The track lives in melodic tech house, the same lane where artists like John Summit and Dom Dolla have been pulling massive crowds for years. “Lose Your Mind” is built for the back half of a set, when the room is already moving and the only question is how much louder it can get. There is enough melody to keep it from feeling cold and a low end heavy enough to carry a mainstage. It is the kind of record that does its job at full volume in front of a few thousand people.

For Zander, the single is a line in the sand. He has talked about feeling more locked in creatively than at any point before, and “Lose Your Mind” is the first piece of evidence. More music is already finished and waiting, with the debut positioned as the opening move rather than the whole hand.

The release also doubles as a flex for Sundown Records, the label Zander built and runs himself. Most artists spend years chasing a home for their music. He decided to construct one, then dropped his first single through it. This strategy gives “Lose Your Mind” the feeling of a launch with a real plan behind it.

The dancefloor has always been the target for Zander Shine, and with “Lose Your Mind” he has aimed straight at it. The new chapter is open, and this is only the first page.

You can check out the new track featured in our New Music Friday playlist or on Spotify here

The post Zander Shine Opens a New Chapter With Debut Single “Lose Your Mind” appeared first on Dancing Astronaut.

Demand for the event has been strong, with night two officially sold out. Fans still hoping to attend can secure one of the limited remaining ticket options for Friday, July 31, which will feature performances from Sammy Virji, X CLUB, and 33 Below.

Fresh off being named DJ Mag’s Best Producer of 2025, Virji continues to lead the global UK Garage resurgence with hits including “If U Need It” and “Cops & Robbers” alongside Skepta. Set against the Manhattan skyline, Brooklyn Army Terminal’s industrial waterfront setting provides the perfect backdrop for one of New York City’s most anticipated electronic music events of the summer.

Limited Friday tickets and VIP table reservations remain available while supplies last.

The post Sammy Virji Takes Over Brooklyn Army Terminal Next Month appeared first on Dancing Astronaut.

LIANA: You’ve been creating music together for over a decade. How has your creative relationship evolved, and what individual strengths do each of you bring to EAZYBAKED?

EAZYBAKED: I’d say it’s ever evolving. Constantly trying to learn new ways to approach the process together. I would say that my (eric) strength is flow / drum pocket where Andrew holds down the sound design side of things. Both of us can hold our own but I’d say those are our strengths individually.

LIANA: You’ve gone from playing underground rooms to selling out venues and playing on large festival stages. Has your approach to building your sets changed as the crowds continue to grow?

EAZYBAKED: It has definitely changed. When we were younger we wouldn’t really even think about “catering” to a crowd but getting on these big stages and playing to a lot of people who might not be familiar with us def makes you think a bit more outside the box / get creative with the set build!

LIANA: What were the highlights of building “EAZY MF FINGER”, and what do you think this moment reveals about where EAZYBAKED is headed creatively? 

EAZYBAKED: The boys came over and we passed the computer back and forth. It feels like a very balanced song between the four of us and that’s always a good feeling when collabing. The music is heading wherever feels good. We love making beats with our friends. 

LIANA: Many artists feel pressure to make their sound more accessible as their audience grows. How do you balance experimentation with the expectations that come with a rapidly expanding fanbase?

EAZYBAKED: I think we are very fortunate to have a group of open minded gangsters listening to our music. We try not to think too much about expectations and just push ourselves to keep experimenting and trying new stuff. 

LIANA: Your live shows often feel less like a performance and more like an immersive experience. What are you hoping people feel when they leave an EAZYBAKED set?

EAZYBAKED: We hope people feel just that. Immersed into our world. Free to express themselves however they feel. 

LIANA: You’ve received support from artists across different corners of bass music, from Zeds Dead to Of The Trees and Excision. What have you learned from them and how have they inspired you? Is there a dream collaboration that hasn’t happened yet?

EAZYBAKED: One of the most prominent things we’ve learned from our peers and artists we look up to is to always stay consistent and true to what we are doing. Top of our current dream collabs would be Mr. Carmack, Flume, and Asap Rocky.

LIANA: The Bake Out has grown into its own community-driven event series. What does creating a space around the culture mean to you beyond simply putting on a lineup?

EAZYBAKED: It means everything. We started doing this because we felt a sense of belonging we had never felt before. And to be able to curate a space that provides that same experience means the most. We do not take it for granted!

LIANA: If you could go back and talk to yourselves when EAZYBAKED was first starting out in Orlando, what do you think would surprise you most about where the project is today? 

EAZYBAKED: Literally everything. It’s a dream come true

LIANA: Are there any major accomplishments, festivals, or shows you are working towards? Where do you see yourselves in the future?

EAZYBAKED: Red Rocks is a major one we are working towards

LIANA: Favorite show or set memory?

EAZYBAKED: Mission ballroom or either of the bake out events are 100p stand outs!

As EAZYBAKED continues to grow, their focus remains rooted in the community and creative freedom that helped build the project in the first place. With a growing fanbase, a packed touring schedule, and no shortage of inspiration, the duo’s next chapter is just getting started.

Photo credt: Taylor Clamon

The post EAZYBAKED Continue Carving Their Own Lane in Bass Music appeared first on Dancing Astronaut.

Leading this year’s lineup are global icons Tiësto and Chris Lake, alongside melodic house favorite Cassian, and Brazilian tech house standout Beltran. Also on the lineup are special collaboration sets including ChaseWest b2b Discip, and Cloonee b2b Chris Lorenzo. Bass music favorites include Daily Bread, Hamdi, Kai Wachi, TroyBoi, and What So Not. The bill also features Bonnie x Clyde, KETTAMA, San Holo, J. Worra, Nitepunk, Taiki Nulight, Westend, Darby, Distinct Matter, MLE, NIMINO, Starjunk 95, and more, offering a diverse mix of house, bass, garage, and melodic sounds across the weekend.

Beyond the music, attendees can expect five stages, including the Celsius Main Stage, The L.A.B Stage, The Pavilion, Beatport Live’s The Block, and the popular Silent Disco experience. The festival returns to the zMAX Dragway at Charlotte Motor Speedway, continuing Breakaway’s tradition of bringing major electronic music talent to North Carolina.

With a lineup spanning genre-defining veterans and breakout artists, Breakaway Carolina 2026 is shaping up to be one of the festival’s strongest editions yet as it returns to Charlotte this fall.

Photo Credit: @mfoster_photo

The post Breakaway Carolina Reveals Massive 2026 Lineup appeared first on Dancing Astronaut.

The album itself comes from a quieter place than those numbers might suggest. The number 22 kept showing up through her whole creative process, and mölly started reading it as a nudge to trust a timing she couldn’t fully see yet. What began as an exploration of love and belonging turned into something heavier over time, a question about what we have to let go of to actually receive the things we’ve been chasing.

“Looking back, 22 feels less like an album I made and more like a journey I was asked to take,” she says.

Across eleven tracks, ’22’ stretches past the usual melodic house playbook into mixed meter time signatures, wide atmospherics, and intricate arrangements while keeping its emotional clarity intact. Collaborations with MØØNE, Hessian, LeyeT, FARLEY, OCULA, and Mees Salomé sit next to some of her most personal solo work to date.

Pre-save the album here, or pre-order the exclusive vinyl.

The post mölly trusts the timing, announces her debut album ’22’ appeared first on Dancing Astronaut.

The track runs on tension. Trypt welds American percussion and 808 pressure to shuffling 140 BPM hi-hats and UK-informed bass design, landing in the gap between raw club function and left-field experimentation. It’s hard in the rhythm and detailed in the texture. In short, it’s a certifiable hit.

“Don’t Stop” was already doing damage in ID form long before release when it premiered on UK airwaves via rising bass star Skala, then pulled support from dubstep pioneer Mala, Lou Nour, YDG, and Notion the scope reaches from the genre’s foundations to its next wave. When both ends of the scene are reaching for the same record, that’s definitely not a coincidence.

That’s the whole story here. Where “Undone” cracked the door, “Don’t Stop” kicks it open, sharpening Trypt’s knack for bending regional influences and scene language into something that’s unmistakably his.

The post Trypt combines 808s and UK Bass on “Don’t Stop” appeared first on Dancing Astronaut.

“Tell Me” is the clearest window into how Polarroi thinks. It’s UK Garage and Speed Garage filtered through warm analog textures and stacked female vocals, verses that sit close and nostalgic before the drops tip into something faster and hungrier. But the trick is in the construction: instead of leaning on bass, the drops are stitched from chopped, processed, manipulated vocals with the voice doing the work the low end usually does. As Morreale puts it, the goal was “dreamy and floaty while still fun and summery,” a song about holding onto a good thing even when it’s uncertain.

The post Polarroi, Olivia Morreale and Chariot Team Up on “Tell Me” appeared first on Dancing Astronaut.

During a recent conversation with Dancing Astronaut, Dansyn reflected on the decision to reinvent himself, the challenges artists face in the age of algorithms, the influence of his diverse musical background, and how fitness, family, and authenticity continue to shape both his career and personal life.

Liana: Before launching Dansyn, you had been releasing music for over a decade. Was there a specific moment that made you realize it was time for a fresh start?

Dansyn: I’ve been creating music and playing instruments since I was about eight years old. I was in a rock and metal band around 2010 and toured on Warped Tour before transitioning into dance music in 2015. I had some early success, but I never really felt like I found my true sound or identity with that project.

When COVID happened, I started making music more for streaming numbers than for myself, and I lost what made it special. That showed up in my bookings and throughout my career. Eventually, I started making music I genuinely wanted to make again, but it didn’t fit under the DLMT brand. After talking with my team, we decided a complete reset was the best path forward. It was definitely scary because I had a solid touring career, but I felt like I had reached my ceiling. Looking back now, it was absolutely the right decision.

Liana: What advice would you give to artists who feel stuck creatively or are struggling with the pressure of algorithms and social media?

Dansyn: I think we’re living in a time where there’s so much artificial intelligence and so much content that people are craving something real. They want authenticity and something they can connect with.

Obviously, we all have to play the algorithm game to some extent, but I think it’s about finding a balance. You have to participate in social media, but you also need to stay true to your identity and not completely sell yourself out for quick streams or numbers. The artists who stand out are the ones who remain genuine.

Liana: You have a background in multiple instruments and spent time producing hip-hop before moving into dance music. How have those experiences influenced your sound today?

Dansyn: My records are very drum-focused. I really pay attention to the drums because that’s where the groove of house music comes from. A lot of that stems from playing drums for years and being in a touring band.

Hip-hop also had a huge influence because it’s such a rhythm-driven genre. Drums have always been at the center of how I approach music. At the same time, playing piano helped me understand composition, songwriting, and melodies, which still plays a major role in how I build records today.

Liana: You recently released music on John Summit’s Experts Only label. What did that milestone mean to you?

Dansyn: It was a huge moment for me. I’ve always admired what John and his team are building. They’re doing so much for the community and helping introduce new artists to larger audiences.

Getting a release on Experts Only was a goal of mine. When we sent the track over, John actually DM’d me and said he wanted to sign it. I woke up to that message and honestly didn’t believe it at first. The crazy part is that it happened exactly one year after launching Dansyn. To land on my dream label that quickly was incredibly rewarding, and it’s opened a lot of doors for my career.

Liana: Dance music can be incredibly demanding. How do you balance touring, production, and maintaining your mental and physical health?

Dansyn: Fitness has become a huge part of my life over the last couple of years. Even when I’m traveling, I try to get a run in or hit the gym. Between late nights, lack of sleep, and constant travel, it’s important to take care of yourself.

I walk my dogs every day, spend a lot of time in the gym, and try to stay active because it helps mentally just as much as physically. It keeps me sharp and helps manage stress. I’ve also learned how important it is to maintain balance outside of work. As creatives, it’s easy to be switched on all the time, but learning how to step away and be present in your personal life is just as important.

Liana: Your wife is heavily involved in the project as well. What’s it like building this journey together?

Dansyn: She’s been amazing. She was actually one of the people who encouraged me to take the leap and launch this new project. She’s supported me from day one.

When I’m traveling, she helps keep everything running at home, and she even tour manages some shows. She handles a lot of the backend business operations while I focus on the creative side. Our strengths complement each other really well. Having that support system has been invaluable.

Liana: Looking ahead, what excites you most about this next chapter of Dansyn?

Dansyn: I actually just got an offer for a venue I’ve wanted to play for a long time right before this interview, so that’s really exciting. Beyond that, I’m playing alongside some amazing artists and appearing at festivals I’ve always wanted to be part of.

What’s especially meaningful is that with my previous project, I spent over a decade in the industry and never played an Insomniac event. This month, I’m playing three. It’s a reminder to stop constantly looking ahead and appreciate how far you’ve come. There’s a lot of exciting music coming, some incredible label releases, and I’m excited to keep building on this momentum.

With major festival appearances, new music on the horizon, and momentum continuing to build, Dansyn’s decision to start over is already proving worthwhile. What began as a creative reset has evolved into a renewed sense of purpose, one that is opening new doors while allowing him to stay connected to the passion that first inspired him to make music.

Photo credit: @henryfrxncis

The post Dansyn on Risk, Reinvention, and Rediscovering His Sound appeared first on Dancing Astronaut.

What started as a teenager promoting hip-hop shows in Slovenia, a country with almost no music industry to speak of, has grown into a global company with headquarters in Europe and Los Angeles. Rogan built it all on one belief, that where an artist comes from should never limit how far they can go.

In this conversation, Rogan reflects on his journey from a 15 year old booking international acts to the head of one of dance music’s most ambitious management rosters. He shares how he got his start, the artists he has helped build, and where he wants to take 2NIGHT next.

JACK ROLLINS: Let’s start at the beginning. How did you first get into the music industry growing up in Slovenia?

MAC ROGAN: Music was always part of my life, but at first only from a listener’s perspective. One day a friend gave me Public Enemy’s “It Takes a Nation of Millions to Hold Us Back,” and that was it. I was hooked. Back then it was hard to get international CDs into the country, so soon after I started making mixtapes and selling them, all on the black market. That was my introduction to both music and the music business.

JACK ROLLINS: You moved from promoting hip-hop shows into electronic music pretty early. What pulled you toward dance music?

MAC ROGAN: When I was around 15, I started promoting hip-hop events and bringing international artists like KRS-One, Raekwon, Proof, and Gang Starr to Slovenia. The market was small and limited, so it was hard to make any money promoting hip-hop shows. Around that time, the electronic scene was growing fast internationally, and I was fascinated by the culture, the energy, and the scale of it. With experience promoting events already, I decided to organize my first electronic music event, and it turned out to be a success. In the years that followed, I brought artists like Sebastian Ingrosso, Sander van Doorn, Moby, and Derrick May to Slovenia for the first time. From that point on, I was drawn to everything around dance music.

JACK ROLLINS: You founded 2NIGHT Management at 18. What made you want to move from promoting shows into managing artists?

MAC ROGAN: While promoting electronic events, I kept meeting local producers who had the music but lacked structure, strategy, and international direction. One of them was Beltek, a really talented producer who would become my first management client. Promoting events taught me a lot about the live business, marketing, and audience building, but over time I became more interested in helping artists build sustainable careers instead of focusing on one-night events. Working with Beltek led me naturally into management, and eventually to launching 2NIGHT Management when I was 18.

JACK ROLLINS: Your roster includes names like Matroda and San Pacho. What is your approach when you take on an artist and start building their career?

MAC ROGAN: For me, everything starts with the music and the energy around the artist. I look for people who are forward-thinking and creating something genuinely unique rather than copying what is already out there. That was the case with both Matroda and San Pacho. Music is the foundation, but in today’s market that alone is not enough. We focus heavily on identity, consistency, touring strategy, branding, and building authentic connections with fans. I always look at artists as long-term global projects rather than short-term hype. A big part of our work is also understanding how to position international artists in each region of the world.

JACK ROLLINS: Helping Matroda grow into a headliner who can sell 8,000 tickets in Los Angeles is a major milestone. Can you walk us through how that came together?

MAC ROGAN: I started working with Matroda when he was a resident DJ in Croatia, playing for under $50 a night. I quickly realized how exceptional his talent was as a producer. His music felt unique and distinctive while keeping a high production quality. We put together a short-term plan and a long-term plan and followed them. It was not a smooth journey. Just as we started to gain momentum, COVID hit and forced us to rethink our strategy and almost start all over again. We approached everything strategically, from releases and touring to market growth and fan engagement. The U.S. became a major focus very early because we believed the project had global potential. Over time, the audience kept growing organically through the records, social media, and a real connection with fans. We were also fortunate to build a strong booking team around him, especially for North America. His agent, Ferry at CAA, has been an important partner in developing our tour strategy. Selling more than 8,000 tickets in Los Angeles this past December was a major milestone, but for us it was simply the result of years of consistent work, built step by step. And we know we are only getting started.

JACK ROLLINS: A lot of your work is about breaking non-American artists into the States. Why do you think that market is so hard to crack, and what do you do differently?

MAC ROGAN: Coming from Slovenia, a country of 2 million people with very little music scene, I had no other option but to go international. I went straight into the U.S. market without really knowing how it worked, but it worked out. It is the largest market in the world with intense competition, so everything has to be at a very high level to crack it. That is exactly what motivates me. From day one, our goal is to build our artists into hard ticket sellers. That is the key for us, and it is hard, especially in electronic music. The music, the branding, and the whole story around the artist all matter when you are building a strong fan base. Once that fan base is there, the artist can do real hard ticket business. We also pay close attention to the new generation of fans and where the trends are going.

JACK ROLLINS: Lastly, what are your future goals for 2NIGHT Management?

MAC ROGAN: Having fun and enjoying music has been my motto from day one. We have built the best group of people at 2NIGHT, and I am grateful for them every day. Our team is the best. The goal is to keep building 2NIGHT Management into one of the leading artist management companies in electronic music while holding on to our unique approach. We are always on the lookout for fresh producers. We want to keep discovering and building international talent, especially artists from markets outside the traditional industry hubs. We recently expanded the roster with new artists like Ragie Ban, Greg 99, Blaise Bracic, Mati Astroza, and Pedroz. At the same time, we stay focused on helping our existing artists reach new levels through tours, major festivals, strategic brand opportunities, and continued global growth.

From selling mixtapes out of Slovenia to filling rooms across America, Rogan has built his career on a refusal to let borders set an artist’s ceiling. As 2NIGHT Management keeps growing, he stays focused on the thing that started it all, finding talent the rest of the industry overlooked and giving it a path to the world stage.

The post The Slovenian Manager Cracking America’s Toughest Music Market appeared first on Dancing Astronaut.

While many DJs rely primarily on improvisation, Mary has recently begun taking a more collaborative approach with production teams at major festivals. Working closely with lighting and visual designers, she’s been able to build more intentional moments into her performances while still preserving the spontaneity that defines her sets.

“I’m able to work with the lighting and visual guys now at this level and start setting up all my tracks the way that I want them,” she explained. “Then I send it to the production team, and they’re queuing up the lighting and working with me. We used to just DJ completely on the fly.”

Although she still leaves room for improvisation, particularly during the latter half of her performances, the added production elements have allowed her to create a more immersive experience for fans.

This year’s appearance at Lightning in a Bottle also marked a different experience from her 2025 performance. After playing the Thunder Stage during the day last year, she returned to perform on the beloved Stacks stage, a booking she says carried a special significance.

“I’ve always wanted to play Stacks,” she said. “It’s more for the culture. It’s kind of its own entity.”

The response reflected that enthusiasm. Following her set, fans and fellow attendees reached out to tell her it was one of the largest crowds they’d seen at the stage.

As for what’s currently influencing her sound, Mary says she’s continuing to let her musical tastes evolve naturally rather than forcing a particular direction. Lately, she’s found herself drawn toward 140 BPM sounds and bass-heavy influences, adding another layer to the eclectic style she’s become known for.

Looking ahead, she also revealed a dream back-to-back partner: Fred again..

“I feel like we would have a lot of fun,” she said. “He has a lot of different genres in his bag, and I know he’s dipping into some 140 stuff too.”

While her summer festival schedule remains packed, the project she’s most excited about is still under wraps. The only details she was willing to share? It’s happening in July in Denver, and it will be the biggest performance of her career to date.

“It’s definitely the biggest set of my life.”

With larger stages, increasingly ambitious production, and new sounds continuing to influence her sets, Mary Droppinz shows no signs of slowing down. As she prepares for a busy summer festival season, her momentum continues to build, marking an exciting new chapter in her career.

The post Mary Droppinz Enters The Next Phase of Her Career appeared first on Dancing Astronaut.