The 2026 Sunday Piknic season arrives as a reset after a long winter, stretching from May through October with 20 curated dates on the Fizz stage. This year’s programming moves fluidly across house, techno, and adjacent sounds, balancing rising names with established favorites. Among the standouts: Dancing Astronaut’s 2026 Artist to Watch Brunello, alongside Josh Baker, Dombresky, Sultan + Shepard, Jayda G, Daphni, Nia Archives, Prospa, Beltran, and Eli Brown, a mix that reinforces Piknic’s role as both tastemaker and mainstay.

But if Sundays are the ritual, OfF Piknic is the release valve.

The after-hours satellite series returns with one of its most stacked runs to date, turning the site into a full-scale open-air venue. Early highlights include Solomun and Eric Prydz, followed by a June slate featuring Defected Records, Chase & Status, Steve Aoki, Black Coffee, and Four Tet. July keeps the momentum with Anjunadeep, Zeds Dead, Cloonee, and Francis Mercier, joined by Keinemusik’s &ME and Adam Port.

Taken together, Piknic’s 2026 blueprint feels deliberate: Sundays for discovery, OfF for scale. Montréal, as always, gets both.

Individual tickets and season passes for Piknic Électronik, along with OfF Piknic tickets, are available for purchase online.

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In this conversation, Turner reflects on his journey from fan to founder, the growth of music industry, and the ethos behind his expanding ventures. He also shares insights on the importance of supporting emerging talent, the evolution of festivals in the U.S., and a few unforgettable moments along the way.

LIANA STERN: To start, can you share a bit about your career journey and what led you to found Relentless Beats and EMW Presents?

THOMAS TURNER: I started off as a consumer of progressive house music, which has evolved a lot over time. Back then, it had a very specific sound—almost neoclassical in a way—and you really had to dig to find the right tracks. That’s what pulled me in initially, and from there I became a DJ and a full-on music enthusiast.

At the time, there wasn’t much of this kind of entertainment in my market, so I naturally stepped into the role of helping bring it there. It came full circle in a really rewarding way—I was eventually able to hire the person who first gave me an opportunity as a DJ and mentor, Steve Kushner. Now I get to work alongside people I’ve known for years, which makes it even more meaningful.

LS: What makes the Arizona dance music scene so unique compared to other places?

TT: Dance music is growing everywhere. It’s becoming a soundtrack to people’s lives globally. We produce shows in other markets too, like New York, but nothing compares to home.

What makes Arizona special is how authentic it is. We’ve always approached this as fans first. Bringing people together, creating community, and building spaces where people can share experiences. A lot of us have been doing this for years, even before it became such a large-scale industry.

The most rewarding part is seeing people who’ve been with us for 10, 15, even 20 years now coming back with their families. It’s like having 10,000 friends connected through these events. That sense of community is everything.

LS: Shifting to EMW Presents, what are your goals for the company moving forward? Any plans to expand further into the Northeast?

TT: EMW was built with the same ethos as Relentless Beats. It started by bringing together people who wanted to create something meaningful at the right time. We actually considered acquisitions early on, but it made more sense to build something from the ground up.

It’s still early. These things take 5 to 10 years to fully develop, but we’re seeing great momentum. The growth comes from working with the right people and staying true to our values. We’re not focused on taking over markets—we just want to contribute where we can genuinely help. If we expand into new places, it’ll always be because it’s the right fit with the right people.

LS: What’s one of the biggest changes you’ve seen in the dance music industry since you started?

TT: I’m always focused on moving forward, but one thing that’s stayed exciting is the role of young, independent promoters. They’re the ones discovering new music first; sharing tracks, building momentum, and helping artists break through.

So many major artists started that way, just through word of mouth and organic discovery. I want to continue supporting that space and help young promoters build sustainable businesses. That’s something I really care about over the next decade.

LS: What’s one of the most unexpected or memorable moments you’ve experienced at a show?

TT: There was this one moment where a guy was completely naked in the crowd at a show in Phoenix. The photos of people realizing what was happening are hilarious.

Afterward, his mom actually made him come into our office to apologize. It became this iconic internal story: “the naked guy who had to apologize.” Moments like that stick with you. There are so many wild memories from all the events we’ve produced. It’s honestly been an amazing journey.

LS: Do you have a favorite New Year’s Eve countdown moment from Decadence?

TT: This past Decadence with GRiZ was incredible; live instrumentation, the energy, everything about it felt special. The year before with John Summit was also amazing. When you catch an artist at the perfect moment in their career and combine that with a big production push, it creates something really memorable.

LS: Lastly, is there any experience or event that inspired how you produce your own shows today?

TT: I started as a nightlife enthusiast, going to themed events with costumes, dancers, and theatrical production. I wasn’t thinking about business. I was just blown away by the experience and the effort behind it.

That curiosity led me to learn who was producing those events, not just in the U.S. but in Europe too. Back then, large-scale festivals in America didn’t really exist the way they do now. Europe had brand partnerships and big festival infrastructure, while the U.S. was still more underground.

Over time, the industry became more commercialized, but the underground scene will always exist and that’s where innovation starts. That’s why we’re opening a new venue in downtown Phoenix called The Roosevelt. It’s designed as a listening-focused space to support emerging artists and that grassroots energy.

As Relentless Beats and EMW Presents continue to grow, Turner remains focused on what started it all: bringing people together through music.

The post From Fan to Founder: How Thomas Turner Built Communities Through Music appeared first on Dancing Astronaut.

“TOUCH ME (All Night Long),” is the first taste of the pair’s forthcoming self-titled EP; a glossy, italo-coded plea that plays like the last dance before the lights go out for good. It’s dramatic in the way only italo disco can get away with being dramatic, leaning into the late ’80s / early ’90s club glamour the duo have staked their entire mythology on.

The post Pat Lok and F-MACK are CŒUR ACIDE on ‘Touch Me (All Night Long)’ appeared first on Dancing Astronaut.

It Started as a Birthday Party

Lightning in a Bottle didn’t begin as a festival at all. The first edition in 1999 was actually a one-night birthday party thrown by brothers Josh Flemming and Jesse Flemming, along with their brother Dede Flemming, who later went on to found the Do LaB. What started as an intimate celebration with no intention of becoming something bigger, has since evolved into one of the most unique festival experiences in the country.

 A Festival for All Ages

Families are a big part of the LIB experience, as the festival is not solely for adults. With dedicated spaces and activities for kids, and a welcoming atmosphere, LIB creates an environment where all ages can be part of the magic. There is even a designated Family Camp for attendees with kids, making it easy for families to feel fully part of the festival.

Beyond the Music

While the lineup is always stacked, LIB is just as known for its immersive experiences. Attendees can participate in yoga sessions and meditation workshops, explore the marketplace and art installations, and hear from guest speakers, making it feel more like a wellness and cultural gathering than a traditional music festival.

The Stages Are an Experience of Their Own

Each stage at LIB is uniquely designed with its own theme, art direction, and atmosphere. From the iconic Woogie to the immersive Thunder stage, the production goes far beyond sound, creating fully realized worlds within the festival. New this year, LIB will debut the Moon Room, a late-night ambient lounge designed as a space to recharge and unwind.

Sustainability Is Key

LIB has long been a leader in sustainability within the festival space. From composting and recycling initiatives to investing in energy-efficient solutions like LED stage lighting, the festival is designed with environmental consciousness at its core. Additionally, Since 2006, LIB has provided free water to attendees, (something all festivals should learn from) which reduces waste. There’s also a LIB Green Team that works throughout the weekend to keep the grounds clean, while promoting sustainable practices to enhance the overall festival experience.

With its blend of music, art, and community, LIB continues to deliver an experience that goes far beyond the typical festival weekend. Tickets are still on sale here.

Photo credit: Do LaB & Jess Gallo

The post 5 Reasons Lightning in a Bottle Is Unlike Any Other Festival appeared first on Dancing Astronaut.

The current trajectory of electronic music demands this kind of fluidity. We’ve spent years navigating the fractured landscape post-EDM boom, watching genres bleed into one another, and producers like Hamdi are the architects of this new era. “Echo Chamber” proves he understands bassweight, but the Disclosure remix is the key—a masterclass in UK garage influence injected into a mainstream framework. He’s operating in the space where Fred again.. thrived last year, pulling from jungle, garage, and even grime, and the live reports from Alexandra Palace confirm this isn’t simply theoretical. It’s a controlled collapse of genre boundaries, executed with precision.

Forget neatly packaged playlists and predictable builds. Hamdi isn’t interested in servicing the algorithm, and frankly, neither should you be. This tour isn’t a stopgap between festivals, it’s a statement. It’s a declaration that the most exciting music isn’t about adherence to a single sound, but about the fearless pursuit of everything all at once. Consider this a warning: prepare for sonic whiplash, and embrace the chaos.

The post Hamdi Announces Anywhere & Everywhere Tour for North America appeared first on Dancing Astronaut.

This isn’t about chasing trends. While Mëstiza and Sistek inject welcome vibrancy and represent the current pulse of globally-influenced dance music, the core of this programming leans heavily into the sophisticated, long-form sets that define the scene’s elder statesmen. Burridge’s liquid deepness, Deep Dish’s timeless tech, and Warren’s progressive mastery aren’t novelties – they’re foundational. ARC understands that building a truly dedicated audience demands respect for history, a refusal to dilute the authenticity with fleeting fads. This is a series built for immersion, for those who prioritize a tranquil and transcendent sonic experience over spectacle.

ARC isn’t content being *a* festival. It’s building an ecosystem. This expansion into a summer-long residency signals an intent to cultivate a community, to become synonymous with a particular strain of underground electronic music in the American landscape. The initial ticketing hiccup with ARC 2024 was a minor stumble, quickly corrected. This, however, is a statement. Expect other festivals to react, to attempt similar long-play strategies. The game has changed, and ARC just raised the stakes.

The post ARC At The Lake 2026 Lineup: BLOND:ISH, Sasha and More All Summer Long appeared first on Dancing Astronaut.

Chase & Status

Few names in electronic music carry the same weight as Chase & Status. Known for their explosive fusion of drum & bass, dubstep, grime, and jungle, the UK duo consistently brings a level of energy that transforms any stage. Their sets feel massive from start to finish, packed with insane drops that make it nearly impossible to stand still. It’s practically a workout keeping up with the relentless, high-BPM pace. At a festival like LIB, where genre diversity thrives, Chase & Status are set to deliver one of the most electrifying sets of the weekend.

ALLEYCVT

ALLEYCVT has quickly become one of the most exciting rising names in bass music, and her debut LIB performance is not one to miss. With a sound that blends emotional melodies, heavy drops, and a rebellious edge, she brings a fresh energy to the scene that continues to resonate with fans. Her shows strike a balance between vulnerability and power, making them feel both personal and explosive. As one of the weekend’s most anticipated sets, we can’t wait to see what she has in store.

Mau P

Mau P knows exactly how to keep a crowd moving. The Dutch house favorite has carved out a lane of his own with infectious grooves, standout remixes of classics like “The Less I Know The Better,” and catchy tracks that instantly take over dance floors. His sets are high-energy and built for nonstop movement, making him a perfect fit for the LIB atmosphere. If you’re drawn to tech house and love to dance, Mau P is sure to deliver.

Zeds Dead

Zeds Dead at Lightning in a Bottle feels like a recipe for a standout festival moment, especially as they gear up for a hiatus following their upcoming Journey of a Lifetime tour. The longtime Canadian duo has remained one of dance music’s most versatile acts, seamlessly weaving together dubstep, bass, house, hip-hop, and everything in between. Their storytelling ability, combined with their creative production, is what makes every performance feel unpredictable in the best way. With a catalog full of classics and a reputation for unforgettable live shows, Zeds Dead are sure to have something special up their sleeve for LIB.

Sara Landry

Sara Landry brings a darker, harder edge to LIB this year. As one of the most in-demand names in techno, she has built a reputation for delivering intense, hypnotic, and high-impact moments throughout her sets. Her sound offers a different kind of energy from the rest of the lineup, making her a must-see for anyone craving something heavier and more immersive. Expect raw power and a commanding presence that you won’t forget.

Final Thoughts

One of the best parts of Lightning in a Bottle is the diversity across its artists and sound, and these five acts reflect that perfectly. Whether you’re chasing dubstep, house grooves, underground sounds, or looking for a bit of everything, Chase & Status, Alleycvt, Mau P, Zeds Dead, and Sara Landry each bring something distinct to the weekend. As you start planning your LIB 2026 schedule, these are names to keep on your radar. Tickets are still on sale here.

Photo credit: Do LaB & Ivan Meneses

The post 5 Acts You Can’t Miss at Lightning in a Bottle 2026 appeared first on Dancing Astronaut.

The album’s conceptual framework, built around the image of a kite, is surprisingly effective. It’s a metaphor for the freedom Stussy clearly prioritized, allowing for moments of airy, transcendent melody alongside the grounded, insistent pulse that defines his sound. The ‘Lost’ section revitalizes previously shelved material, proving Stussy’s ability to refine and contextualize even older ideas. ‘Found’ showcases a remarkable collaborative spirit with vocalists like KUČKA and Jessica Moore, pushing beyond pure club functionality into genuinely emotive territory. And ‘Forgotten’ isn’t an afterthought, but a deep dive into the textured, subtly rewarding corners of electronic music—the kind of tracks that build a loyal following. This is the sound of an artist comfortable in both scorched-earth warehouse territory and tranquil, atmospheric introspection.

Stussy isn’t attempting to redefine house or techno, but to expand the boundaries of what’s possible within them. *Lost, Found & Forgotten…* isn’t about chasing hype; it’s a long-term investment in artistic integrity. The Dutch producer has quietly built a reputation for quality and curation, and this album solidifies that position. Expect this to be a reference point for producers seeking to move beyond simple functionality and explore the deeper, more personal potential of dance music. The next phase isn’t about bigger bookings, it’s about demanding more from the sound itself.

The post Chris Stussy Releases Debut Album, Lost, Found & Forgotten appeared first on Dancing Astronaut.

This isn’t the melodic dubstep of 2012, nor is it a retreat into the saccharine pop-EDM of the mid-decade. *Odyssey*, the album housing this single, is a fully realized project—a deliberate move toward maximalism. ILLENIUM isn’t chasing fleeting trends; he’s building a sonic world, integrating diverse vocalists like Ellie Goulding and Kid Cudi into a cohesive narrative. The production is dense, layered, and designed for the immersive experience of a venue like the Sphere, but maintains enough melodic clarity to translate beyond the spectacle. It’s a logical progression for an artist who consistently blurred lines between genres, and a clear signal that he’s aiming for a legacy beyond festival circuits.

The Sphere residency isn’t a peak, it’s a launchpad. ILLENIUM is no longer simply an electronic artist; he’s a creator of experiences, a curator of emotion, and a legitimate headliner operating on a scale few in this scene have achieved. He’s proven he can fill rooms, chart albums, and now, he’s demonstrating an ability to transcend genre boundaries without sacrificing artistic integrity. Expect the ripple effect of *Odyssey*—and the ambition behind it—to reshape the landscape of mainstream electronic music for years to come.

The post Grammy-Nominated Artist ILLENIUM Joins Forces with David Guetta and Dustin Lynch on New Single ‘Die Living’ appeared first on Dancing Astronaut.

This isn’t some delicate fusion of styles. FISHER’s signature percussive attack and driving bassline are fully intact, providing the bedrock for Tones And I’s distinctive vocal. The result is a crossover that avoids the pitfalls of watered-down compromise, instead amplifying the strengths of both artists. Following the momentum of ‘Rain’ and its BBC Radio 1 support, ‘Favour’ confidently occupies the space where mainstream accessibility meets genuine club currency – a territory increasingly vital for artists aiming to scale beyond the established festival circuit.

FISHER isn’t building a career, he’s establishing a dynasty. ‘Favour’ is another brick in that foundation, a statement of intent heading into a summer schedule that includes Ibiza, Red Rocks, and a London takeover. He understands the anatomy of a dancefloor, and he continues to exploit it with surgical precision. Expect this one to reverberate through every speaker system until the weather turns.

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