Category Archive : Events

Odyssey Music Festival is once again bringing cyberpunk culture and electronic music to St. Petersburg, Florida in 2024.

Now expanding to two days, the outdoor boutique festival will take place on October 4th and 5th at a new venue, The Factory, in the city’s warehouse district. Odyssey was previously located at Vinoy Park, a waterfront area in downtown St. Petersburg.

This year’s phase one lineup features Mija, Ternion Sound and more across two unique stages. The former will headline the Rawsome Stage, which is dedicated to the sounds of house and techno, while the latter will close out the bass-focused Wave Stage.

Odyssey 2024 will feature a variety of interactive art installations, photo ops, food and art vendors, a themed fashion show and more. A “Conscious Oasis” area, surrounded by serene palm trees, will provide festival attendees with a respite.

“We are excited to bring Odyssey Music Festival back to Saint Petersburg for its third year,” said Thomas Greco, the festival’s founder and CEO. “Our mission is to celebrate the rich tapestry of art and culture while providing a platform for artists to showcase their talents.”

“We believe in the power of music to inspire and unite,” continued Greco, who will also perform a DJ set at the festival as Dr. Greco. “With each passing year, Odyssey Music Festival grows in scope and impact, and we are dedicated to inspiring future generations to connect with their roots and explore the world of music.”

The full lineup will drop in August. Explore the sounds of OMF with their curated Spotify playlist below and purchase passes here.

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Prospective attendees of Sweden’s Way Out West Festival, in the form of sperm and eggs, will soon be incubated to the sounds of its headliners, including Fred again… and Peggy Gou.

That’s according to the festival’s organizers, who this week announced the creation of a new stage in collaboration with renowned designer Love Hultén. They are planning to activate the miniature stage, dubbed “Future Fan Stage,” at Eliva, an IVF clinic in Stockholm.

Complete with colorful (albeit gentle) visuals, the fully functional stage will be “injecting” live recordings of music by the festival’s headliners into unfertilized embryo samples “before they even develop into fetuses,” per a blog post shared by Way Out West. The festival cited recent studies showing that “music improves the fertilization rate during an IVF process.”

The innovative installation takes the scientific effects of music quite literally. Hultén expressed excitement for the intricate layers of the stage’s design, saying he was “all in” after the festival approved him.

“The Future Fan Stage was already an amazing concept in theory and had a lot of interesting design aspects,” the Swedish audiovisual artist said. “Combining elements from the lab world with music stage visuals was challenging and fun.”

“With this cheeky and wonderful idea, we will get future fans hooked on our festival with great live music, even before they’ve come into being,” added Way Out West Project Manager Kimmie Winroth. “And if we’re lucky, even contribute to welcoming them into existence.”

For those who have surpassed their cellular form of life, this year’s Way Out West Festival returns to Gothenburg’s Slottsskogen park from August 8-10. Passes can be purchased here.

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deadmau5 is planning to take fans to church ahead of a hotly anticipated EP—Hackney Church, that is. Standing in East London since 1275, the church recently underwent an ambitious renovation, transforming the historic building into a destination for music and art events alongside regular services.

The venue, cozy and intimate, will present deadmau5 for “his most intimate London show in years,” according to the concert’s organizer, LWE Events. Scheduled for July 16th with Volaris as support, the show will celebrate the iconic producer’s new body of work, Some EP.

The restoration of the Anglican church’s interior and surrounding churchyard cost the developers, SAINT, £6 million (just over $7.7 million USD). According to the church’s website, it has been a “center of Christian worship in the borough since 1275” and now hosts various cultural events.

Through the upcoming deadmau5 show and others, the venue and its proprietors are operating with the aim of “renewing culture,” per SAINT’s website. It also serves as a museum of sorts, with an archive of historical documents dating back to the building’s construction.

You can purchase tickets to deadmau5’s show at Hackney Church here.

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FVDED In The Park‘s cancellation in 2023 dealt a major blow to Metro Vancouver’s struggling music scene. One year later, Holland Park in the neighboring city of Surrey hosted a celebration of life, not a funeral, for the summer music festival.

FVDED went all-in on electronic dance music this year, phasing out its 50-50 hip-hop split to accommodate an elite lineup of DJs. It seems omitting world-renowned rappers like Future, Jack Harlow, G-Eazy and Young Thug freed space to build a brilliant EDM lineup. It was legitimately shocking to see a roster as deep as Swedish House Mafia, Kx5 (deadmau5 and Kaskade), Chase & Status, Chris Lake, Dom Dolla, Gryffin, John Summit, SLANDER and Zeds Dead on a two-day, three-stage poster.

Holland Park was pulsing with electrifying beats from 2-11pm on July 5th and 6th. Two of the weekend’s show-stealers, however, were Deathpact and EDM.com Class of 2022 superstar ISOxo.

Deathpact—whichever member of the mysterious collective was present—would not be overshadowed by industry giants on the lineup. Diversity is one of the things I most look forward to at a major music festival and Deathpact whipped up the perfect formula. Their performance seamlessly sourced a wide breadth of sounds, including a highlight DMX remix, and encapsulated them within the experimental bass music that fans expect. There was never a dull moment during the hour-plus set, especially the surprise b2b with Dr. Fresch and Jon Casey.

Deathpact at FVDED In The Park 2024.

Red Rose Films

I arrived at the Northwest Stage halfway through ISOxo’s set. I politely apologized my way through the crowd, fanning and misting sweaty festival-goers as a symbol of peace, to film a short video from a suitable sightline.

The energy permeating between ISOxo and the audience was palpable. The brief minutes I spent in the crowd’s core were wonderfully overwhelming. I weaved my way out of the tent and found my two friends patiently waiting to regroup with others. I took their backpacks, wore them like a suit of transparent armor adorned with trinkets and playthings, and sent them into the storm to experience it firsthand.

Speaking of the crowd, I’m happy to report that FVDED’s notoriously rough clientele was absent from this year’s show. I’ve never attended prior iterations at Holland Park but was repeatedly warned about poor fan etiquette. It’s possible the omission of rap music welcomed a larger share of festival-goers who exercise the concert etiquette typically associated with ravers.

I experienced a few unsavory encounters but people were generally polite. I had many pleasant interactions, including with several first-time ravers who were very enthusiastic about the weekend.

Cell service was scarce once the festival was populated with approximately 24,000 people, according to Surrey Now-Leader, each day—except for Freedom mobile users who experienced a rare victory—but that’s not the fault of organizers. It was difficult reconnecting with friends who had peeled off from the group but that was remedied on Day 2 once we were acclimated and meeting points were established. Besides, there’s plenty of fun to be had in solo adventures.

FVDED In The Park 2024.

Red Rose Films

Everything else ran smoothly: lines were relatively short, food trucks were abundant and bathrooms and water stations were adequate. The forest area offered ample shade, hammocks and fairy lights for great photo ops. The addition of one or two water stations to help limit congestion at the most convenient locations would’ve been prudent and, if possible, additional shade near the mainstage.

FVDED in the Park was a smashing success. The festival was on the other side of death’s door last year, but kicked it off its hinges and roared to life in 2024. The event reportedly sold out its 48,000 capacity, an encouraging sign for Western Canada’s music scene as British Columbia can finally point to a set of festivals that can stand up to Eastern Canada’s juggernauts.

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Just like the giant butterflies hovering above Michael Bibi, a metamorphosis unfurled over the weekend in London, where the DJ headlined the largest electronic show in the city’s history.

The rare cancer that had once threatened to clip his own wings served a new purpose for Bibi, who on Saturday night shattered records at Finsbury Park by drawing over 45,000 attendees. The momentous hometown performance kicked off his celebratory “One Life” tour after a brutal six-month battle with CNS Lymphoma.

“I am still very much in recovery,” Bibi told Billboard prior to the show. “I’m only doing a very, very, very, very limited number of shows and making sure they are the best that they can possibly be.”

Mission accomplished. As lights danced and bodies swayed, Bibi unfolded a deliriously exuberant celebration of life snatched from the jaws of mortality. Massive LED screens projected aching footage from those dark days in the hospital as well as video montages including flashback scenes from the DJ’s childhood with his father, who ultimately joined him onstage for a dramatic guitar solo.

The night was a living, breathing affirmation that even in our darkest hours, the human spirit can emerge—not just intact, but radiant and ready to move the masses. Check out 10 photos from Bibi’s historic concert below.

Louis Nesbitt


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As ODESZA‘s “The Last Goodbye” tour finally turned into an actual prophecy, their fans weren’t prepared for the void they’d soon confront.

Returning to the breathtaking Gorge Amphitheatre in their home state of Washington, the duo developed “Echoes,” a tech-driven art installation moonlighting as a monument to their unparalleled connection with those ride-or-dies.

“The Last Goodbye,” which takes its name from ODESZA’s scintillating album of the same name, persisted for roughly three years and is now universally regarded as their most innovative production yet. The tour officially met its end last week after a trio of spectacular finale shows from July 4-6, but not before the band left fans with one more trophy for their museum of memories.

Walking through two rows of three iridescent, curved towers, the scene at the Gorge looked like some kind of phantasmagoric Stonehenge—only with less history and more LEDs. “Echoes” was fueled by a single PC powered by a minuscule-but-mighty Snapdragon X Elite processor from Qualcomm, with whom ODESZA’s Clayton Knight and Harrison Mills collaborated on its development. 66,000 fans passed through the bleeding-edge installation, which featured 120 LED panels displaying projection-mapped visual content from ODESZA and their tour.

However, even in such a smorgasbord of surrealist art and tech, the pièce de résistance of “Echoes” was the integration of voicemails recorded by fans. Mills and Knight shared an anonymous phone number in the weeks prior and asked fans to leave messages containing their favorite ODESZA memories, which were played in 4D audio around the towers and transcribed on their LED panels, transforming them into conduits for immersive storytelling.

ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

The voicemails were a microcosm of the duo’s extraordinary bond with their fans after years of nurturing a community through consistent artistic evolution and haunting songwriting. They were brought to life inside the Gorge’s grounds by the visionary team behind UPROXX Studios and a pair of renowned art collectives, SETUP and The Vessel.

It’s worth noting that Knight and Mills are fiercely selective when it comes to collaborations, so their leap of faith was not lost on this horde of contrarian creatives, who set out to prove that technology can facilitate the emotional release of ODESZA’s music.

“You know how much risk goes into developing something like ODESZA? It’s hard to even comprehend,” says Jarret Myer, co-founder and CEO of UPROXX Studios. “We weren’t with them when they were traveling around in a van. We weren’t with them in their room struggling over the right chord change in a song.”

“There has to be a level of ‘what if,'” Myer adds when asked about his studio’s secret sauce to brand-building. “ODESZA is such a great example of incredible storytelling because they’re willing to tell big stories that they might not even know all the answers to—in all of their different mythologies—but they’re willing to weave a huge tapestry.”

UPROXX Studios CEO Jarret Myer inside ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

Through anecdotes ranging from walk-on-air nostalgia to heartsick ache, the installation captured the essence of a generation that wears its emotions like the very voicemails within its lattice—fragile confessions left in the hopes that someone, somewhere, will take the time to listen and understand.

If technology could shed tears, it would’ve weeped through the ducts of “Echoes.” It was the fans, though, who felt its “searingly emotional” weight in droves. That’s according to Steve Bramucci, UPROXX Studios’ charismatic Senior Creative Director, who said he ultimately saw fans bawling their eyes out.

“It’s an incredible weight to truly matter to people,” Bramucci told us at the Gorge the night before the show, just minutes after we watched ODESZA rehearse before an empty amphitheater during a sublime sunset. “It’s a lot different to not matter to people. And I think [Mills and Knight] take that weight with the gravity that it deserves.”

“I am not good at a million things, but I am good at gratitude and understanding the privileged position that it is to be able to come up with ideas like [‘Echoes’] for a living… it’s one of the most beautiful things I’ve been a part of.”

UPROXX Studios’ Steve Bramucci hugging a teary-eyed attendee of ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

For over 12 years the quest for human connection has been in the bone marrow of ODESZA’s music, which has the profound ability to tether itself to the charts that dictate our growth and happiness—or our gnawing desire for hope. Technology acts as both a lifeline and a labyrinth in that pursuit for fans, especially in a digital age that casts a longer shadow everyday on pavement scuffed up by polarizing algorithms.

But it’s clear the team behind Qualcomm’s Snapdragon tech knows that beneath the surface of our digital interactions lies a paradoxical truth: the very tools that seem to separate us can, when wielded with intention and compassion, enrich the human experience across vast distances. The words of love shared between partners continents apart; the silent tears of joy as grandparents witness their grandchild’s first steps virtually; the poignant memories of an ODESZA fan drifting literally through crisp summer air thousands of miles away; these moments are no longer lost to separation and time.

By reaching through the digital veil with genuine curiosity—and a deep adoration of the band’s relationship with fans—Qualcomm inoculated its Snapdragon chips with processing power that extends far beyond their circuitry. As fears of technology’s power to atrophy human creativity worsen in the AI era, the company used its products to conjure a world in the Gorge where that chasm was caulked by real-life monoliths for shared emotion.

“I think we have a shared vision for creating moving experiences,” said Tami Dunnam, Global Brand Manager at Qualcomm. “ODESZA cares deeply about their fans and taking them on a journey with their music and their performances, and Snapdragon is focused on connecting with people through their passions, enabling and enhancing their experiences with best-in-class technology.”

“ODESZA also embodies creativity in a way that completely impressed me,” Dunnam adds. “Their showmanship is multi-layered, blending a unique sound and stunning visuals. Their performance wraps together EDM, strings, brass, drums, vocalists, lasers, lights, pyro and truly breathtaking graphics with perfect harmony. The experience is both amazing and moving. I see a very strong connection between what ODESZA represents and Snapdragon’s ethos of ‘The Power to Move.’ Because Snapdragon isn’t just about industry-leading technology, it’s about delivering experiences, enabling passions and unleashing emotion.”

ODESZA and Qualcomm’s Tami Dunnam posing with the newly released Manchester United home kit featuring the Snapdragon brand inside the “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

Dunnam and her Snapdragon team had lots of help, of course. That includes award-winning brand activation expert Jenny Feterovich, CEO of The Vessel and Creative Director of “Echoes.”

“This has never been done before,” Feterovich said as the installation teemed with fans in the distance. “This is really insane—what we pitched [Mills and Knight]—and off we went. It’s a true collab with ODESZA because they’ve never worked with other creatives before, for the whole entire existence of their being. They’ve never let an outside creative force in. It’s a true honor.”

“The band would do nothing that wasn’t authentic to them,” Bramucci affirms. “They were vigorous about that. They were very solid on that: ‘If it’s not authentic to us, we will not do it. Full stop. Talk to you later. Take your money and walk away.’ And I think that’s why this has mattered, because it’s authentic to people.”

Feterovich’s initial pitch to build the installation, she tells us, was rejected a staggering 18 times. That would deter most, but not this relentless creative, who is officially listed as the “Chief Energy Officer” of The Vessel.

“People called us crazy,” she recalls. “They said, ‘You’re insane. There’s no time. It’s too expensive. Less than two months.’ Then our technical director, Phil, said, ‘Why don’t you just sleep on this?’ So then we convinced another crazy person to go on this journey, because the technical part of building this physically is so ambitious. It’s insane.”

The Vessel’s Jenny Feterovich working on ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

While the remarkably detailed “Echoes” seemed effortless at first glance, the days leading up to its reveal were anything but. As the beginning of the end of an era for ODESZA approached, the sprint to activate the baroque installation lasted until just a few hours before showtime.

There were enough obscure details in the installation’s blueprint and the granular nature of its production to make Frank Lloyd Wright bite his nails. At any given moment, you could see Vasilii Miroliubov, a virtuosic designer at SETUP, intensely examining it.

For starters, a construction team had to level the grassy knoll to ensure uniformity in the height of the installation’s pillars, each of which came with its own set of unique problems.

A construction team working on ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 3rd, 2024.

Scotty Wise

The cutting-edge LED panels were then assiduously sheared and whittled down to fit each 30-foot tower’s convex shape, according to Keenon Rush, a creative producer on the project. That feat was accomplished after delays due to the glue drying too quickly under the punishing Pacific Northwest sun.

Another architectural triumph was rooted in the terra firma beneath the installation’s feet. Stakes were high for its producers at the Gorge, one of the world’s most scenic concert venues, to entwine with nature in a way that felt organic. They consequently positioned the pillars with the foresight to integrate them into dusk so “it looks like we’re siphoning the sun’s energy when it sets in the mountain range,” Rush said.

ODESZA’s “Echoes” installation in action at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

All of these minutiae kept the teams up through the dead of night, plugging away at the Gorge less than 24 hours before doors were scheduled to open.

“Not a single person or team feels that they’re alone,” Feterovich said. “We’re in this together and we have been through so many crises since we landed. I can’t even begin to tell you. But here’s the thing: we operate out of love, not fear. And we as a team, we can solve any problem. I have incredible amounts of self-belief and we will figure it the fuck out.”

The unflappable Feterovich, who served as a pressure valve in the cooker of the “Echoes” stress test, said she never lost sight of her prevailing goal in life, simply “to make really dope-ass shit come alive.” She’s being charmingly reductive when it comes to the elaborate project, a truly “immersive” experience existing on the fringe of a modern music industry which continues to beat that word into oblivion.

Once a descriptor of depth, the term is now as shallow as a kiddie pool, with artists and marketers constantly leaving fans wondering if they’ve accidentally wandered into a sensory deprivation tank or just another overhyped show. Thanks to the deceptive nature of far too many in entertainment, no one really knows what “immersive” means anymore.

But ODESZA and friends found a silver bullet within the Gorge’s idyllic grounds. Fans came for the music but they left with so much more, including a new perspective on the power of closure.

“As you’re standing there in the middle of this thing and you see people crying, and you hear four-dimensional audio of people talking about how ODESZA affected their life at a time of loss, you can just get lost. For me, this is the true meaning,” explained Feterovich’s colleague, Roustam Mirzoev, a music industry vet and experiential marketing specialist. “People saying they have goosebumps, people are crying, people going through in and out; that’s the real difference between the buzzword and the real experience. When it’s immersive, you can feel it.”

Fans admiring ODESZA’s “Echoes” installation at the Gorge Amphitheatre on July 4th, 2024.

Scotty Wise

“We live in the intersection of art, music and technology, which is a beautiful space to live,” Feterovich adds. “To us, this is the future of storytelling. This is the future of making people feel things.”

The dreamlike nature of “Echoes” wasn’t exclusive just to its physical attributes. From an existential perspective, it was a dream come true for filmmaker Steven Vasquez, rooted in the idea that each of us has the ability to create our own sense of purpose with our work.

“Everybody here cares about music in a real, legitimate way,” gushed Vasquez, the Director of Production at UPROXX Studios, whose deep portfolio includes credits producing music videos for Steve Aoki and The Chainsmokers. “Everything is authentic to the music, the fans, the feelings, the emotion, the expression… this is what I’ve always wanted to do. It’s my dream. My dream has always been to just build something for real.”

UPROXX Studios’ Steven Vasquez.

Scotty Wise

To that end, now that “Echoes” has been dismantled, we’re left to wonder—what constitutes an authentic shared experience in the digital age? And what’s the key to fostering community in this period of technological mediation?

It all starts with unfiltered creativity, Dunnam says.

“Snapdragon enables you to unleash your creativity,” she explains. “You can achieve more because the technology experience is so seamless and powerful—it’s like an extension of yourself. So you can get into that flow state where creativity meets productivity, where you can be so fully immersed in and focused on what you’re doing that everything around you seems to fade into the background.”

UPROXX Studios is now producing a four-part video series documenting the development and cultural impact of “Echoes.” Fans can watch the series here.

Originating in Barcelona, Brunch Electronik brought their beloved day-to-night party to downtown Los Angeles for a day attendees won’t soon forget.

In collaboration with LA-based underground event collectives Minimal Effort and SBCLTR, the event took place on Saturday, July 6th at Exposition Park. Brunch Electronik’s organizers transformed the venue into a lush oasis with verdant trees, vines, and natural fiber decor, making it feel like you were in a dreamlike jungle rather than the heart of DTLA.

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The music was perfect throughout the day, starting off light and gradually getting darker to curate a journey from day into night. Manics kicked off the day with uplifting house and disco beats before Stavroz followed with a standout live performance featuring guitars, piano and a saxophone.

DJ Harvey kept the energy high with groovy disco tunes and Maya Jane Coles took the stage at sunset to galvanize the entire crowd dancing. Will Clarke delivered a powerful mix of techno and house music, and Afterlife favorite Colyn closed the night with a deep and euphoric set.

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The stage lighting was bright and colorful, enhancing the experience with vivid light shows. With ample space for dancing, the crowd was a sophisticated mix of kind and friendly ravers.

Together with the music, the venue provided just the right ambience. Brunch Electronik boasted an expansive vendor area with unique crafts, including handmade clothing, jewelry and accessories. Food trucks, a full bar and a mocktail bar provided plenty of refreshments and eats.

The lush greenery, vibrant stage lighting and pulsating beats combined to create an unforgettable atmosphere. From the eclectic lineup to the ethereal jungle setting, every element contributed to a weekend brimming with music, community and pure bliss.

You can stay up-to-date with Brunch Elektronik here.

The 2024 return of Global Dance Festival promises to look better, sound better and run later than previous events.

In less than three weeks, Denver will welcome the return of one Global Dance, one of its biggest and most beloved electronic music festivals. Many years ago, the event took place at Red Rocks until it outgrew the amphitheater’s natural space and moved to Empower Field at Mile High.

Now, Global Dance Festival’s organizers have revealed its new home at Denver’s National Western Complex and shared who will take the stage at the revamped event.

Many genres under the electronic umbrella are represented on the lineup but there’s a clear focus on bass music, save for its headliners, The Chainsmokers, Duke Dumont, FISHER, Gryffin and Kaytranada. Joining them to bring the heavier sounds of dance music are G Jones, Champagne Drip, Crankdat, Said the Sky, Kayzo, Chibs, Vampa, Mport, Canabliss and Boogie T B2B Jantsen, among others.

Organizers have also announced that the indoor-outdoor hybrid event will feature upgraded production and will run later than previous years, with an end time of 1am.

Global Dance Festival is scheduled to return to Denver from July 26-27, 2024. You can purchase passes here and check out the full lineup below.

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Hardwell is ready to turn back time and drop the beats that defined an era at Tomorrowland, where in 2024 the dance music legend will captivate fans with a nostalgic EDM throwback set.

In a move that has fans buzzing with anticipation, Hardwell has announced a special EDM throwback set during Tomorrowland’s first weekend. The revelation comes after the Dutch DJ ran an Instagram poll, sparking a frenzy of excitement among his followers. It turns out the crowd was indeed feeling a trip down memory lane was much-needed.

Currently among the most prominent faces of the “mainstage techno” movement, Hardwell has been steering his sound toward a more techno-oriented direction in recent years. However, this throwback set promises a return to his roots, delivering the high-energy anthems that catapulted him to stardom, like “Apollo” and “Spaceman.”

Tomorrowland, the globally renowned EDM festival in Belgium, will host the performance during its first weekend on July 19th at the Freedom stage.

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Before the LA Galaxy take on their rivals, the Los Angeles Football Club, on the Fourth of July, Afrojack has been tasked with bringing the energy to the stadium.

Due to the magnitude of the rivalry game, the teams will square off at the massive Rose Bowl Stadium, giving the Dutch dance music icon an even larger playground to perform new hits, like his recent reunion with Pitbull and Ne-Yo. In addition to the pregame performance, Afrojack will return to the spotlight at halftime to prepare the crowd for the final half of the matchup.

LA Galaxy’s Chief Brand and Creative Officer, Will Misselbrook, stated their commitment to incorporating live music into the team’s game experiences.

“This show continues to enhance our approach to creating an immersive fan experience with legendary musical acts,” he said in a press release. “There is no better place for top-tier soccer and innovative electronic music to take center stage than at the iconic Rose Bowl Stadium.”

LA Galaxy fans know this is not the first time dance music has invaded their club. Just this year, attendees were treated to the sounds of Alesso during the organization’s home opener. Not long after that, TOKiMONSTA provided the soundtrack for the Galaxy’s Women’s History Month game from the club’s all-new DJ booth.

Afrojack will take the stage at the Rose Bowl Stadium  on July 4th, 2024. Tickets are still available for purchase here.

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