Leading the bill is Grammy-lauded live electronic duo Big Gigantic, bringing their signature blend of saxophone, drums, and bass-heavy production to the festival in full live form. They’re joined by viral saxophone sensation Saxsquatch, bass house heavyweight Henry Fong, whose remix credits include J Balvin and Rihanna, and funk-infused house duo The Sponges, with more names still to come. The full event spans three stages, over 20 artists, and 12 hours of music, blending electronic, hip-hop, funk, house, and live performance into a single day. Past editions have welcomed everyone from Cheat Codes and KSHMR to Chicago house pioneer Marshall Jefferson, along with Destructo, The Knocks, Slushii, and Waka Flocka Flame.

Behind it all is longtime Chicago promoter Bobby De Maria, who founded the festival as a more intimate, community-driven alternative to the large scale events that dominate the season.

“Summer’s Last Dance is about connection as much as it is music,” De Maria says. “From the beginning, we wanted to create an experience that brings people together across different scenes and backgrounds while also supporting something bigger than ourselves.”

That mission runs deeper than most festival charity partnerships. Summer’s Last Dance continues its work with the Miracle Michael Fund, established in honor of Michael John Shultz to support families affected by Osteogenesis Imperfecta, a rare connective tissue disorder commonly known as brittle bone disease. A portion of every ticket and sponsorship goes directly toward family assistance and ongoing research.

For De Maria, the philanthropy is personal. His company, Afterlife Entertainment, has helped raise more than $100,000 for organizations including Ronald McDonald House Charities, Hope For The Day, and the Miracle Michael Fund. Those efforts are now led alongside his father, Jim De Maria, a longtime Chicago sports and nonprofit executive who spent decades with the White Sox, Blackhawks, and Ronald McDonald House Charities.

“I grew up watching my dad use sports and entertainment as a way to bring people together and support people who needed it most,” says De Maria. “That mindset became a huge part of what we built with Afterlife. The music matters, but so does what you do with the platform.”

Praised as one of the Chicago Tribune’s top summer events, Summer’s Last Dance has carved out a lane that few festivals occupy anymore: independent, intentional, and built around the people showing up. It’s one final celebration before summer fades, and if the first phase of the lineup is any indication, Chicago is going to send the season off right.

Summer’s Last Dance returns September 19 in Bridgeview, IL. Tickets and more information are available at SummersLastDance.com.

The post Summer’s Last Dance Unveils 2026 Edition Led By Big Gigantic, Henry Fong, And Saxsquatch appeared first on Dancing Astronaut.

Surge is an ambassador-driven marketing platform co-founded by 28 year old Alex Hilburn, built on one core idea: fans sell better than ads ever will, if you empower them correctly. Instead of relying on massive paid media campaigns or traditional street teams, Surge activates a nationwide network of more than 10,000 ambassadors, real fans embedded in the cities, scenes, and genres they represent, and gives them the tools to sell tickets to the events they already love.

The results have been hard to ignore. What started as a side hustle among friends generated over $6 million in ticket sales in its first year alone, moving more than 35,000 tickets and averaging roughly $115,000 in weekly sales. That trust has come from some of the biggest names in live events, with a client list that includes Ultra Europe, Kygo’s Palm Tree Music Festival, Hotel EDC, Shaq’s Bass All Stars, Yacht Week, Windy City Smokeout, Dave Portnoy’s One Bite Pizza Festival, and Bert Kreischer’s Full Throttle Festival. Surge has already secured over $6 million in sales in 2026 and is on pace to exceed $10 million by the end of the year.

For the festivals working with Surge, the impact goes deeper than the numbers. Ambassadors often drive up to 30 percent of total ticket sales for individual events, and clients have increasingly come to view the platform as a core growth channel rather than a supplemental tactic. In an economy where fans are more selective than ever about where their money goes, that kind of community-based growth has given these events something rare: a sense of stability.

Hilburn has spent his career building these systems, helping generate more than $20 million in festival ticket sales along the way. For him, the approach comes down to keeping things simple.

“With these programs, the mistake most brands make is over-engineering the system or turning it into a data grab,” Hilburn explains. “We focus on people who already love the event and give them simple tools to activate their communities. When that happens, sales follow naturally.”

That last point matters more than you might think. Unlike platforms that collect and monetize attendee information, Surge takes zero fan data, keeping the relationship between ambassador, fan, and event fully intact. It’s a data-free model in an industry where fan data has become one of the most harvested commodities around.

The platform is also creating real income streams for its ambassadors, many of them Gen Z fans across a college network spanning more than 400 universities. Fans get paid to share the events they were already talking about, and festivals get a sales force that no ad campaign can replicate.

Surge has now surpassed $10 million in total ambassador-led sales, and as the company heads into its second year, its early traction points to a broader shift in how live events think about growth. Trust, community, and word of mouth are winning out over clicks, and Surge is at the front of that movement.

The post Meet Surge, The Company Turning Fans Into The Festival Industry’s Best Sales Team appeared first on Dancing Astronaut.

Founded in Australia in 2010, Your Shot has spent the past 16 years turning complete beginners into working artists, with alumni including Tigerlily, Sippy, and Go Freek. The program made its American debut last fall, and the results spoke for themselves. More than 500 first-time DJs went through the inaugural US season, which wrapped with showcase weekends in Los Angeles and New York that drew over 10,000 combined attendees. The 2025 class was topped by two female DJs, Jelly Bean and Punky Butter, who are now set to open at CRSSD Festival and Elements Music & Arts Festival off the back of their wins.

The format stays true to what made the first season work. Selected participants spend six weeks at The Academy learning the fundamentals of DJing from industry professionals, covering everything from mixing and music selection to live performance. The season then culminates in showcase weekends in each city, where contestants perform in front of real crowds, industry professionals, and talent scouts. Winners walk away with an opening slot at a major music festival, with this year’s prizes including F1 Las Vegas and Insomniac’s EDSea, plus more to be announced.

The gear is getting an upgrade too. AlphaTheta, the company behind Pioneer DJ, is supplying mixers and controllers across all four cities, while Sony joins as a new partner providing speakers and professional headphones. Participants will be learning on the same equipment they’d find in an actual club or festival booth.

Guiding the program is an advisory board stacked with industry heavyweights, including producer and FEMME HOUSE co-founder LP Giobbi, Vibee President Harvey Cohen, and The Circuit Group, the management company behind Chris Lake, FISHER, deadmau5, and more.

“Every aspiring artist deserves access to opportunities, mentorship, and a community that believes in them,” LP Giobbi said. “I’m proud to support the incredible work Your Shot is doing to help the next generation of DJs build confidence, develop their craft, and take that first step.”

Demand is already outpacing last year, with more than 8,300 people pre-registered nationally before the season has even started. Registration is open now, with in-person selection events taking place August 22 at Bar Standard in Denver, August 29 at M2 Nightclub in Miami, September 12 at Catch One in Los Angeles, and September 19 at Elsewhere in Brooklyn.

If you’ve ever wanted to get behind the decks but didn’t know where to start, this is it. No experience, no gear, no connections required.

Registration for Your Shot 2026 is open now at yourshotdj.com. In-person selection events begin August 22.

The post Your Shot Returns To The US For 2026, Expanding To Denver And Miami appeared first on Dancing Astronaut.

“Pal Pal” was already one of 2025’s most inescapable South Asian records before anyone reached for a remix. Afusic’s vocal, Talwiinder’s verse, and Ali Soomro’s production stacked 500 million-plus streams and chart positions across Pakistan, India, and well beyond, largely on the strength of a hook that soundtracked every heartbreak edit on Reels.

Sickick’s official remix keeps the original vocal front and center and rebuilds everything under it. The Canadian producer known for his mask and for the “Frozen” rework that broke him globally brings Afro-leaning drums, more atmosphere, and the darker electronic sound he’s spent his career on.

Sickick grew up around Bollywood music and says the combination of electronic production, Afro drums, and South Asian vocals is something he hadn’t heard done before.

He said his goal was to honor the original while making something that works on a dance floor.

He succeeded.

The post Sickick remixes Afusic, Ali Soomro, and Talwiinder’s ‘Pal Pal’ appeared first on Dancing Astronaut.

Silva Bumpa

Silva Bumpa has quickly become one of the most exciting rising names in house music, bringing a fresh sound and infectious energy to dance floors around the world. Known for his UK-rooted approach to house and club music, the rising artist has continued to make waves with his energetic selections and dynamic sets. If you’re looking to discover one of house music’s next rising names, Silva Bumpa should be high on your list.

Discip b2b Roddy Lima

ARC is no stranger to bringing together unexpected pairings, and Discip B2B Roddy Lima is one that should not be overlooked. The combination of their distinct sounds will create a set that could easily become one of the weekend’s more memorable moments. For those looking to discover something fresh while staying locked into the festival’s house-focused atmosphere, this is one collab worth catching.

Cloonee

Cloonee knows how to command a dance floor. The UK house favorite has built a reputation for his infectious tech house sound and high-energy performances, becoming a staple at clubs and festivals around the world. With a catalog packed with crowd favorites and a knack for keeping the momentum going, his ARC appearance is sure to be a major draw for house fans.

Korolova b2b Kasia

Korolova B2B Kasia brings together two powerhouses in electronic music for a special back-to-back set. Both artists have built strong identities within the melodic techno and progressive house space, while also carving out their own paths as women producers in a traditionally male-dominated industry. Their chemistry behind the decks makes this collaboration an exciting opportunity to experience both artists in a new light. 

Azzecca

Azzecca continues to carve out her own space in the electronic music scene with a sound that feels equally suited for intimate clubs and massive festival stages. Blending dark, hypnotic house with a touch of indie dance, the New York-based artist brings a distinct edge to every performance. Her ARC appearance is a chance to catch one of the scene’s rising talents as she continues to make her mark.

Final Thoughts

From tech house and club-ready sounds to melodic and progressive influences, ARC Music Festival continues to showcase the many sides of electronic music. Whether you’re looking for familiar favorites or hoping to discover your next favorite artist, Silva Bumpa, Discip B2B Roddy Lima, Cloonee, Azzecca, and Korolova B2B Kasia are five sets worth keeping on your radar this weekend.

Photo credit: @arcmusicfestival

The post 5 Acts to Catch at ARC Music Festival 2026 appeared first on Dancing Astronaut.

Virji arrives off the biggest stretch of his career. He took Best Producer at DJ Mag’s Best of British Awards last year, the first award win of his career, then sold out two straight nights at the 10,000 capacity Alexandra Palace in London this April, the largest headline shows he has ever played. Along the way he pulled one of the biggest crowds of the weekend at Coachella, picked up a BBC Radio 1 residency, watched “If U Need It” go Gold, and landed in the UK top 10 with “Cops & Robbers” alongside Skepta. Two nights in one city is not something he has been giving out often at this level, and Saturday sold out well ahead of the weekend.

Friday’s support comes from X CLUB. and 33 Below. X CLUB., the duo of Ben Clarke and Jesse Morath, came out of Brisbane before relocating to London, and they built their name on fast, hard, relentless sets that pull from early 90s techno through to drum and bass. Their records have landed on Mall Grab’s Steel City Dance Discs and Lobster Theremin, and they run their own Hide The Junk label. They are one of the more chaotic bookings on a garage bill and exactly the right kind of chaos for a pier.

33 Below plays both nights. Born in New Zealand and now based in London, Jack Laven has spent the last few years moving between UKG, drum and bass, and grime without ever settling into one lane. His EP PUSHER and the Scrufizzer collaboration “Mash Up” show how heavy he can go, and he has already worked with Virji directly along with supporting Fred again.. on the road. He knows this crowd.

Saturday’s bill brings in Sam Gellaitry, who comes at all of this from somewhere else entirely. The Scottish producer grew up in Stirling and built a cult following on SoundCloud before signing to XL at 18, and his 2021 single “Assumptions” took off across social media in 2025, hitting No. 5 on Billboard’s Hot Dance/Electronic Songs chart and turning into one of the songs of that summer. His debut album Anywhere Here Is Perfect followed the same year. Putting him next to Virji makes for a much wider night than the lineup suggests on paper.

The venue is a big part of why this weekend matters. The Brooklyn Army Terminal has stood on the Sunset Park shoreline since the First World War and spent the Second moving cargo and troops out to the Pacific, and it now runs as a working industrial campus for the city. Pier 4 sits right on the water, with the harbor on one side and lower Manhattan across it. Doors open at 4:00 p.m. both days and both nights are 18+, so this is a daylight into sunset show rather than a dark room, and that last hour of light on the pier is going to be the moment everyone talks about afterward.

If you have caught Virji before, you know what is coming, a pile of unreleased dubs, constant reloads, and a set that never sits still. If you haven’t, this is the one to go to. Saturday is gone. Friday is still available.

Sammy Virji plays Pier 4 at the Brooklyn Army Terminal on Friday, July 31 and Saturday, August 1. Doors at 4:00 p.m., 18+. Saturday is sold out but Friday tickets are available here.

The post Sammy Virji Brings His Iconic UKG Sound Back To NYC For Two Nights On The Brooklyn Waterfront appeared first on Dancing Astronaut.

Liana Stern: Your monthly Spotify listeners have continued to increase. Has anything about your creative mindset or approach changed as your audience has grown, or are you continuing along the same path you’ve always been on?

Bipolar Sunshine: I see it as setting out a plan from the beginning and continuing with it. I can see that it’s working in some aspects, so I’m doubling down on what I’ve been doing and being strategic about the releases and features I take on. All of that is helping push my brand and the style of my music forward, while still allowing me to focus on my own records.

Spotify numbers are a great thing to have, but I feel like really pushing toward that one-on-one connection and getting to know my fanbase is the biggest step for me.

LS: You’ve worked with a lot of different global artists, including DJ Snake. What have you learned from collaborating with artists who each have their own distinct creative identities?

BS: I think I learn something from every single artist I work with. There’s always something I want to take from them, and that’s the reason why I work with them in the first place. Each one brings their own distinct sound and style. Being able to work with so many great artists who have a real humbleness and a strong work ethic. The ones who are always trying to make something, always trying to create, and be the best they can possibly be, only inspires me to go for greatness myself.

LS: You’ve described yourself as someone who blends soulful melodies with electronic music, while also being a songwriter. How does your songwriting side influence your production process?

BS: I’ve always had an energy toward melody. Melody, to me, is always the first thing I draw for, whether it’s in production or songwriting. I’m always probably going to go for the melody before the lyrics. The two work hand-in-hand for me. Even before we got on this call, I had probably done three or four voice notes with song ideas and melodies, just humming where I think each thing needs to go.

I don’t necessarily need to be in the studio all the time. I would rather be doing something mundane, like washing the dishes or packing my bag, and then have a melody come to me. When that happens, you have to jump on it. My mentality is that as soon as an idea comes, you have to put it down, even if it’s just in a voice note, and then you can go back to it later.

LS: So you don’t necessarily draw inspiration from one specific place. Is it more about allowing ideas to come to you naturally?

BS: I feel like I’m just living life, and when you’re living life, things come to you rather than purposely going out to search for something to write about. It’s easier when you’re actually living the life you’re writing about and paying attention to what you’re seeing and people’s conversations.

Whether I’m on a tram, a bus or anywhere around people who are talking or showing emotion, that’s the easiest and best place for me to write. I write stories based on people I don’t even know, just from my own viewpoint.

LS: You’ve played major festivals like Electric Forest and Ultra over the past year. Was there a live moment that really stood out to you or felt like a recognition of your success?

BS: I think doing those types of festivals and playing these really big shows with amazing artists all accumulate into one real moment. Obviously, starting things off with Snake was mind-blowing, and then we did Ultra together. I recently did my own show in France called Packer Festival, which was great. I DJ’d and played some of my own records.

That feeling of performing, whether it’s to 100 people or 80,000 people, doesn’t really matter. It’s the act of delivering something that I consider to be art to other people.

LS: Looking ahead, is there a dream collaboration, festival or show that you’d love to make happen?

BS: There are so many. I’d love to work with Peggy Gou and Pharrell. A collaboration with them would be super sick, that would be a dream.

As far as festivals go, I’d love to play Glastonbury. I think it’s one of the best festivals in the UK, and it would be amazing to perform there. Fuji Rock would also be incredible. There are so many cool artists coming out of the UK, and I feel like I could do something really special with some of them, especially on the house side.

LS: Finally, can you explain the story behind the name Bipolar Sunshine? What does it mean to you?

BS: I wanted to use the name Bipolar Sunshine so I could write across the highest to the lowest spectrums, while the sunlight represented the light at the end of the tunnel. Wherever you’re going, there’s always a way out.

Living in Manchester also influenced the name because the weather there is very unpredictable. So it was a homage to where I’m from, while also giving me the freedom to write about whatever I really wanted.

Bipolar Sunshine’s story is ultimately one of growth, creative freedom and finding inspiration in the world around him. As his audience continues to expand, he remains focused on staying true to the vision he established from the beginning while building deeper connections with the people who connect with his music.

The post Bipolar Sunshine’s Rise From Manchester to the World Stage appeared first on Dancing Astronaut.

Canadian melodic techno producer Daijo has returned with “Sacred Dance,” a single that splits the difference between peak-time propulsion and headphone introspection. It’s territory the Vancouver-based artist has been steadily staking out as his own.

This one’s got hooks. “Sacred Dance” builds from a hypnotic low-end groove into layered synth work and organic percussion, unfolding with a of patience. It’s melodic techno with house’s warmth in its bloodstream. The record’s nothing but straight alchemy on the dance floor.

Daijo’s story is one of movement and reinvention, coming to life throughout a catalog guided by his stated mantra to “shape songs from the heart, create sounds from within, and touch people with timeless music.”

“Sacred Dance” is Daijo sharpening that vision.

The post Daijo taps heritage and hypnosis on ‘Sacred Dance’ appeared first on Dancing Astronaut.

While viral moments helped introduce listeners to me n ü, years of songwriting, production, and collaboration laid the foundation long before the spotlight arrived. During a conversation with Dancing Astronaut, the sisters reflected on their creative partnership, navigating the pressure that comes with success, breaking barriers as women in dance music, and why authenticity remains their biggest priority.

Liana: You describe your sound as “Hope House.” What emotions do you hope people leave with after listening to your music or seeing one of your live performances?

me n ü: We always want people to leave feeling nostalgia and euphoria. It’s important that our music creates an emotional reaction, not just happiness, but that bittersweet feeling of remembering moments in your life. That’s always been the goal.

We also love playing in nature or in more unconventional settings because those environments naturally create a different atmosphere and help people connect with the music in a unique way.

Liana: Before me n ü became your main project, you spent years writing and producing together. How has that experience shaped the way you work today?

me n ü: It’s really strengthened our creative partnership. We’ve developed that creative muscle over years of writing together. Recently, we were exhausted while preparing edits for a New York show, but we were still coming up with ideas we loved. me n ü reminded me that’s what happens after years of consistently creating, you can still find inspiration even when you’re tired.

We compare it to athletics. After enough years of training, even on your worst days, you’re still capable of performing at a high level. That’s what all those years of honing our craft have given us. Working as sisters also helps. We can be incredibly honest with each other, and our strengths naturally balance each other’s weaknesses. It definitely isn’t for the weak. We argue, but that’s just part of working together. At the end of the day, we both want the same thing.

Liana: Was there a moment when you realized me n ü had become something much bigger than you originally imagined?

me n ü: We still don’t feel like we’ve accomplished everything we want to accomplish, but looking at this year, Ultra Main Stage, Tomorrowland, Red Rocks, EDC Orlando. It definitely makes you stop and appreciate how far we’ve come. 

The biggest moment for me actually happened at our New York show. A storm delayed us by over two hours, and we thought everyone would leave.Instead, more than 700 people stayed in line waiting for us. The show didn’t even start until after it was supposed to end, and everyone still stayed.

That was when it really hit us. Streaming and going viral are amazing, but seeing people wait hours just to experience the show, that’s a completely different level of connection.That was the moment we realized we were building something special.

Liana: Your single “Jump” introduced so many people to your music. How do you continue evolving without feeling pressure to recreate that success?

me n ü: After “Jump” came out, it was hard to make music for months because we kept thinking every song had to live up to that one. Eventually, we realized we couldn’t create from that mindset, we just had to keep moving forward. Every release teaches you that there’s always another opportunity. A song doing well or poorly starts carrying less emotional weight because you know you’ll make another one.

We’re in love with making music more than anything else. We’ve also learned to trust our instincts. Sometimes you know when something feels special, but the truth is nobody really knows what’s going to connect.

We’ve been wrong every single time. We thought “Jump” was a throwaway track. We thought people would hate “Super Rich.” We thought “Your Eyes” would only get a fraction of the response it did. That’s taught us to stop chasing formulas and just make music we believe in.

Liana: As women breaking through at festivals like Ultra and Tomorrowland, what advice would you give other female producers trying to follow a similar path?

me n ü: We realized after Ultra that we were the only women on the Main Stage lineup that weekend, which was a crazy realization. Our advice is not to overthink it. Somebody booked you because you earned your place. It’s easy to compare yourself to everyone else, but the more you focus on your own journey, the better.

We already know dance music is male dominated, so I don’t spend much time dwelling on it anymore. It is what it is. The best thing you can do is keep making great music and not let that become something that limits you.

Liana: Looking ahead, what does success mean for me n ü?

me n ü: We want to keep playing bigger festivals and bigger stages, but creatively, we also want to become album artists. Dance music is so focused on singles, but because we produce our own music, we feel like we can create full projects that tell a bigger story.

That’s a huge goal for us. We don’t want to be known only for individual songs—we want to make bodies of work that people can experience from beginning to end. Success is also having the freedom to choose projects that genuinely align with who we are and continue building something that feels authentic.

Liana: Finally, dream collaborations or dream stages?

me n ü: Peggy Gou is definitely at the top of my list. She’s such a huge inspiration creatively, and honestly, she’s on our fashion mood board too.

Festival-wise, Coachella and Lollapalooza are still dreams, and we’d love to tour Asia and Australia. Honestly, though, if you asked where we’d like to be in a year, the answer is simple; wearing great clothes and playing shows across Europe.

With appearances at Ultra Main Stage, Tomorrowland, Red Rocks, and EDC Orlando already defining a milestone year, me n ü are proving their breakout is built on far more than a viral hit. Grounded in years of collaboration, driven by emotion, and committed to authenticity over algorithms, me n ü continue to shape their own lane in dance music. 

The post me n ü on Their Breakout Year, “Hope House,” and Finding Their Place in Dance Music appeared first on Dancing Astronaut.

Liana Stern: Elements has grown tremendously over the years while maintaining the spirit that inspired the festival. What sets Elements apart from other camping festivals?

Brett Herman: Elements is very much a music and arts festival. It even started more as a party specifically than a festival, so we’ve always tried to keep the experience and the non-music things at the forefront. Personally, I’ve been going to Burning Man for 20 years, so that culture and those values were a massive inspiration. 

We wanted to create something that’s a lot more participatory. You go to Elements, and you feel like you’re a part of the culture and the fabric of the event versus just looking at a stage and being a guest. The whole design of the experience really puts you in the driver’s seat. We love festivals and we’re inspired by many of them, but we’re really trying to create something that you can’t find anywhere else in the world.

Daniel Slutsky: A big part of that is our Vibe Village culture, which is essentially our version of group camping. We encourage participation, and it’s often been described as a festival within the festival. People bring full stages, art installations, or create these wacky interactive experiences. It’s very Burning Man in that way, while still being a music festival with major production. We’re focused on creating our own identity and building that sense of community as we continue to grow.”

LS: What’s new for attendees this year?

DS: We’re upgrading two of our main stages with entirely new Fire and Earth stage designs that we’ve been working on all year, and we’re really excited to debut them. Beyond production, we’re constantly looking at every aspect of the guest experience. We actually created a brand-new Guest Relations department that’s focused entirely on making sure every interaction—from the website and social media to entering the campgrounds and leaving the festival—is as seamless as possible. We’re also introducing new art experiences in the woods, new activities, and even a retro-inspired candy shop experience that should be a lot of fun.

LS: How involved are you in building the lineup, and how do you balance so many different genres?

DS: Our entire team is very collaborative, and that extends to talent buying. We’re constantly listening to new music and looking at artists who are redefining genres. Rather than focusing on one particular sound, we really try to create a full spectrum of electronic music. This year we’ve leaned into everything from UK garage and house to dubstep and harder techno. We also make it a point to highlight regional artists because supporting talent early in their careers has always been part of our culture.

BH: There’s such an explosion of talent right now that it’s impossible to book everyone we’d like to. One of our greatest joys is booking artists who are just at the beginning of what becomes a major career. We’ve had that opportunity with artists like The Chainsmokers and Louis the Child, and we want people to come not just for the headliners, but to discover someone new.

LS: What are some of the biggest challenges people don’t realize come with producing a camping festival?

BH: Planning really never stops. We’re already working on next year’s festival, and booking starts 14 or 15 months out. Behind the scenes, it’s a tremendous amount of work. We want guests to feel like everything is effortless, but you’re dealing with weather, vendors, supply chains, rising costs. It’s almost like running a temporary city. Our goal is always to deliver the biggest experience possible while keeping the festival accessible, and sometimes that means making difficult decisions about where to invest.

DS: Festivals are a lot harder to produce than most people think. You’re building infrastructure for tens of thousands of people over just a few weeks. It’s definitely not as glamorous as it looks. I know way more about porta-potties than I ever thought I would, but it’s incredibly rewarding because we get to create these unforgettable experiences for people.

LS: Looking ahead, what’s your long-term vision for Elements?

BH: From the very beginning, every party and every festival has had to outdo the last one. Growth is great, but it’s not just about attendance. We want every guest to walk away feeling like this year’s experience was even better than the last through bigger productions, better art, more immersive experiences, and all the weird side quests that make Elements unique.

DS: I always think about places like Disneyland. No matter what your opinion is, you can’t deny how immersive those experiences are and how every detail is considered. That’s the mindset we take every year. We just want to keep building on what we’ve created, bringing more creative ideas to life, and making the experience more spectacular with each edition.

LS: Finally, looking back over the years, is there one favorite Elements memory or moment that really stands out?

BH: Every year, we’ve always tried to create some sort of ‘WTF’ factor. Going all the way back to our earliest events, we’ve had BMX riders jumping over fire breathers, the world’s longest wakeboard jump into the Gowanus Canal, skydivers parachuting into VIP, and helicopter experiences. Those larger-than-life moments are always memorable.

But honestly, I think what stays with people are the smaller moments. It’s those unexpected interactions, whether it’s meeting someone new or having a spontaneous experience with a performer. Those personal moments are just as powerful, and that’s really what we try to create for everyone who comes to Elements.

DS: I actually agree with Brett. As a festival attendee myself, it’s usually not the big headlining set that sticks with you years later. It’s connecting with someone new or stumbling into some weird, unexpected experience in the middle of the woods. Those are the memories I still have from festivals before I ever worked in the industry, and that’s a huge emphasis for us when we’re designing Elements.

That said, one of my favorite moments was last year when we convinced Pretty Lights to fly in two days early and do a surprise pop-up set on a renegade bus in the campground. It was completely unannounced, and people just wandered into this once-in-a-lifetime experience. Those are the kinds of moments that make Elements so special.

With redesigned stages, expanded immersive programming, and a continued commitment to community, Elements Music & Arts Festival is once again focused on elevating the attendee experience without losing the independent spirit that has fueled its growth. As Herman and Slutsky continue to push the boundaries of what’s possible, the festival remains committed to creating an experience that goes beyond the music. This year’s edition promises to build on that vision, proving that Elements’ biggest draw isn’t just its lineup, but the countless memories made between the sets.

Photo Credit: Jamal Eid

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