Novel Streaming Fraud Trial Commences Over £500,000 of Illicit Income

A Danish man accused of orchestrating a colossal music streaming fraud scheme has reportedly headed to trial, leading to an unprecedented legal battle that is capturing the attention of the global music industry.

Based in the city of Aarhus, the case marks a significant moment in the streaming era, highlighting the vulnerabilities and challenges within streaming platforms such as Spotify and Apple Music. The scale of the operation is unprecedented, prompting discussions about the integrity of streaming counts and the existing measures in place to protect artists and copyright holders.

The unnamed defendant generated a staggering 4.38 million kroner, or roughly £502,000, in royalties through the manipulation of streaming services, The Guardian reports. According to prosecutors, the feat was achieved by artificially inflating the play counts of 689 music works over a span of several years.

The man is charged with both fraud and copyright infringement, the latter of which is due to his alleged altering of existing musical works, oftentimes merely modifying their length and tempo before republishing them under his own name. Prosecutors argued that the sheer volume of streams required to amass such royalties suggests the defendant violated the terms of service of the implicated music streaming platforms, thus undermining the fair compensation of artists and creators.

The defendant has pleaded not guilty to the charges, per The Guardian.

New Study Reveals Fans of Daft Punk Rank Among the Happiest

They may be robots—and defunct ones at that—but Daft Punk continue to connect with fans on a profoundly human level.

A recent study conducted by Preply suggests that fans of Daft Punk are among the happiest in the world. Meticulously conducted by analyzing over 200,000 popular posts and comments in the Reddit communities of 92 popular music artists and bands, the study offers a compelling glimpse into the emotional landscapes painted by different musicians.

Utilizing a dataset they titled “Emotion,” researchers flagged emotive words and phrases to discern the prevalent feelings stirred by each artist’s work. This methodological approach provided a rich, data-driven understanding of how artists like Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo foster a unique sense of happiness and community among their fans.

Daft Punk.

Sony Music Entertainment

Daft Punk’s position at #9 for artists most likely to make their audience happy is significant, underscoring the many ways in which electronic music can evoke happiness. It’s especially intriguing considering the wide array of musical genres and artists analyzed in the study, which lists Ed Sheeran, U2 and BLACKPINK atop the ranks.

However, Daft Punk’s unique sound, characterized by their distinctive use of synthesizers, vocoders and a commitment to thematic concepts, sets them apart as architects of timeless soundscapes that continues to resonate deeply in the dance music community, even after the duo’s shocking split in 2021.

You can read the full Preply study here.

80% Experience Emotional and Mental Health Benefits at Electronic Music Events: Study

The electronic music scene continues to be a powerhouse of cultural and economic significance, demonstrating both resilience and innovation, so says this year’s annual report from the Night Time Industries Association (NTIA).

The macroeconomic picture for nightlife in the UK remained mixed as the industry faced challenges including a 6% dip in economic impact to £2.5 billion and the loss of 31 nightclubs last year, including London’s Printworks, among other iconic venues.

However, it was far from doom and gloom as the industry also saw a 7% increase in festival attendance, totaling 2.7 million attendees. Notably, electronic music now commands 10.6% of UK singles revenue, a slight increase from the previous year.

However, the marquee highlight came out of the organization’s survey of dance music’s engagement, culture and connections. A resounding 80% of attendees reported having experienced a positive impact on their mental well-being as a result of electronic music events. In fact, dance music’s sense of community is more than perceived—75% of respondents claimed they feel a sense of belonging within the broader artistic movement and 98% of respondents acknowledged they feel a sense of comfort and safety at club events.

Available now free for download, this year’s NTIA report not only underscores the significant economic contributions and cultural resonance of electronic music, but also the urgent need for supportive measures to sustain its growth amid a constant state of evolution. You can read the full report here.

Heart on Their Sleeves, Target on Their Backs: Understanding the Human Cost of Social Media Toxicity on DJs

Just ignore the comments, they say.

That’s easier said than done in an era when artists live on a knife-edge due to the pressures of social media, where success breeds both adoration and aggression. The virtual applause can be deafening, but so can the vitriol—and the isolation.

These days, it seems genuine fans are outnumbered by bored agitators hellbent on diminishing self-worth. Music is a lifeline, but so many are actively working to cut it short. When did demolition become the primordial need of the masses on social media?

Many young musicians dare not share their talents online, where these vicious critiques can shatter their artistic identity. Their words may appear as harmless squiggles, but they pierce vulnerable artists like poison arrows.

It’s sad that the music industry’s most promising artists fear unleashing their artistic voices because of faceless provocateurs, avoiding permanent scars from subjective attacks on visions still materializing. By guarding their early efforts from social media’s malignant gaze, prodigies with generational talents are letting complete strangers stunt their creative development.

Every photo, video, caption or audio recording is a potential landmine in the era of content culture, but artists must walk the plank on the pursuit of career growth. It’s a demanding dichotomy that requires mental gymnastics the likes of which would make Simone Biles bite her chalked nails.

Imagine spending countless spirited hours making a song you believe is the best you’ve ever produced. The social media promo playbook says you need to be—cue the cringe—”engaging” so you set up DJ decks, strobe lights and other visual frills to create content before posting online. A troll comments first, and since social media is a cesspool of blind conformity, the message turns into a heckler’s veto as users pile on the trend and ridicule en masse.

“Sometimes it just feels like the actual music doesn’t matter to people as much as it used to,” says electronic music producer euphee. “Not much we can really do about it either.”

Some artists opt to build supportive online communities while others channel the hatred into their art. The key? Recognizing self-assurance isn’t dictated by fleeting virtual validation and fickle feedback loops.

“I don’t think anything could make me question my passion for producing and DJing. Hate can’t kill true passion in my opinion,” says John Hauldren of Levity, a blossoming dance music trio who were recently named to the EDM.com Class of 2024. “The hate we received has made me question the community we’re a part of at times, but only temporarily… the negativity is always the loudest in the room and gets the most attention on certain apps, and once you realize that the love outnumbers the hate 100 to 1, you remember what’s most important for you to be focusing on.”

Levity.

c/o 2+2 Management

Elsewhere in the web’s thorny thickets, Daniel Allan‘s social media functions as a masterclass in artfully combating hate. The surging DJ and producer is currently experiencing a viral moment alongside singer-songwriter Lyrah, with whom he released “I Just Need” in late-2023. The song is erupting into a global dance hit, but its creators haven’t been impervious to social media’s relentless rhythm of rebuke and rejection.

Allan has seen his fair share of nasty comments. “Like trash that such a shit video popped up on my algorithm with the most generic house music ever acting like its revolutionary,” wrote one Instagram user. “Cool fake DJ moves,” commented another alongside a herd of clown emojis.

“If a comment comes in that I simply cannot ignore, most of the time I try to come at it with kindness and actually explain my side of it,” Allan says. “Some people look at my content as ‘cringe’ but they have no idea what my background is or where I come from, and even less context about the music industry at large and how important it is to keep showing up online. More times than not this has really helped me clear things up and if it doesn’t, that person isn’t meant to be a fan of mine and I’m cool with that. I want my fanbase to be an inclusive community where everyone can share ideas and be creative and communicate with one another.”

Daniel Allan.

c/o Press

More often than not, the scourge of social media is even worse for women. Sexism targeting their competency is common on most platforms, exacerbating existing societal biases. For example, women are verbally abused on X every 30 seconds, according to the Social Media Sexist Content Database, a study published in 2023 by psychology researchers at the University of Arizona.

Rising techno and house producer Azzecca says she expected to receive online harassment when she began pursuing a career in electronic music, but it’s never upended her passion.

“We live in a weird world where people say horrific things online without any regard for the person on the receiving end,” Azzecca explains. “I think you need to have a tough skin to be in any sort of career that puts you into the public eye. Don’t let anyone dull your light.”

“My only advice is the same advice my dad gave to me when I was a child: hurt people hurt people,” she continues. “Don’t take the things you see online personally. Just be a decent person, work hard and stay true to yourself.”

Azzecca.

c/o Press

In case their name wasn’t a telltale sign, Levity’s approach is also rooted in benevolence. Empathy is at the trio’s core, Hauldren says, and they always try to spin animosity into constructive discourse out of respect for any concealed despair behind the hateful comments.

“If someone’s being mean to you, being mean back is going to do nothing for either of you,” he explains. “I think it’s best to try to understand where they’re coming from and be nice and respectful to that person in an effort to explain yourself and help learn more about each other. There’s been a couple of times now where someone speaks openly about their dislike for us, and it’s turned into both of us learning and understanding each other better, and those people have actually become friends now. I wish stuff like that happened more often honestly.”

When today’s DJs find out the algorithm has volleyed their posts to the venomous underbelly of social media, they must develop strategies to cope with the cruelty. It’s impossible to fully tune out the tormentors so they devise daily routines to nurture their creative flow, like prioritizing offline downtime with loved ones.

Mental resilience is tough to achieve, however, when you’re grappling with the limitations of your own adaptability.

“A lot of people don’t really realize artists are just people—no different than anyone else—just sharing what they create, and receiving an overwhelming amount of hate can affect their mental health the same way it can for anyone,” Hauldren laments. “Social media has just made it 100 times more toxic because it spreads so quickly and 90% of the stuff people say to you, they wouldn’t say to your face in person.”

John Hauldren (R) and PJ Carberry (L) of Levity performing live at Seattle’s Showbox SoDo on October 12th, 2023.

Austin Quach

Allan believes it’s important for artists to shed their protective armor and swallow the fear of putting themselves out there on social media. The negativity isn’t going anywhere, he says, so the best approach is to focus on the people with whom they forge supportive connections.

But therein lies the albatross gnawing at today’s musicians. Posting on social media feels like walking a tightrope without a safety net for most young artists, their fear of hateful comments keeping them frozen in place. It’s even more daunting considering the hostility comes from the keyboards of the very instigators who must be converted into ticket-buyers and streamers to stoke career growth.

“I feel like social media has always enabled insecurity in artists, but it at least used to be somewhat manageable for shy and introverted people,” says euphee, who has yet to post an image of his face on social media. “Now with the new landscape of fast-paced, short-form content being prioritized more than ever, everything is high-effort and low-reward… while there’s some truth to the idea that being yourself works, so many talented artists I know don’t progress because what makes them themselves isn’t widely appreciated.”

These are just a handful of millions of artists navigating a hot-blooded EDM community that was once a refuge where warmth and dignity walked hand in hand, neon-polished fingers clasped, but the increasingly rampant online negativity has infiltrated that tender sanctuary. Criticism from callous fans has always been par for the course for artists, but it’s now gone too far—and the consequences are crippling.

The most effective blueprint is for artists to ground themselves in the greater good their songs provide, dismissing the bitterness as temporary tumbleweeds blowing past fixed purpose. They should focus on those made happier by their gifts and shape social islands of emboldenment to withstand the crush of virtual hate waves.

“If you have 1,000 people hating you, then you probably have 100,000 people that love you, which is what you should be focusing on,” Hauldren says. “Focus your attention on all the people that you make happy with your music, not to the few that you upset. There’s seven billion people in this world, there’s going to be some that don’t like you or what you’re creating. So focus only on the ones that are happier because of you.”

How This Lawyer Duo Protects Artists From the Nefarious Implications of AI

Brianna Schwartz and Alexis Schreiber crossed paths on their first day of law school at the University of Miami. They had both signed up for the school’s Masters program in music business and entertainment, and immediately bonded over their shared love of electronic music.

The two women aspired to transform their passions for dance music into careers, legally representing artists, festivals, labels and other major industry players. After all, who better to advise these groups than two fans who were already embedded in the niche world of EDM?

Schwartz and Schreiber set out on a mission to fill a perceived gap between the high number of electronic music artists in Miami and the area’s lack of entertainment lawyers compared to other entertainment meccas, like Los Angeles and New York. So they launched S&S, an entertainment law firm catering to Gen Z, millennial and Gen Alpha clients on both the talent and business sides of the industry.

“It was tunnel vision for both of us, music industry or bust,” said Schwartz, who had previously worked for Ultra Music Festival before co-founding S&S, where she serves as a partner. “It was a constant passion and we thought, ‘How can we be a part of this from a business perspective? How can we make an impact and help these young artists cultivate their careers strategically?'”

S&S now works with DJs, producers, songwriters, vocalists and digital influencers, as well as music festivals, record labels, production companies and recording studios. Of their music industry clients, they say at least 50% are based in the electronic space. Among their impressive roster are Ricky Mears, who produces music as NITTI and is half of the Grammy-nominated SIDEPIECE duo, and EDM.com Class of 2021 star Moore Kismet, among others.

The duo’s shared love for electronic music, Schwartz says, has given them a sharp and competitive edge in their field. The two now provide legal advice with regards to the use of sampling and new technology, as well as help handle negotiations when artists land a label deal and many other complex issues on the business side of the music industry.

Alexis Schreiber (L) and Brianna Schwartz (R).

c/o Schwartz & Schreiber, PLLC

One of the most nuanced issues that Schwartz and Schreiber handle today is protecting their clients from the potentially harmful implications of artificial intelligence.

“AI is affecting all of the music industry, but we are seeing it come up in various ways in electronic music that’s different from other genres,” explained Schwartz, who says her clients are curious about today’s influx of generative AI music platforms.

The lawyers said that some industry players continue to take an anti-AI approach, fearing that it will interfere with human artistry. However, Schreiber noted that on the other side of that coin, there’s a willingness to explore the boundless possibilities of how AI can be implemented in a way that does not impede on the intellectual property of others.

“We have seen a split there and we are finding a way to be respectful on both sides, while figuring out how to pave the way forward and enable our clients to utilize AI in a way that won’t cause problems for them down the road,” Schreiber told EDM.com.

Schwartz agreed that the most important thing is figuring out how to help their clients use AI in a “protective and smart way.”

“Just like with any form of technology, if we refuse to embrace it, we risk inhibiting growth and creation,” Schwartz said. “We can accept AI and its application in the music industry by finding ways to assist our clients to utilize such tools in a manner that does not impede on the rights of third parties. This, along with finding new ways for our clients to capitalize, such as licensing their voices to legitimate AI platforms, is exciting for us.”

While AI can present new opportunities for artists—and no one wants to be left in the dust—the two lawyers fully acknowledge the limitations and potential dangers of using AI.

“To be able to utilize these tools to help facilitate the creative process is exciting, so long as the industry respects the need to license and properly retrieve authorization to use any other artist’s voice or works,” they added.

Perhaps the biggest downside of using AI, the two agreed, is that its use is currently unregulated.

“Copyright law is very much behind where it should be, so there isn’t a lot of guidance for how to handle these scenarios,” Schwartz says. “We are doing a lot to take a risk-averse approach when our clients are utilizing these technologies.”

Schreiber agreed that the technology is moving much faster than the laws dictating its regulation. This lack of regulation has allowed S&S to offer effective solutions to protect their clients.

One of the most pressing points the two lawyers make when advising their clients about the use of AI is that artists must own as much of their work as possible. If an artist utilizes AI to make a track, it becomes increasingly difficult to retain the rights.

“You can’t copyright without human creativity,” Schwartz said. “We are very big proponents of owning your own masters, retaining as many points as possible and keeping your IP closed. Remember, we are dealing with a lot of young clients in their early 20s who may want to sell their catalog in 30 years. If you don’t own your rights and pay for everything, you have nothing to sell because everything you have is intangible.”

So what can artists do to protect themselves? “Make sure you have as much human input as possible, so we can actually copyright this stuff,” Schwartz advised.

The duo has adopted a stance similar to how they would handle the legal use of samples in recorded music. Platforms for music sampling were a major industry disruptor and ultimately served as a harbinger of the advent of AI tools, the two agreed. Making sure people are properly compensated is one of their top priorities.

“Let’s be overly certain that we have the proper rights. Let’s support other artists and pay them for the use of their voice,” said Schwartz. “If our artists are looking to use other platforms that incorporate AI, let’s do our due diligence to confirm that site is properly licensing the IP that their systems train off of.”

When it comes to exploring new music production tools and tech, Schreiber advises her clients to always take a deeper look into the platform before using it. While many of the AI tools appear user-friendly on the surface level, they can come with detrimental downsides. Artists can easily put themselves at major risk if they don’t secure proper licensing, the duo explained.

Brianna Schwartz (L) and Alexis Schreiber (R).

c/o Schwartz & Schreiber, PLLC

Overall, Schwartz and Schreiber said they believe that people tend to underestimate the potential harms of AI because the technology is so nascent, and most aren’t yet privy to the consequences. Despite its uncertainty, their stance remains firm.

“A lot of people are scared. We’re not,” said Schwartz. “Let’s embrace it and help our clients get to the next level.”

“I think everyone is so scared that AI threatens to dehumanize music,” Schreiber adds. “As avid music lovers and people passionate about the music industry ourselves, it’s important to maintain that while understanding where things are going. Let’s be on the forefront because we can’t wait for anybody else to do it.”

When looking ahead to the future, Schwartz and Schreiber share some key predictions about how the use of AI will continue to play out in the electronic music space. They are wary of market oversaturation and how it may impact the industry.

Schwartz believes it could manifest by making it harder for artists to reach new audiences, unless they’re continuously releasing music every few weeks. They explained how the industry’s increasingly content-heavy approach puts immense pressure on artists.

Something the lawyers already notice, which they say will likely continue and even get worse in the future, is how streaming services adjust their payment rates based on the number of streams a track has amassed.

“These kids need to figure out how they’re going to keep up with that or they’re going to lose out,” Schwartz said. “It is a concern on the talent side. But, on the content side, it is creating opportunity on the business perspective. It is interesting because we represent both talent and businesses within the industry, so we can see it from both sides. We hope to help advocate for artists if royalty collection continues to change and artists are not able to collect the way they should.”

One collective vision Schwartz and Schreiber agree on is the increasing use of AI across major publishers and record labels. They said that many of the industry’s top players are actively exploring ways to imbue AI into their business model, and the creator economy will adopt the tech en masse the more advanced it becomes.

Schreiber said that artist contracts from record labels will start to include clauses that address the use of AI, including the usage of an artist’s name, voice or likeness. Schreiber’s biggest piece of advice for artists in the EDM space is to fully understand what’s in their agreements, especially when signing with a label.

“If artists don’t have language in their agreement that protects out-of-scope use of an their name, image and likeness without additional compensation or approval, it could leave them at someone else’s mercy. All of a sudden you could see your voice on some platform, only to find out later that you authorized it through your agreement. Artists need to be overly vigilant in that regard,” Schwartz said.

Schreiber leaves us with one more morsel of wisdom for artists about the use of AI.

“Artists who are growing need to find the balance between creativity and individuality, and innovation and technology. That balance is the way to go with using AI from an ethical perspective. It’s a whole new world and something that needs to be treated carefully. Creativity needs to be preserved in its truest form because that’s the magic of music.”

Sacred Society Is On a Mission to Revolutionize Ambient Music With Dolby Atmos

Imagine being cocooned within nature’s embrace, surrounded by the symphony of chirping birds, cascading waterfalls and the gentle patter of raindrops.

That’s the creative sanctuary of Sacred Society Music Group, a new record label and collective with the goal of revolutionizing ambient music by virtue of Dolby Atmos technology. Comprising the visionary minds of alums from Beatport, AM Only and Side 3 Recordings, the organization doesn’t offer just music, but a transformative journey of sound therapy and wellness.

By integrating wellness concepts with music, Sacred Society Music Group is developing tranquil, atmospheric beats meticulously woven to cradle your senses. The brand’s diverse library of music is curated to complement various aspects of daily life and they’ve categorized it into three buckets: “sleep,” “focus” and “enjoy.”

Sacred Society Music Group’s exclusive listening experience in New York City on January 29th, 2024.

Jake Kerins

Sacred Society Music Group’s spatial audio playlists boast hundreds of tracks to pair with hours of immersive visual content. It’s all part of a holistic listening experience that places the label “in a league of its own,” according to co-founder Bradley Roulier.

“We’ve dedicated ourselves to perfecting the ambient genre in Dolby Atmos technology,” said Roulier, who is also one of Beatport’s original founders. “Years of meticulous development birthed a state-of-the-art studio tailored specifically for Dolby Atmos, a testament to our passion for elevating soundscapes. Mastery of this technology necessitated exhaustive hours of learning, ideation and tireless engineering, putting Sacred Society Music Group in a league of its own.”

You can find out more via Sacred Society’s website.

FOLLOW SACRED SOCIETY MUSIC GROUP:

Website: sacredsocietymusic.com
X: x.com/sacredsocietyMG
Instagram: instagram.com/sacredsocietymg

EDM.com Class of 2024 Revealed

The official EDM.com Class of 2024 has been revealed.

For the unfamiliar, our annual Class isn’t an index of promising SoundCloud beatmakers or a trite “artists to watch” list. It’s a list of 10 musicians with transformative skill sets who are on the cusp of changing the fabric of electronic dance music.

Through their workhorse mentalities and defiance of industry standards, these groundbreaking future headliners have already proven their volcanic potential in the scene—and they’re now ready to erupt.

The members of the EDM.com Class of 2024 are Camden Cox, DJ Susan, Hamdi, Hedex, HoneyLuv, Kenya Grace, Levity, Nitefreak, Of The Trees and Sara Landry. Continue on to read more about each artist and discover their music.

Camden Cox

Prolific singer-songwriter Camden Cox has the profound ability to imbue tangible bliss—or aching melancholy—that lingers long after the music stops. Artfully bottling those conflicting emotions like fireflies in a jar on a dark night, Cox’s boundless lyricism has led to collaborations with deadmau5, John Summit and Vintage Culture, among other superstar dance music producers.

Camden Cox.

c/o AYITA


DJ Susan

If you’ve ever seen him perform live, you can attest that no one does it quite like DJ Susan. Bombarding crowds with a nonstop barrage of his trunk-thumping tech house beats with a nostalgic twist, every one of his unbridled DJ sets can be filed away in the “you had to be there” category. With an effervescent stage presence and the production chops to match, Susan, who also helms the influential Hood Politics Records, somehow makes everyone feel like the life of the party.

DJ Susan.

c/o Slush Management


Hamdi

Hamdi has furiously risen from the UK underground to grow into a bona fide trailblazer whose approach to electronic music production is precipitating a paradigm shift in real-time. Gliding on the frenetic wings of his breakout hit “Skanka,” he is leading legions of hungry producers into a full-blown resurgence of 140 BPM dubstep, turning the clock back to the genre’s golden days while reinventing it for a new generation.

Hamdi.

c/o Psylent MGMT


Hedex

Fueled by the roaring rhythms of his breakthrough drum & bass hit, “MHITR (Semi-Automatic),” Hedex is on an unassailable rampage through the genre’s upper echelon as its global explosion continues. The song’s namesake, “My Home is the Rave,” has emerged as a popular mantra for the drum & bass community and its Cambridgeshire-born creator is poised to become one of the culture’s longtime flag-bearers.

Hedex.

c/o DnB Allstars


HoneyLuv

HoneyLuv is leading the charge of a generation of house music producers who are pulling from the past to speak to the present. With lyrics celebrating sensuality and self-love layered over soulful production, her music and style ooze bravado, leading to support from the likes of Duke Dumont, Mark Knight and Seth Troxler, among many other influential producers.

HoneyLuv.

Niki Cram


Kenya Grace

Crafting liquid drum & bass ballads from her bedroom, Kenya Grace wraps listeners in hazy soundscapes where her chilling vocal hooks linger like an icy winter fog. It’s rare to discover generational artists like Grace, whose breakthrough hit “Strangers” became the first song in the history of Billboard’s Hot Dance/Electronic Songs chart to be written, produced and sung solely by a woman. And it’s scary to think she’s just getting started—her upcoming Coachella debut will blow the doors off her broiling potential.

Kenya Grace.

Michelle Hèlena Janssen


Levity

Producing breezy beats that mutate into bass anthems with bite, Levity masterfully fuse sunshine and lightning under one musical umbrella. After an impromptu DJ set at Electric Forest 2023 launched the trio into the stratosphere, they’ve been pumping out hits like a broken printer while building an exuberant community founded on compassion rather than competition.

Levity.

c/o 2+2 Management


Nitefreak

Nitefreak weaves sun-kissed melodies through moonlit grooves, crafting raw Afro-house that shimmers with ancestral wisdom. His sultry beats bloom from deep roots to tell visceral stories of his home of Zimbabwe, leading to support from Black Coffee, Keinemusik, Tiësto and many more elite producers.

Nitefreak.

Mario Pinta


Of The Trees

Beneath a canopy of hypnotic bass and rustling percussion, Of The Trees‘ music plants rhythmic seeds that take root in the fertile soil of your dancing feet. With a brand all his own and a sound that sinks its eerie tendrils into your brain, this virtuosic producer is on an ascendent trajectory the heights of which surpass even the tallest of trees.

Of The Trees.

Lindsey Ruth


Sara Landry

Sara Landry, fans of whom affectionately call the “High Priestess of Hard Techno,” is taking the genre to places its never been before. A favorite of the iconic Boiler Room, she fearlessly pushes the tempo to the bleeding edge, producing a rabid sound that infiltrates your consciousness with the unrelenting energy of a bullet train.

Sara Landry.

c/o Night Department

The Top 20 Most-Streamed Electronic Dance Music Artists in Spotify History

In the 2010s, electronic dance music exploded from niche nightclubs to mainstream stages. But this surge wasn’t just about bottling the euphoria of the music—it fueled community, fashion and a seismic cultural shift.

Avicii, Alesso, Calvin Harris and many more DJs dominated the festival circuit with their many progressive house anthems, helping build a legacy that produced countless “you had to be there” moments. These days, platforms like YouTube and Spotify are the only ways to relive the magic without the invention of a time machine.

Read on to discover the top 20 most-streamed electronic music artists in Spotify history.

David Guetta

Calvin Harris

The Chainsmokers

Marshmello

Avicii

Kygo

Tiësto

Diplo

Daft Punk

DJ Snake

Alan Walker

Martin Garrix

Major Lazer

Zedd

Skrillex

Clean Bandit

Alok

Felix Jaehn

R3hab

Alesso

All data sourced from Kworb.