberships, which are by referral only. And if the veritable mecca of dance music, Ibiza, is any measure, the Spanish island has shattered tourism spending records over the past few years, enjoying a 30.78 percent increase in tourist spending from 2019 to 2024, a year in which tourists spent a record 3.964 billion euros (or $4.47 billion), per the Balearic Institute of Statistics. This month, the largest nightclub in the island's history, [UNVRS], pronounced 'universe,' is set to open. It announced itself with a trailer featuring Will Smith, and when it opens, will have a capacity of 15,000, making it the world's largest nightclub, a venue on par with arenas. DANCE MUSIC'S LATEST MOMENT isn't entirely a party. Longtime practitioners and devotees fret that the ineffable qualities that make nightlife great — and the spaces and D.J.s who made it that way — are under threat as it spirals upward and outward. Artists and venue owners have argued that festivals siphon money from nightclubs, which also stand to lose regular business during global economic downturns when disposable income is tight. That's to say nothing of increasingly competitive commercial real estate markets in cities where nightlife thrives, or the shaky state of Ibiza's civic fabric, as essential workers are priced out of the island. A generation drinking less and spending more time online isn't helping. The financial interests around the music business are changing, too. KKR, a large global private equity firm, now owns some of the world's largest music festivals via its portfolio company Superstruct, in addition to Boiler Room. Some of its events have not gone over well with the largely progressive dance music community. Festival lineups and Spotify playlists, along with more viral forms of dance music and its biggest celebrities, tend to overshadow and underrepresent the marginalized communities foundational to dance music's bedrock. Artists like Honey Dijon remain dedicated to highlighting the genre's Black and queer roots, which were sown in Chicago and Detroit nightclubs and New York lofts. 'Past, present, and future exist on a continuum,' she told The Times in 2022. 'And it's just reintroducing things into now.' She credited the trans women she met working in nightlife for providing support and resources for own transition; as many writers have noted, electronic music has long provided a safe space for trans and nonbinary artists and fans. Technology has facilitated a quantum leap for the promotion and dissemination of the music, but phone filming in nightclubs is increasingly a vibe-smothering scourge, erasing the anonymizing catharsis of a dance floor. Established D.J.s with years (if not decades) of experience are struggling to promote themselves on social media while competing with newcomers who may leave as quickly as they show up. 'The proliferation of Instagram stories, and TikTok stories by D.J.s showing themselves — it doesn't feel great,' said Eamon Harkin, a D.J. in New York since 2007 and the co-owner of the beloved Brooklyn nightclub Nowadays since 2015. He likened the practice to putting the D.J. on a pedestal over the music (and the dancers). 'It feels like we're pulling away from the essence of the culture, which is about a collective experience on the dance floor, with somebody just choosing the music, and trying to put it together in a purposeful and intentional way to elevate that experience.' Nowadays was one of the first of a growing number of Brooklyn nightclubs — like Basement and the just-opened Signal — to mirror its European counterparts, with policies banning phones on the dance floor. Before her five-hour set at Public Records last month, Moxie grabbed lunch in the backyard of a Greenpoint restaurant and discussed some of the obstacles dance music is facing, including a string of nightclub closures in her native London and a mentality shift among some young people toward observing rather than participating. 'It's 'I'm just going to stay inside and watch a D.J. on a stream set,'' she said, 'or 'Now I want to be the D.J., and I'm just going to practice at home.'' ('You need the crowd,' she said. 'You need the crowd to participate!') Those who are motivated to leave the house — and there are still many — are finding the resurgent scene more pluralistic. 'Women don't feel so intimidated by it,' Moxie said. 'There's not so many gatekeepers.' That's a marked difference from when she was coming up 10 years ago in the male-dominated London dubstep scene. 'And that is actually a positive thing about social media,' Moxie explained. 'Now, you can get a following via a different route — it doesn't have to be a mix on the BBC.' In January, a Japanese D.J. named Yousuke Yukimatsu turned attention to Tokyo's raging nightlife scene (and himself) with just one blisteringly exciting Boiler Room performance. Podcasts like 'Safe Spaces Series,' hosted by the Brooklyn D.J. Tony Y Not, shine a spotlight on the mental health issues D.J.s face. Even the genre's roots are managing to endure in the bedlam of its hyper-evolving present. Just a few weeks ago, there on Instagram was Kevin Saunderson — a techno inventor and pioneer — explaining its history to a fan who had no idea the genre was birthed not in Europe, but in Michigan. 'Respect to the new fans and the old heads,' he captioned the post. 'Detroit techno is forever 🖤'
