Electronic dance music#cite note-Kellmann-15

{{See also|Electronic music|History of DJing}}

Various EDM genres have evolved over the last 40 years, for example; house, techno, drum and bass, dance-pop etc. Stylistic variation within an established EDM genre can lead to the emergence of what is called a subgenre. Hybridization, where elements of two or more genres are combined, can lead to the emergence of an entirely new genre of EDM.

{{See also|P-Funk}}

In the late 1960s bands such as Silver Apples created electronic music intended for dancing.{{Cite web|url=https://www.youtube.com/watch?v=xReSZczxSsU|title=Silver Apples Made EDM in the 1960s - Supersonic - Ep. 6|website=YouTube|date=December 16, 2013 |access-date=July 11, 2018|archive-date=April 15, 2021|archive-url=https://web.archive.org/web/20210415031130/https://www.youtube.com/watch?v=xReSZczxSsU|url-status=live}} Other early examples of music that influenced later electronic dance music include Jamaican dub music during the late 1960s to 1970s, the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, and the electropop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.

{{Main|Dub music}}

{{See also|Sound system (Jamaican)|Deejay (Jamaican)}}

Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures.Michael Veal (2013), [https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PA85 Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 85–86] {{Webarchive|url=https://web.archive.org/web/20231108063143/https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PA85#v=onepage&q&f=false |date=November 8, 2023 }}, Wesleyan University Press The music was pioneered by studio engineers, such as King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist.Michael Veal (2013), [https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP54 Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 26–44, "Electronic Music in Jamaica"] {{Webarchive|url=https://web.archive.org/web/20231108063147/https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP54#v=onepage&q&f=false |date=November 8, 2023 }}, Wesleyan University Press Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio mixing board as a performance instrument. They also foregrounded spatial effects such as reverb and delay by using auxiliary send routings creatively. The Roland Space Echo, manufactured by Roland Corporation, was widely used by dub producers in the 1970s to produce echo and delay effects.{{cite book|last=Truesdell|first=Cliff|title=Mastering Digital Audio Production: The Professional Music Workflow with Mac OS X|date=2007|publisher=John Wiley & Sons|isbn=9780470165768|page=310|url=https://books.google.com/books?id=wMOMjt6FGK0C&pg=PA310|access-date=March 22, 2019|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063148/https://books.google.com/books?id=wMOMjt6FGK0C&pg=PA310#v=onepage&q&f=false|url-status=live}}

Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge.Nicholas Collins, Margaret Schedel, Scott Wilson (2013), [https://books.google.com/books?id=bQeAtG97BmEC&pg=PA20 Electronic Music: Cambridge Introductions to Music, page 20] {{Webarchive|url=https://web.archive.org/web/20231108063151/https://books.google.com/books?id=bQeAtG97BmEC&pg=PA20#v=onepage&q&f=false |date=November 8, 2023 }}, Cambridge University Press Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. It featured layering techniques and incorporated elements of world music, deep bass lines and harmonic sounds.{{cite book |title=Electronic and Experimental Music: Technology, Music, and Culture |last=Holmes |first=Thom |year=2008 |publisher=Routledge |isbn=978-0203929599 |page=403 |url=https://books.google.com/books?id=hCthQ-bec-QC |access-date=April 1, 2013 |archive-date=November 8, 2023 |archive-url=https://web.archive.org/web/20231108063151/https://books.google.com/books?id=hCthQ-bec-QC |url-status=live }} Techniques such as a long echo delay were also used.{{cite book|last1=Toop|first1=David|title=Ocean of Sound|date=1995|publisher=Serpent's Tail|isbn=9781852423827|page=[https://archive.org/details/oceanofsoundaeth0000toop/page/115 115]|url=https://archive.org/details/oceanofsoundaeth0000toop/page/115}}

{{Main|Hip-hop}}

{{See also|Rapping|Turntablism}}

Hip-hop has had some influence in the development of electronic dance music since the 1970s.{{cite web |title=The Intersection of Hip Hop and Electronic Dance Music: A History of Influences |url=https://electronica.org.uk/blog/the-intersection-of-hip-hop-and-electronic-dance-music-a-history-of-influences/ |website=Electronica |date=March 22, 2021 |access-date=June 22, 2023 |archive-date=June 22, 2023 |archive-url=https://web.archive.org/web/20230622152500/https://electronica.org.uk/blog/the-intersection-of-hip-hop-and-electronic-dance-music-a-history-of-influences/ |url-status=live }} Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx.Arthur P. Molella, Anna Karvellas (2015),[https://books.google.com/books?id=FyDaCwAAQBAJ&pg=PA47 "Places of Invention"], Smithsonian Institution, p.47. His parties are credited with having kick-started the New York City hip-hop movement in 1973. A technique developed by DJ Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables, in alternation, and at the point where a track featured a break. This technique was further used to manually loop a purely percussive break, leading to what was later called a break beat.Nicholas Collins, Margaret Schedel, Scott Wilson (2013), [https://books.google.com/books?id=bQeAtG97BmEC&pg=PA105 Electronic Music: Cambridge Introductions to Music, page 105], Cambridge University Press

Turntablism has origins in the invention of the direct-drive turntable,Brian Coleman, [https://medium.com/@briancoleman/the-technics-1200-hammer-of-the-gods-xxl-fall-1998-5b93180a67da The Technics 1200 — Hammer Of The Gods] {{Webarchive|url=https://web.archive.org/web/20170709132525/https://medium.com/@briancoleman/the-technics-1200-hammer-of-the-gods-xxl-fall-1998-5b93180a67da |date=July 9, 2017 }}, Medium by Shuichi Obata, an engineer at Matsushita (now Panasonic).Billboard, May 21, 1977, [https://books.google.com/books?id=XCMEAAAAMBAJ&pg=PT140 page 140] In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market,{{cite web|title=History of the Record Player Part II: The Rise and Fall|url=https://reverb.com/news/history-of-the-record-player-part-ii-the-rise-and-fall|website=Reverb.com|date=October 2015|access-date=June 5, 2016|archive-date=August 11, 2017|archive-url=https://web.archive.org/web/20170811105441/https://reverb.com/news/history-of-the-record-player-part-ii-the-rise-and-fall|url-status=live}} and the first in their influential Technics series of turntables.Trevor Pinch, Karin Bijsterveld, [https://books.google.com/books?id=KuRfLG0IedYC&pg=PA515 The Oxford Handbook of Sound Studies, page 515], Oxford University Press The most influential turntable was the Technics SL-1200,[https://www.wired.com/2002/05/blackbox/ Six Machines That Changed The Music World] {{Webarchive|url=https://web.archive.org/web/20170728083224/https://www.wired.com/2002/05/blackbox/ |date=July 28, 2017 }}, Wired, May 2002 which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972. In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and virtuosic use developed into a creative practice called turntablism.

{{Main|Disco}}

{{See also|Euro disco|Italo disco|Hi-NRG}}

In 1974, George McCrae's early disco hit "Rock Your Baby" was one of the first records to use a drum machine,Martin Russ (2012), [https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA83 Sound Synthesis and Sampling, page 83] {{Webarchive|url=https://web.archive.org/web/20231108063151/https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA83#v=onepage&q&f=false |date=November 8, 2023 }}, CRC Press an early Roland rhythm machine.Mike Collins (2014), [https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320 In the Box Music Production: Advanced Tools and Techniques for Pro Tools, page 320] {{Webarchive|url=https://web.archive.org/web/20231108063151/https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320#v=onepage&q&f=false |date=November 8, 2023 }}, CRC Press The use of drum machines in disco production was influenced by Sly and the Family Stone's "Family Affair" (1971), with its rhythm echoed in McCrae's "Rock Your Baby",Alice Echols (2010), [https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA21 Hot Stuff: Disco and the Remaking of American Culture, page 21] {{Webarchive|url=https://web.archive.org/web/20231108063152/https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA21#v=onepage&q&f=false |date=November 8, 2023 }}, W. W. Norton & Company and Timmy Thomas' "Why Can't We Live Together" (1972).Alice Echols (2010), [https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA250 Hot Stuff: Disco and the Remaking of American Culture, page 250] {{Webarchive|url=https://web.archive.org/web/20231108063634/https://books.google.com/books?id=DzrvOAA2tvAC&pg=PA250#v=onepage&q&f=false |date=November 8, 2023 }}, W. W. Norton & Company Disco producer Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976),{{Discogs release|2809569|Biddu Orchestra – Bionic Boogie}} "Soul Coaxing" (1977),{{Discogs release|874902|Biddu Orchestra – Soul Coaxing}} and Eastern Man and Futuristic Journey{{cite web|title=Futuristic Journey And Eastern Man CD|url=http://www.cduniverse.com/productinfo.asp?pid=7735242|publisher=CD Universe|access-date=July 7, 2011|archive-date=October 25, 2012|archive-url=https://web.archive.org/web/20121025225734/http://www.cduniverse.com/productinfo.asp?pid=7735242|url-status=live}}{{Discogs master|109852|Biddu Orchestra – Futuristic Journey|type=album}} (recorded from 1976 to 1977).{{allMusic|album|r1401917|Futuristic Journey and Eastern Man}}

Acts like Donna Summer, Chic, Earth, Wind & Fire, Heatwave, and the Village People helped define the late 1970s disco sound. Giorgio Moroder and Pete Bellotte produced "I Feel Love" for Donna Summer in 1977. It became the first well-known disco hit to have a completely synthesized backing track. Other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music (which came with the increased Jamaican migration to New York City in the 1970s) to provide alternatives to the four-on-the-floor style that dominated.{{cite magazine|url=http://www.billboard.com/biz/search/charts?page=41&f[0]=ts_chart_artistname%3A*donna%20summer*&f[1]=ss_bb_type%3Achart_item&type=2&artist=donna%20summer|title=Chart Search: Billboard|magazine=Billboard}}{{cite book

| last =Shapiro

| first =Peter

| title =Modulations: A History of Electronic Music

| url =https://archive.org/details/impossibledancec00buck/page/254

| url-access =registration

| publisher =Caipirinha Productions, Inc.

| year =2000

| pages =[https://archive.org/details/impossibledancec00buck/page/254 254 pages]

| isbn =978-0-8195-6498-6

}} see p.45, 46 During the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels and producers. Euro disco continued evolving within the broad mainstream pop music scene.{{cite news|title=ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye|url=https://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|newspaper=The New York Times|date=December 10, 2002|access-date=February 18, 2017|archive-date=December 24, 2016|archive-url=https://web.archive.org/web/20161224103954/http://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|url-status=live}}

{{Main|Synth-pop}}

{{See also|New wave music|Electropop|Minimal wave|City pop}}

Synth-pop (short for synthesizer pop;{{sfn|Trynka|Bacon|1996|p=60}} also called techno-pop{{cite journal|title=High-fidelity sound systems|journal=Stereo Review|year=1983|volume=48|page=89|url=https://books.google.com/books?id=QVkJAQAAMAAJ&q=%22technopop%22+%22synthpop%22|access-date=July 9, 2023|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063639/https://books.google.com/books?id=QVkJAQAAMAAJ&q=%22technopop%22+%22synthpop%22|url-status=live}}{{harvnb|Collins|Schedel|Wilson|2013|p=97|loc="synth pop (also called electro pop, techno pop, and the like)"}}; {{harvnb|Hoffmann|2004|p=2153|loc="Techno-pop, also termed synth-pop or electro-pop"}}) is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument.{{Cite web|title=Synth-Pop Music Guide: A Brief History of Synth-Pop|url=https://www.masterclass.com/articles/synth-pop-music-guide|website=Masterclass|date=7 June 2021|access-date=July 9, 2023|archive-date=July 8, 2023|archive-url=https://web.archive.org/web/20230708084202/https://www.masterclass.com/articles/synth-pop-music-guide|url-status=live}} It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco.

Early synth-pop pioneers included Japanese group Yellow Magic Orchestra, and British bands Ultravox, the Human League and Berlin Blondes{{Citation needed|reason=This claim needs a reliable source; proof needed that they are regarded as pioneers.|date=May 2018}}. The Human League used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including late-1970s debutants like Japan and Orchestral Manoeuvres in the Dark, and newcomers such as Depeche Mode and Eurythmics. In Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts (including Duran Duran and Spandau Ballet) in the United States.

The use of digital sampling and looping in popular music was pioneered by Japanese electronic music band Yellow Magic Orchestra (YMO).{{cite book|title=Tokyo city guide|author=Mayumi Yoshida Barakan & Judith Connor Greer|publisher=Tuttle Publishing|year=1996|isbn=0-8048-1964-5|page=144|url=https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144|access-date=June 6, 2011|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063639/https://books.google.com/books?id=vJbd43uxLiMC&pg=PA144|url-status=live}}{{cite web|last=Carter|first=Monica|title=It's Easy When You're Big In Japan: Yellow Magic Orchestra at The Hollywood Bowl|work=The Vinyl District|url=http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/|access-date=July 22, 2011|date=June 30, 2011|archive-date=March 21, 2012|archive-url=https://web.archive.org/web/20120321110921/http://www.thevinyldistrict.com/losangeles/2011/06/it%E2%80%99s-easy-when-you%E2%80%99re-big-in-japan-yellow-magic-orchestra-at-the-hollywood-bowl/|url-status=live}} Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.{{cite book|last=Condry|first=Ian|title=Hip-hop Japan: rap and the paths of cultural globalization|year=2006|publisher=Duke University Press|isbn=0-8223-3892-0|url=https://books.google.com/books?id=37QWE3yRY-4C&pg=PA59|page=60|access-date=March 22, 2019|archive-date=July 25, 2023|archive-url=https://web.archive.org/web/20230725172330/https://books.google.com/books?id=37QWE3yRY-4C&pg=PA59|url-status=live}} "Computer Game/Firecracker" (1978) interpolated a Martin Denny melody,{{cite news|last=Lewis|first=John|title=Back to the future: Yellow Magic Orchestra helped usher in electronica – and they may just have invented hip-hop, too|url=https://www.theguardian.com/music/2008/jul/04/electronicmusic.filmandmusic11|work=The Guardian|access-date=May 25, 2011|date=July 4, 2008|location=London|archive-date=November 11, 2011|archive-url=https://web.archive.org/web/20111111061211/http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|url-status=live}} and sampled Space Invaders{{citation|title=The Wire, Issues 221–226|work=The Wire|year=2002|page=44|url=https://books.google.com/books?id=qyFMAAAAYAAJ|access-date=May 25, 2011}} video game sounds. Technodelic (1981) introduced the use of digital sampling in popular music, as the first album consisting of mostly samples and loops. The album was produced using Toshiba-EMI's LMD-649 digital PCM sampler, which engineer Kenji Murata custom-built for YMO.Rockin'f, March 1982, [http://tokyosky.sub.jp/tokyosky_webmasters_blog/2011/02/f-19823-lmd-649-1982.html pages 140–141] {{Webarchive|url=https://web.archive.org/web/20210113004917/https://tokyosky.sub.jp/tokyosky_webmasters_blog/2011/02/f-19823-lmd-649-1982.html |date=January 13, 2021 }}{{Better source needed|date=April 2018|reason=WP:CIRCULAR}} The LMD-649 was also used for sampling by other Japanese synthpop artists in the early 1980s, including YMO-associated acts such as Chiemi Manabe{{cite web|url=https://www.discogs.com/Chiemi-Manabe-%E4%B8%8D%E6%80%9D%E8%AD%B0%E5%B0%91%E5%A5%B3-/release/4389700|title=Chiemi Manabe – 不思議・少女|website=Discogs|date=August 25, 1982 |access-date=March 22, 2019|archive-date=April 27, 2017|archive-url=https://web.archive.org/web/20170427192212/https://www.discogs.com/Chiemi-Manabe-%E4%B8%8D%E6%80%9D%E8%AD%B0%E5%B0%91%E5%A5%B3-/release/4389700|url-status=live}} and Logic System.{{cite web|url=https://www.discogs.com/Logic-System-Orient-Express/release/703523|title=Logic System – Orient Express|website=Discogs|date=1983 |access-date=March 22, 2019|archive-date=April 27, 2017|archive-url=https://web.archive.org/web/20170427103536/https://www.discogs.com/Logic-System-Orient-Express/release/703523|url-status=live}}

{{See also|New school hip hop|Miami bass|Freestyle music|Hip house|Latin house|Industrial dance music|Kwaito}}

The emergence of electronic dance music in the 1980s was shaped by the development of several new electronic musical instruments, particularly those from the Japanese Roland Corporation. The Roland TR-808 (often abbreviated as the "808") notably played an important role in the evolution of dance music.{{Cite book|last=Kirn|first=Peter|year=2011|url=https://books.google.com/books?id=IbtJAgAAQBAJ&q=%22mark+vail%22+808&pg=PT72|title=Keyboard Presents the Evolution of Electronic Dance Music|publisher=Backbeat Books|isbn=978-1-61713-446-3|access-date=February 13, 2021|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063714/https://books.google.com/books?id=IbtJAgAAQBAJ&q=%22mark+vail%22+808&pg=PT72#v=snippet&q=%22mark%20vail%22%20808&f=false|url-status=live}} In 1980, Ryuichi Sakamoto's cult hit "Riot in Lagos" from the album B-2 Unit introduced the 808 to clubs, demonstrating a new type of electro music that laid the groundwork for modern dance music,{{cite web |last1=Hobbs |first1=Mary Anne |author1-link=Mary Anne Hobbs |title=In praise of the 808 - 8 essential tracks to celebrate the drum machine that changed the world |url=https://www.bbc.co.uk/programmes/articles/4vxylVTKQrw6Hl8kgNrFv61/in-praise-of-the-808-8-essential-tracks-to-celebrate-the-drum-machine-that-changed-the-world |website=BBC Radio 6 Music |publisher=BBC |date=9 December 2020 |access-date=3 March 2025}}{{cite news |last1=Barsanti |first1=Sam |title=R.I.P. Ryuichi Sakamoto, Oscar-winning composer |url=https://www.avclub.com/r-i-p-ryuichi-sakamoto-oscar-winning-composer-1850292328 |access-date=3 March 2025 |work=AV Club |date=2 April 2023}} making it one of the most important tracks in the history of dance music.{{cite web|last=Vine|first=Richard|title=Ryuichi Sakamoto records Riot In Lagos|url=https://www.theguardian.com/music/2011/jun/15/ryuichi-sakamoto-riot-in-lagos|work=The Guardian |location=UK|date=July 9, 2011|access-date=July 9, 2011}} In 1982, Afrika Bambaataa's "Planet Rock" (1982) made the 808 very popular on dancefloors.{{Cite news|last=Beaumont-Thomas|first=Ben|url=https://www.theguardian.com/music/2014/feb/14/roland-launch-new-instruments-808-909-303|title=Roland launch new versions of the iconic 808, 909 and 303 instruments|date=February 14, 2016|newspaper=The Guardian|issn=0261-3077|access-date=January 16, 2016|archive-date=March 13, 2016|archive-url=https://web.archive.org/web/20160313045609/http://www.theguardian.com/music/2014/feb/14/roland-launch-new-instruments-808-909-303|url-status=live}} The track, influenced by Sakamoto's "Riot in Lagos" as well as Kraftwerk, informed the development of electronic dance music,{{Cite news|url=http://flavorwire.com/433944/10-great-songs-built-around-the-808/2|title=10 great songs built around the 808|last=Hawking|first=Tom|date=January 16, 2014|newspaper=Flavorwire|access-date=January 16, 2017|archive-date=July 2, 2019|archive-url=https://web.archive.org/web/20190702134547/http://flavorwire.com/433944/10-great-songs-built-around-the-808/2|url-status=dead}} and subgenres including Miami bass and Detroit techno, and popularized the 808 as a "fundamental element of futuristic sound".{{Cite news|last=Anderson|first=Jason|date=November 27, 2008|url=http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|title=Slaves to the rhythm|publisher=CBC News|access-date=January 16, 2017|archive-date=January 24, 2018|archive-url=https://web.archive.org/web/20180124145210/http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|url-status=live}} According to Slate, "Planet Rock" "didn't so much put the 808 on the map so much as reorient an entire world of post-disco dance music around it".{{Cite news|last=Hamilton|first=Jack|date=December 16, 2016|title=808s and heart eyes|newspaper=Slate|issn=1091-2339|url=http://www.slate.com/articles/arts/music_box/2016/12/_808_the_movie_is_a_must_watch_doc_for_music_nerds.html|access-date=January 16, 2017|archive-date=January 16, 2017|archive-url=https://web.archive.org/web/20170116042034/http://www.slate.com/articles/arts/music_box/2016/12/_808_the_movie_is_a_must_watch_doc_for_music_nerds.html|url-status=live}} The Roland TR-909, TB-303 and Juno-60 similarly influenced electronic dance music such as techno, house and acid.{{Cite web|url=http://complex.com/music/2014/09/roland-tr-909-tracks/|title=Nine Great Tracks That Use the Roland TR-909|website=Complex|access-date=March 26, 2018|archive-date=September 5, 2015|archive-url=https://web.archive.org/web/20150905064829/http://complex.com/music/2014/09/roland-tr-909-tracks/|url-status=live}}{{Cite news|url=http://mixmag.net/feature/909-tracks-using-the-tr-909|title=9 of the best 909 tracks using the TR-909|work=Mixmag|access-date=March 26, 2018|archive-date=March 26, 2018|archive-url=https://web.archive.org/web/20180326065428/http://mixmag.net/feature/909-tracks-using-the-tr-909|url-status=live}}{{Cite web|title=The Story of the Synth that Changed Pop Forever|url=https://www.vice.com/en/article/synth-roland-juno-feature/|website=Vice.com|date=May 27, 2016 |access-date=June 12, 2019|archive-date=February 17, 2020|archive-url=https://web.archive.org/web/20200217072406/https://www.vice.com/en_us/article/bma7eq/synth-roland-juno-feature|url-status=live}}

{{Main|Post-disco}}

{{See also|Boogie (genre)}}

During the post-disco era that followed the backlash against "disco" which began in the mid to late 1979, which in the United States lead to civil unrest and a riot in Chicago known as the Disco Demolition Night,^[13] an underground movement of "stripped-down" disco inspired music featuring "radically different sounds"^[14] started to emerge on the East Coast.^{[15] [Note 1]} This new scene was seen primarily in the New York metropolitan area and was initially led by the urban contemporary artists that were responding to the over-commercialization and subsequent demise of disco culture. The sound that emerged originated from P-Funk^[18] the electronic side of disco, dub music, and other genres. Much of the music produced during this time was, like disco, catering to a singles-driven market.^[14] At this time creative control started shifting to independent record companies, less established producers, and club DJs.^[14] Other dance styles that began to become popular during the post-disco era include dance-pop,^{[19] [20]} boogie,^[14] electro, Hi-NRG, Italo disco, house,^{[19] [21] [22] [23]} and techno.^{[22] [24] [25] [26] [27]}

{{Main|Electro (music)}}

File:Roland TR-808 drum machine.jpg drum machine.]]

In the early 1980s, electro (short for "electro-funk") emerged as a fusion of synth-pop, funk, and boogie. Also called electro-funk or electro-boogie, but later shortened to electro, cited pioneers include Ryuichi Sakamoto, Afrika Bambaataa,{{citation|title=The Wire, Volumes 143–148|work=The Wire|year=1996|page=21|url=https://books.google.com/books?id=Qtw4AQAAIAAJ|access-date=May 25, 2011|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063716/https://books.google.com/books?id=Qtw4AQAAIAAJ|url-status=live}} (see [http://www.thewire.co.uk/in-writing/essays/a-z-of-electro online link] {{Webarchive|url=https://web.archive.org/web/20170312062218/http://www.thewire.co.uk/in-writing/essays/a-z-of-electro |date=March 12, 2017 }}) Zapp,{{cite magazine|title=Zapp|date=August 1999|magazine=Vibe|volume=6|page=84}} D.Train,{{cite web|url=http://www.electrofunkroots.co.uk/articles/what.html|title=Electro-Funk > WHAT DID IT ALL MEAN ?|publisher=Greg Wilson on electrofunkroots.co.uk|access-date=December 23, 2009|archive-date=September 29, 2016|archive-url=https://web.archive.org/web/20160929154909/http://www.electrofunkroots.co.uk/articles/what.html|url-status=live}} and Sinnamon. Early hip hop and rap combined European and Japanese electropop influences such as Giorgio Moroder, Dan Lacksman (Telex) and Yellow Magic Orchestra inspired the birth of electro.{{cite web|title=Electro|publisher=Allmusic|url=http://www.allmusic.com/style/electro-ma0000002571|access-date=June 20, 2012|archive-date=May 14, 2023|archive-url=https://web.archive.org/web/20230514131441/https://www.allmusic.com/style/electro-ma0000002571|url-status=live}} As the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808 and the Yamaha DX7.{{Cite news|url=https://books.google.com/books?id=RDdWAAAAMAAJ&q=yamaha+dx7+replace+live+drums+electro-pop|title=Nuts and Bolts|date=2004|access-date=October 15, 2019|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063716/https://books.google.com/books?id=RDdWAAAAMAAJ&q=yamaha+dx7+replace+live+drums+electro-pop|url-status=live}} Early uses of the TR-808 include Sakamoto's "Riot in Lagos" in 1980, several Yellow Magic Orchestra tracks during 1980–1981, the 1982 track "Planet Rock" by Afrika Bambaataa, and the 1982 song "Sexual Healing" by Marvin Gaye.{{cite news|url=https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508 |title=Slaves to the rhythm |access-date=November 28, 2008 |work=CBC News |date=November 28, 2008 |url-status=live |archive-url=https://web.archive.org/web/20081201041939/http://www.cbc.ca/arts/music/story/2008/11/27/f-history-of-the-808.html |archive-date=December 1, 2008 }} In 1982, producer Arthur Baker, with Afrika Bambaataa, released the seminal "Planet Rock", which was influenced by Yellow Magic Orchestra (Ryuichi Sakamoto - Riot In Lagos 1980) and had drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, "Nunk" by Warp 9. In 1983, Hashim created an electro-funk sound with "Al-Naafyish (The Soul)" that influenced Herbie Hancock, resulting in his hit single "Rockit" the same year. The early 1980s were electro's mainstream peak. According to author Steve Taylor,{{cite book|last1=Taylor|first1=Steve|title=The A to X of alternative music|date=2004|publisher=Continuum|location=London|isbn=9780826482174|page=25|edition=2nd ed., reprint|url=https://books.google.com/books?id=KPOsu8JOHO8C&q=electro-funk+1st+dance+music+genre&pg=PA25|access-date=February 13, 2021|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108063717/https://books.google.com/books?id=KPOsu8JOHO8C&q=electro-funk+1st+dance+music+genre&pg=PA25#v=snippet&q=electro-funk%201st%20dance%20music%20genre&f=false|url-status=live}}

Afrika Bambaataa's Planet Rock serves as a "template for all interesting dance music since".

{{Main|House music}}

{{See also|Chicago house|Garage house|Deep house}}

In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul{{Cite book|title=Popular Music Genres: An Introduction|last1=Roy|first1=Ron|last2=Borthwick|first2=Stuart|page=255|isbn=9780748617456|year=2004 |publisher=Edinburgh University Press}} tracks), Italo Disco, electro funk tracks by artists such as Afrika Bambaataa,{{cite book|author=Rickey Vincent|title=Funk: The Music, The People, and The Rhythm of The One|url=https://books.google.com/books?id=Tb-FBAAAQBAJ&pg=PA289|year=2014|publisher=St. Martin's Press|isbn=978-1-4668-8452-6|page=289|access-date=August 27, 2017|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108064144/https://books.google.com/books?id=Tb-FBAAAQBAJ&pg=PA289#v=onepage&q&f=false|url-status=live}} newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Giorgio Moroder and Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer.

"On and On" is sometimes cited as the 'first house record',Mitchell, Euan. [http://www.4clubbers.net/modules.php?name=News&file=article&sid=125 Interviews: Marshall Jefferson] 4clubbers.net {{dead link|date=September 2016|bot=medic}}{{cbignore|bot=medic}}{{cite web |url=http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html |title=Finding Jesse – The Discovery of Jesse Saunders As the Founder of House |date=October 25, 2004 |website=Fly Global Music Culture |archive-url=https://web.archive.org/web/20120322041641/http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html |archive-date=March 22, 2012 |access-date=August 14, 2012}} though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.{{cite journal|journal=Dance Music Report|date=December 16, 1989|title=Back To Basics|last=Paoletta|first=Michael|page=12}} House music quickly spread to American cities including New York City, and Newark, and Detroit—all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia.{{cite journal | url=http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | title=The club DJ: a brief history of a cultural icon | date=July–August 2000a | last=Fikentscher | first=Kai | journal=UNESCO Courier | page=47 | quote=Around 1986/7, after the initial explosion of house music in Chicago, it became clear that the major recording companies and media institutions were reluctant to market this genre of music, associated with gay African Americans, on a mainstream level. House artists turned to Europe, chiefly London but also cities such as Amsterdam, Berlin, Manchester, Milan, Zurich, and Tel Aviv. ... A third axis leads to Japan where, since the late 1980s, New York club DJs have had the opportunity to play guest spots. | access-date=January 25, 2016 | archive-date=March 3, 2016 | archive-url=https://web.archive.org/web/20160303181437/http://unesdoc.unesco.org/images/0012/001201/120152e.pdf | url-status=live }} Chicago House experienced some commercial success in Europe with releases such as "House Nation" by House Master Boyz and the Rude Boy of House (1987). Following this, a number of house inspired releases such as "Pump Up The Volume" by M{{pipe}}A{{pipe}}R{{pipe}}R{{pipe}}S (1987), "Theme from S'Express" by S'Express (1988), and "Doctorin' the House" by Coldcut (1988) entered the pop charts.

The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.{{cite news |last=Pattison |first=Louis |date=April 10, 2010 |title=Charanjit Singh, acid house pioneer |url=https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house |newspaper=The Guardian |access-date=March 22, 2019 |archive-date=December 2, 2016 |archive-url=https://web.archive.org/web/20161202015758/https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house |url-status=live }}{{cite news |first=Stuart |last=Aitken |date=May 10, 2011 |title=Charanjit Singh on how he invented acid house ... by mistake |url=https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |newspaper=The Guardian |access-date=March 22, 2019 |archive-date=December 2, 2016 |archive-url=https://web.archive.org/web/20161202015759/https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |url-status=live }}{{cite web|title=Charanjit Singh – Synthesizing: Ten Ragas to a Disco Beat|publisher=Resident Advisor|author=William Rauscher|date=May 12, 2010|url=http://www.residentadvisor.net/review-view.aspx?id=7445|access-date=June 3, 2011|archive-date=January 12, 2012|archive-url=https://web.archive.org/web/20120112035759/http://www.residentadvisor.net/review-view.aspx?id=7445|url-status=dead}}

{{Main|Techno|Acid house}}

{{See also|Detroit techno|Electronic body music|Balearic house|Second Summer of Love}}

File:TB-303.jpg: The bass line synthesizer that was used prominently in acid house.]]

In the 1980s, Detroit DJs Juan Atkins, Derrick May, and Kevin Saunderson laid the foundation for a new style of music which would dubbed techno. They fused Chicago house influenced electronic and Detroit (including Motown) influenced funk sounds with the mechanical vibes of the post-industrial city, creating the techno sound of four-on-the-floor beat driven by a kick drum on the quarter notes and a snare or high hat on the second, fourth, or eighth notes.

In the mid-1980s house music thrived on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old vinyl rock, pop, reggae, and disco records paired with an "anything goes" attitude made Ibiza a hub of drug-induced musical experimentation.{{Cite news|url=https://boilerroom.tv/balearic-beat/|title=What Is Balearic Beat? – BOILER ROOM|date=July 12, 2014|newspaper=BOILER ROOM|access-date=October 28, 2016|archive-date=October 28, 2016|archive-url=https://web.archive.org/web/20161028173840/https://boilerroom.tv/balearic-beat/|url-status=live}} A club called Amnesia, whose resident DJ, Alfredo Fiorito, pioneered Balearic house, was the center of the scene.{{Cite news|url=https://www.theguardian.com/music/2007/aug/12/electronicmusic|title=The birth of rave|last=Warren|first=Emma|date=August 12, 2007|newspaper=The Guardian|issn=0261-3077|access-date=October 28, 2016|archive-date=August 19, 2013|archive-url=https://web.archive.org/web/20130819144321/http://www.theguardian.com/music/2007/aug/12/electronicmusic|url-status=live}} Amnesia became known across Europe and by the mid to late 1980s it was drawing people from all over the continent.{{cite web|url=http://www.amnesia.es/history/en|title=Amnesia – history|website=www.amnesia.es|access-date=October 28, 2016|archive-date=October 26, 2016|archive-url=https://web.archive.org/web/20161026183932/http://www.amnesia.es/history/en|url-status=live}}

By 1988, house music had become the most popular form of club music in Europe, with acid house developing as a notable trend in the United Kingdom and Germany in the same year.{{sfnp|Rietveld|1998|pp=40–50}} In the UK an established warehouse party subculture, centered on the British African-Caribbean sound system scene fueled underground after-parties that featured dance music exclusively. Also in 1988, the Balearic party vibe associated with Ibiza's DJ Alfredo was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both places became synonymous with acid house, and it was during this period that MDMA gained prominence as a party drug. Other important UK clubs included Back to Basics in Leeds, Sheffield's Leadmill and Music Factory, and The Haçienda in Manchester, where Mike Pickering and Graeme Park's spot, Nude, was an important proving ground for American underground dance music.{{refn|{{harvp|Fikentscher|2000|p=5}}, in discussing the definition of underground dance music as it relates to post-disco music in America, states that: "The prefix 'underground' does not merely serve to explain that the associated type of music—and its cultural context—are familiar only to a small number of informed persons. Underground also points to the sociological function of the music, framing it as one type of music that to have meaning and continuity is kept away, to a large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values."|group=Note}}{{sfnp|Rietveld|1998|pp=54–59}} The success of house and acid house paved the way for Detroit techno, a style that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later.{{sfnp|Brewster|2006|pp=398–443}} The term Techno first came into use after a release of a 10 Records/Virgin Records compilation titled Techno: The Dance Sound of Detroit in 1988.{{cite book |page=71 |quote=Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre. |last=Reynolds |first=S. |title=Generation Ecstasy: Into the World of Techno and Rave Culture |publisher=Routledge |place=New York |year=1999 |isbn=978-0415923736}}

One of the first Detroit productions to receive wider attention was Derrick May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 house music boom (see Second Summer of Love).Unterberger R., Hicks S., Dempsey J, (1999). Music USA: The Rough Guide, Rough Guides Ltd; illustrated edition.({{ISBN|9781858284217}}) It became May's best-known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."{{cite web|title=Interview: Derrick May—The Secret of Techno |year=1997 |work=Mixmag |url=http://www.techno.de/mixmag/interviews/DerrickMay1.html |access-date=July 25, 2012 |archive-url=https://web.archive.org/web/20040214105200/http://www.techno.de/mixmag/interviews/DerrickMay1.html |archive-date=February 14, 2004 |url-status=dead}} According to British DJ Mark Moore, "Strings of Life" led London club-goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the Mudd Club and clear the floor".{{sfnp|Brewster|2006|p=419}}{{refn|"Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham), and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups".{{sfnp|Cosgrove|1988}} |group=Note }} By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club-goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 25,000 people at a time were attending commercially organised underground parties called raves.{{sfnp|Koskoff|2004|p=44}}

{{See also|Progressive house|Tech house|Minimal techno|Trance music|Intelligent dance music|Eurodance|Ghetto house|Hardcore (electronic dance music genre)|Big beat|Digital hardcore|Afro house}}

{{Main|Trance music}}

{{See also|Goa trance|Psychedelic trance|Progressive trance|Uplifting trance}}

Trance emerged from the rave scene in the United Kingdom in the late 1980s and developed further during the early 1990s in Germany before spreading throughout the rest of Europe, as a more melodic offshoot from techno and house.{{citation needed|date=September 2019}} At the same time trance music was developing in Europe, the genre was also gathering a following in the Indian state of Goa.{{Cite web |author=John M. |url=http://www.toucanmusic.co.uk/articles/trance.php |access-date=April 22, 2018 |archive-url=https://web.archive.org/web/20170225123623/http://www.toucanmusic.co.uk/articles/trance.php |archive-date=February 25, 2017 |url-status=dead |title=A history of trance music |date=September 1, 2013}}

Trance is mostly instrumental, although vocals can be mixed in: typically they are performed by mezzo-soprano to soprano female soloists, often without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst the synths".Hawkins, Erik (2004). The Complete Guide to Remixing. Boston, MA: Berklee Press. {{ISBN|0-87639-044-0}}: p. 51{{Cite web|url=http://dancemusic.about.com/od/genres/g/Trance_Music|title="Trance Music—What is Trance Music?"}}{{Dead link|date=January 2022 |bot=InternetArchiveBot |fix-attempted=yes }} Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance,Fassbender, Torsten (2008). The Trance Experience. Knoxville, Tennessee: Sound Org Inc. {{ISBN|978-0-2405-2107-7}}: p. 15, 16, 17, 19 and uplifting trance.{{Citation needed|date=May 2012}} Uplifting trance is also known as "anthem trance", "epic trance", "commercial trance", "stadium trance", or "euphoric trance",Snoman, Rick (2009). The Dance Music Manual: Tools, Toys, and Techniques – Second Edition. Oxford, UK: Elsevier Press. {{ISBN|0-9748438-4-9}}: p. 251, 252, 253, 266 and has been strongly influenced by classical music in the 1990s and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiësto, Push, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Soundlift, Arctic Moon, Sergey Nevone&Simon O'Shine etc. Closely related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of highly commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music. For instance, Tech trance is a mixture of trance and techno, and Vocal trance "combines [trance's] progressive elements with pop music". The dream trance genre originated in the mid-1990s, with its popularity then led by Robert Miles.

AllMusic states on progressive trance: "the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."{{cite web|title=Progressive Trance|url=http://www.allmusic.com/style/progressive-trance-ma0000011914|website=AllMusic|access-date=April 22, 2018|archive-date=April 17, 2019|archive-url=https://web.archive.org/web/20190417061108/https://www.allmusic.com/style/progressive-trance-ma0000011914|url-status=live}}

{{Main|Jungle music|Drum and bass|Breakbeat hardcore}}

{{See also|History of drum and bass|UK garage|Breakbeat|Breakcore}}

By the early 1990s, a style of music developed within the rave scene that had an identity distinct from American house and techno. This music, much like hip-hop before it, combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres, and, occasionally, samples of music, dialogue, and effects from films and television programmes. Relative to earlier styles of dance music such as house and techno, so-called 'rave music' tended to emphasise bass sounds and use faster tempos, or beats per minute (BPM). This subgenre was known as "hardcore" rave, but from as early as 1991, some musical tracks made up of these high-tempo breakbeats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, and later just "jungle", which became recognized as a separate musical genre popular at raves and on pirate radio in Britain. It is important to note when discussing the history of drum & bass that prior to jungle, rave music was getting faster and more experimental.

By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.{{Cite book

|last = Reynolds

|first = Simon

|title = Energy Flash: A Journey Through Rave Music and Dance Culture

|year = 2013

|publisher = Soft Skull Press

|quote = So when I talk about the vibe disappearing from drum and bass, I'm talking about the blackness going as the ragga samples get phased out, the bass loses its reggae feels and becomes more linear and propulsive rather than moving around the beat with a syncopated relation with the drum.

}}

{{See also|Bass music|Crunk|Trap music|EDM trap|Footwork (genre)|Electroclash|Hardstyle|Moombahton|Microgenres||}}

{{Main|Dubstep}}

Dubstep is a genre of electronic dance music that originated in South London in the late 1990s. It is generally characterized by sparse, syncopated rhythmic patterns with bass lines that contain prominent sub-bass frequencies. The style emerged as an offshoot of UK garage, drawing on a lineage of related styles such as 2-step, dub reggae, jungle, broken beat, and grime.[http://www.allmusic.com/style/dubstep-ma0000004465 AllMusic – Dubstep] {{Webarchive|url=https://web.archive.org/web/20170923151236/http://www.allmusic.com/style/dubstep-ma0000004465 |date=September 23, 2017 }} "Absorbed and transfigured elements of techno, drum'n' bass and dub"Reynolds, S.(2012),Energy Flash: A Journey Through Rave Music and Dance Culture, Perseus Books; Reprint edition (Jan 5, 2012), pages 511–516, ({{ISBN|978-1-59376-407-4}}). In the United Kingdom, the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s.[http://uncarved.org/dub/splash/ The Big Big Sound System Splashdown] {{Webarchive|url=https://web.archive.org/web/20120509053430/http://uncarved.org/dub/splash/ |date=May 9, 2012 }}, New Musical Express, February 21, 1981, {{ISSN|0028-6362}}.

The earliest known dubstep releases date back to 1998, and were usually featured as B-sides of 2-step garage single releases. These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate elements of breakbeat and drum and bass into 2-step. In 2001, this and other strains of dark garage music began to be showcased and promoted at London's nightclub Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considered influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.{{cite web |url=http://www.imorecords.co.uk/dubstep/hatcha-biography/ |title=Hatcha Biography |archive-url=https://web.archive.org/web/20120112122021/http://www.imorecords.co.uk/dubstep/hatcha-biography/ |archive-date=January 12, 2012 |url-status=dead |website=IMO Records |date=October 17, 2011 |access-date=November 22, 2011}}

{{Main|Electro house}}

Electro house is a form of house music characterized by a prominent bassline or kick drum and a tempo between 125 and 135 beats per minute, usually 128.{{cite news|last=Lopez|first=Korina|title=Electronic dance music glossary|url=https://www.usatoday.com/life/music/news/story/2011-12-13/electronic-music-glossary/51863490/1|publisher=USA Today|access-date=May 17, 2012|quote=Electro: 'It's meant so many things in the last 30 years. Originally, it meant futuristic electronic music and was used to describe Kraftwerk and Afrika Bambaataa. Now, it means hard electronic dance music.' Electro can be used as an adjective, such as electro-house and electro-pop.|date=December 13, 2011|archive-date=March 4, 2016|archive-url=https://web.archive.org/web/20160304041512/http://www.usatoday.com/life/music/news/story/2011-12-13/electronic-music-glossary/51863490/1|url-status=live}}{{cite web|title=Electro House|url=http://thedancemusicguide.com/electro-house|website=Beat Explorers' Dance Music Guide|quote=Electro House rose to prominence in the early to mid 00's as a heavier alternative to other house subgenres that were prevalent at the time. [...] Electro House usually sits somewhere between 125-135bpm and tracks are arranged in a way that gives a large focus on the climax or drop. This usually contains a heavy bassline, and frequently includes melodic elements to help establish cohesion within the track.|url-status=dead|archive-url=https://archive.today/20150615061216/http://thedancemusicguide.com/electro-house|archive-date=June 15, 2015}}{{cite web|title=Electro House|url=http://www.di.fm/electro/|website=DI Radio|publisher=Digitally Imported|quote=Buzzing basslines, huge kicks, party rocking drops. House music packed full of gigantic bass and massive synths.|access-date=April 23, 2018|archive-date=June 18, 2015|archive-url=https://web.archive.org/web/20150618141846/http://www.di.fm/electro|url-status=live}} Its origins were influenced by electro.{{citation needed|date=September 2019}} The term has been used to describe the music of many DJ Mag Top 100 DJs, including Dimitri Vegas & Like Mike, Hardwell, Skrillex,{{cite web|last1=Edwards|first1=Owen|title=Skrillex|url=http://djmag.com/djmag.com/content/top100djs/2014/Skrillex|website=DJ Mag|url-status=dead|archive-url=https://web.archive.org/web/20150523062719/http://djmag.com/djmag.com/content/top100djs/2014/Skrillex|archive-date=May 23, 2015}}{{cite news|last=Lester|first=Paul|title=Skrillex (No 1,096)|url=https://www.theguardian.com/music/2011/sep/01/new-band-skrillex|work=New band of the day|publisher=The Guardian|access-date=August 25, 2012|date=September 1, 2011|quote=... Skrillex, a 23-year-old electro-house/dubstep producer ...|location=London|archive-date=July 16, 2020|archive-url=https://web.archive.org/web/20200716043208/https://www.theguardian.com/music/2011/sep/01/new-band-skrillex|url-status=live}} and Steve Aoki.{{cite web|last1=Roullier|first1=Ian|title=Steve Aoki|url=http://djmag.com/content/steve-aoki|website=DJ Mag|quote=Steve Aoki’s stock has risen once again over the past 12 months as he continues to perform the biggest, most audacious EDM sets across the globe and pump out his stomping, strutting electro house productions.|access-date=April 23, 2018|archive-date=May 21, 2015|archive-url=https://web.archive.org/web/20150521141950/http://www.djmag.com/content/steve-aoki|url-status=dead}} Italian DJ Benny Benassi, with his track "Satisfaction" released in 2002, is seen as the forerunner of electro-house who brought it to the mainstream.{{cite web|url=http://www.allmusic.com/artist/benny-benassi-mn0000791609/biography|title=Benny Benassi|author=David Jeffries|work=AllMusic|access-date=April 23, 2018|archive-date=January 11, 2022|archive-url=https://web.archive.org/web/20220111062313/https://www.allmusic.com/artist/benny-benassi-mn0000791609/biography|url-status=live}} By the mid-2000s, electro-house saw an increase in popularity, with hits such as the Tom Neville remix of Studio B's "I See Girls" in 2005 (UK #11). In November 2006, electroGq-house tracks "Put Your Hands Up for Detroit" by Fedde Le Grand and the D. Ramirez remix of "Yeah Yeah" by Bodyrox and Luciana held the number one and number two spots, respectively, on the UK top 40 singles chart.{{cite web|title=UK Top 40 Hit Database|url=http://www.everyhit.com/|publisher=everyHit.com|access-date=August 25, 2012|archive-date=September 13, 2008|archive-url=https://web.archive.org/web/20080913103452/http://www.everyhit.com/|url-status=live}} Since then, electro-house producers such as Feed Me, Knife Party, The M Machine, Porter Robinson, Yasutaka Nakata{{cite web|url=http://www.bounce.com/article/article.php/4045/ALL/|title=Perfume Interview|publisher=bounce.com|date=February 7, 2008|access-date=June 2, 2009|language=ja|archive-url=https://web.archive.org/web/20081209084048/http://www.bounce.com/article/article.php/4045/ALL/|archive-date=December 9, 2008}} ([https://translate.google.com/translate?sl=ja&tl=en&js=n&prev=_t&hl=en&ie=UTF-8&layout=2&eotf=1&u=http%3A%2F%2Fweb.archive.org%2Fweb%2F20081209084048%2Fhttp%3A%2F%2Fwww.bounce.com%2Farticle%2Farticle.php%2F4045%2FALL%2F English translation] {{Webarchive|url=https://web.archive.org/web/20210310222900/https://translate.google.com/translate?sl=ja&tl=en&js=n&prev=_t&hl=en&ie=UTF-8&layout=2&eotf=1&u=http%3A%2F%2Fweb.archive.org%2Fweb%2F20081209084048%2Fhttp%3A%2F%2Fwww.bounce.com%2Farticle%2Farticle.php%2F4045%2FALL%2F |date=March 10, 2021 }}) and Dada Life have emerged.

Big room house is a sub-genre of electro and progressive house that emerged in the mid-2010s, characterized by simplistic melodies and drops, and a sound design intended to be suited towards larger venues such as arenas and outdoor festivals.{{Cite web |title=Spinnin' the Truth: Copycatism and Martin Garrix's Stuffed "Animals" |url=https://www.complex.com/music/2013/06/the-truth-about-martin-garrix-animals |access-date=2022-09-06 |website=Complex |language=en}}Rovito, M. (2014) 'Layering Synths for Big-Room EDM Tracks', Electronic musician, 30(12), pp. 78–79.{{cite web |last=Anthony |first=Polis |date=2 May 2013 |title=Wolfgang Gartner Discusses "EDM Apocalypse" |url=http://blog.djcity.com/2013/05/wolfgang-gartner-discusses-edm.html |url-status=dead |archive-url=https://web.archive.org/web/20131124085518/http://blog.djcity.com/2013/05/wolfgang-gartner-discusses-edm.html |archive-date=24 November 2013 |access-date=5 December 2013 |publisher=DJ City |quote=To be perfectly honest, and I hate to sound negative, cynical or condescending in any way but that's probably how this will come off, I've been really bummed with most of the new music that's been making waves in 2013. I feel like the "big" sound in dance music right now is just this mashup of every single subgenre possible, to try and appeal to the most people possible, with these cheesy played-out trancey pads and vocal hooks, it all sounds exactly the same and it's really bad for the most part, and the scariest thing is that people are reacting to this stuff, crowds at festivals and clubs are wanting more of it. A few of us have deemed it the EDM Apocalypse. Electronic music is in a really weird place right now. I don't know where it's going to go. In some way I'm hoping Daft Punk single-handedly destroys this phenomenon we're experiencing and un-brainwashes everybody into realizing that real music should have some soul and authenticity to it, and not just be a big kick drum and a trance breakdown with a cheesy one-liner and a "big drop."}}

{{Main|EDM trap music}}

Trap music originated from techno, dub, and Dutch house, but also from the original off-shoot of Southern hip hop in the late 2000s and early 2010s. This form of trap music can be simplified by these three features: "1/3 hip hop (tempo and song structure are similar, most tracks are usually between 70 and 110 bpm) – with vocals sometimes being pitched down, 1/3 dance music – high-pitched Dutch synth work, hardstyle sampling, as well as a plethora of trap remixes of popular EDM songs, and 1/3 dub (low-frequency focus and strong emphasis on repetitiveness throughout a song)".{{Cite web|url=https://runthetrap.com/what-is-trap-music/|title=What is Trap Music? Trap Music Explained|website=Run The Trap|access-date=April 26, 2019|archive-date=April 8, 2022|archive-url=https://web.archive.org/web/20220408064036/https://runthetrap.com/what-is-trap-music/|url-status=live}} Some of the artists that popularized this genre, along with several others, are producers such as RL Grime with the tracks "Core" and "Scylla" released in 2014, Flosstradamus with their Hdynation Radio album released in 2015 and Carnage with his track "Turn Up" released in 2012. Trap music in this connotation was characterized by "soulful synths, 808s, the pan flute, sharp snares and long, syrup-slurred vowels" which created dirty and aggressive beats resulting in "dark melodies". Trap is now mainly used to create remixes of already existing songs.{{Cite web|last=Haithcoat|first=Rebecca|date=October 4, 2012|url=https://www.laweekly.com/music/what-the-hell-is-trap-music-and-why-is-dubstep-involved-2408170|title=What the Hell Is Trap Music (and Why Is Dubstep Involved)?|website=L.A. Weekly|access-date=April 26, 2019|archive-date=April 26, 2019|archive-url=https://web.archive.org/web/20190426184440/https://www.laweekly.com/music/what-the-hell-is-trap-music-and-why-is-dubstep-involved-2408170|url-status=live}}

In 1980 English producer Richard James Burgess, and his band Landscape, used the term on the sleeve of the single "European Man": "Electronic Dance Music... EDM; computer programmed to perfection for your listening pleasure." In response to a question about being credited with coining the term New Romantic Burgess has stated that: "Initially I was using three terms – Futurist, Electronic Dance Music (the Landscape singles have EDM printed on them) and New Romantic."{{Cite web|url=http://www.electricityclub.co.uk/richard-james-burgess-interview/|title=RICHARD JAMES BURGESS Interview|date=July 27, 2010|access-date=August 8, 2020|archive-date=December 22, 2020|archive-url=https://web.archive.org/web/20201222153531/http://www.electricityclub.co.uk/richard-james-burgess-interview/|url-status=live}}{{Cite web|url=https://www.discogs.com/release/1816877-European-Man/images|title=Images for Landscape – European Man|website=Discogs|access-date=August 8, 2020|archive-date=March 16, 2021|archive-url=https://web.archive.org/web/20210316074744/https://www.discogs.com/release/1816877-European-Man/images|url-status=live}}

Music journalist for The Guardian, Alexis Petridis, claimed that British DJ and music journalist James Hamilton coined the term EDM, but doesn't give a date for this.{{cite web |title='Everyone knew who he was': James Hamilton, the 'eccentric aristo' who catalysed British club culture|author=Alexis Petridis |url=https://www.theguardian.com/music/2025/mar/10/everyone-knew-who-he-was-james-hamilton-the-eccentric-aristo-who-catalysed-british-club-culture |website=The Guardian |publisher= |date=10 March 2025|accessdate=10 March 2025}}

Writing in The Guardian, journalist Simon Reynolds noted that the American music industry's adoption of the term EDM in the late 2000s was an attempt to re-brand US "rave culture" and differentiate it from the 1990s rave scene. It has been described as an era of electronic music, being described in a MixMag article as being "the drop-heavy, stadium-filling, fist-pumping, chart-topping, massively commercial main stage sound that conquered America...possibly somewhere between electro and progressive house, directed by Michael Bay, and like many music genres, trying to pin it down exactly is like trying to grab a fistful of water".{{cite web| last = Matos| first = Michaelangelo| title = The Mainstreaming Of EDM And The Precipitous Drop That Followed| newspaper = NPR| date = November 13, 2019| url = https://www.npr.org/2019/11/13/778532395/the-mainstreaming-of-edm-and-the-precipitous-drop-that-followed| access-date = June 13, 2021| archive-date = June 12, 2021| archive-url = https://web.archive.org/web/20210612073125/https://www.npr.org/2019/11/13/778532395/the-mainstreaming-of-edm-and-the-precipitous-drop-that-followed| url-status = live}} In the UK, "dance music" or "dance" are more common terms for EDM.^[4] What is widely perceived to be "club music" has changed over time; it now includes different genres and may not always encompass EDM. Similarly, "electronic dance music" can mean different things to different people. Both "club music" and "EDM" seem vague, but the terms are sometimes used to refer to distinct and unrelated genres (club music is defined by what is popular, whereas EDM is distinguished by musical attributes).^[96] Though Billboard debuted a "dance" chart in 1974, the larger US music industry did not create music charts until the late 1990s.^[93] In July 1995, Nervous Records and Project X Magazine hosted the first awards ceremony, calling it the "Electronic Dance Music Awards".^{[Note 4]}

File:Friend's home studio (by David J).jpg setup for EDM production with computer, audio interface and various MIDI instruments.]]

Electronic dance music is generally composed and produced in a recording studio with specialized equipment such as samplers, synthesizers, effects units and MIDI controllers all set up to interact with one another using the MIDI protocol. In the genre's early days, hardware electronic musical instruments were used and the focus in production was mainly on manipulating MIDI data as opposed to manipulating audio signals. Since the late 1990s, the use of software has increased. A modern electronic music production studio generally consists of a computer running a digital audio workstation (DAW), with various plug-ins installed such as software synthesizers and effects units, which are controlled with a MIDI controller such as a MIDI keyboard. This setup is generally sufficient to complete entire productions, which are then ready for mastering.{{cite book|last1=Burgess|first1=Richard James|title=The History of Music Production|date=2014|publisher=Oxford|isbn=978-0199357161|pages=136–146}}

A ghost producer is a hired music producer in a business arrangement who produces a song for another DJ/artist that releases it as their own,{{Cite web |url=https://www.youredm.com/2018/06/04/the-unspoken-side-of-ghost-producers/ |title=The Unspoken Side Of Ghost Producers |date=June 4, 2018 |website=Your EDM |access-date=August 5, 2018 |archive-date=August 5, 2018 |archive-url=https://web.archive.org/web/20180805112817/https://www.youredm.com/2018/06/04/the-unspoken-side-of-ghost-producers/ |url-status=live }} typically under a contract which prevents them from identifying themselves as a personnel of the song.{{Cite web |url=https://www.magneticmag.com/2015/09/what-exactly-does-ghost-producer-mean/ |title=What Exactly Does "Ghost Producer" Mean? |website=Magnetic Magazine |access-date=August 5, 2018 |archive-date=June 9, 2017 |archive-url=https://web.archive.org/web/20170609174718/https://www.magneticmag.com/2015/09/what-exactly-does-ghost-producer-mean/ |url-status=live }} Ghost producers receive a simple fee or royalty payments for their work and are often able to work in their preference of not having the intense pressure of fame and the lifestyle of an internationally recognized DJ. A ghost producer may increase their notability in the music industry by acquainting with established "big name" DJs and producers. Producers like Martin Garrix and Porter Robinson are often noted for their ghost production work for other producers while David Guetta and Steve Aoki are noted for their usage of ghost producers in their songs whereas DJs like Tiësto have been openly crediting their producers in an attempt to avoid censure and for transparency.{{Cite web |url=https://www.vice.com/en/article/dance-musics-dirty-little-secret-isnt-that-big-of-a-deal/ |title=Dance Music's "Dirty Little Secret" Isn't That Big of a Deal |date=May 1, 2014 |website=Thump |access-date=August 5, 2018 |archive-date=August 5, 2018 |archive-url=https://web.archive.org/web/20180805112755/https://thump.vice.com/en_us/article/3dyx73/dance-musics-dirty-little-secret-isnt-that-big-of-a-deal |url-status=live }}

Many ghost producers sign agreements that prevent them from working for anyone else or establishing themselves as a solo artist.{{Cite web |url=https://www.laweekly.com/music/ghost-producing-is-edms-dirty-little-secret-4170623 |title="Ghost-Producing" Is EDM's Dirty Little Secret |last=Khawaja |first=Jemayel |date=July 29, 2013 |website=L.A. Weekly |access-date=August 5, 2018 |archive-date=August 5, 2018 |archive-url=https://web.archive.org/web/20180805142757/https://www.laweekly.com/music/ghost-producing-is-edms-dirty-little-secret-4170623 |url-status=live }} Such non-disclosure agreements are often noted as predatory because ghost producers, especially teenage producers, do not have an understanding of the music industry. London producer Mat Zo has alleged that DJs who hire ghost producers "have pretended to make their own music and [left] us actual producers to struggle".{{Cite web |url=http://inthemix.junkee.com/mat-zo-just-called-out-the-big-names-who-use-ghost-producers/28350 |archive-url=https://web.archive.org/web/20151223223722/http://inthemix.junkee.com/mat-zo-just-called-out-the-big-names-who-use-ghost-producers/28350 |url-status=dead |archive-date=December 23, 2015 |title=Mat Zo just called out the big names who use ghost producers |date=June 3, 2015 |website=inthemix |access-date=August 5, 2018}}

A bedroom producer is an independent musician who creates electronic music on their laptop or in a home studio. Unlike in traditional recording studios, bedroom producers typically use low-cost, accessible software and equipment which can lead to music being created completely "in the box", with no external hardware.{{Cite journal|last=Walzer|first=Daniel A.|date=October 25, 2016|title=Independent music production: how individuality, technology and creative entrepreneurship influence contemporary music industry practices|journal=Creative Industries Journal|volume=10|issue=1|pages=21–39|doi=10.1080/17510694.2016.1247626|s2cid=151981731|issn=1751-0694}}

Afro-EDM depicts African electronic dance music genres and styles that blend elements of traditional African music with electronic dance music. It incorporates various African rhythms, instruments, and vocal styles, merging them with modern EDM production techniques. Afro EDM had existed for decades. However, it was only with the advent of 21st-century technology that African EDM truly began to thrive. Popular contemporary millennium Afro-EDM genres and styles can be found within the gqom (South Africa) and Afrobeats (Nigeria) genres. Music scenes in other African countries exist such as in Uganda and the Democratic Republic of the Congo (tekno kintueni).{{Cite news |date=2018-06-11 |title=The new African beat set to get Europe dancing |url=https://www.bbc.com/news/world-africa-44380304 |access-date=2024-08-01 |language=en-GB}}

{{Main article|Afrobeats}}

Pon Pon (also ADM or African Dance Music) emerged in Nigeria circa 2018 denoting EDM influences intermingled with Afrobeats, Nigerian Afropop, dancehall and highlife. A variant is Nigerian Afro-EDM which emerged in the 2020s encompassing afrobeats, Nigerian afro-house and afroelectro.{{Cite web |title=Krizbeatz Is Nigeria's 'King of New Wave' - Okayplayer |url=https://www.okayafrica.com/krizbeatz-afro-dance-music-nigeria/ |access-date=2024-08-01 |website=OkayAfrica |language=en}}{{Cite web |date=2021-12-09 |title=The best Nigerian Afro-EDM |url=https://pan-african-music.com/en/best-nigerian-edm/ |access-date=2024-08-01 |website=PAM - Pan African Music |language=en-US}}

{{Main article|Gqom}}

Gqom originated around 2009–2010 in Durban, through the pioneering efforts of local record producers. Gqom blends elements of techno, broken beats, and house music. Unlike traditional house music, gqom diverges by eschewing the typical four-on-the-floor rhythm. Gqom is categorized as both EDM and house music, characterized by diverse production techniques and variations.{{Cite web |title=Soundtrack of the Townships: Gqom {{!}} norient.com |url=https://norient.com/stories/soundtrack-of-the-townships-gqom-from-durban |access-date=2024-07-16 |website=norient.com |language=en}}{{Cite web |title=Gqom is the explosive South African sound bursting into Europe |url=https://mixmag.net/feature/gqom-is-the-south-african-sound-bursting-into-europe |access-date=2024-07-16 |website=Mixmag}}{{Cite web |last=Lozano |first=Kevin |title=Various Artists: The Sound of Durban Vol. 1 |url=https://pitchfork.com/reviews/albums/21381-the-sound-of-durban-vol-1/ |access-date=2024-07-16 |website=Pitchfork |language=en-US}}{{Cite web |title=No more 4x4: How sounds from the Global South stopped club culture stagnating |url=https://mixmag.net/feature/no-more-4x4-electronic-sounds-global-south-club-culture-gqom-reggaeton-baile-funk |access-date=2024-07-16 |website=Mixmag}}{{Cite web |date=2023-03-27 |title=These are the most exciting gqom producers right now |url=https://djmag.com/features/these-are-most-exciting-gqom-producers-right-now |access-date=2024-07-16 |website=DJ Mag |language=en}}

{{See also|Beacham Theater#Late Night era: (1988–1994) Aahz}}

Initially, the popularization of electronic dance music was associated with European rave and club culture and it achieved limited popular exposure in the United States. By the mid-to-late 1990s this began to change as the American music industry made efforts to market a range of dance genres as "electronica".{{cite news|author1=Ben Sisario|title=Electronic Dance Concerts Turn Up Volume, Tempting Investors|url=https://www.nytimes.com/2012/04/05/business/media/electronic-dance-genre-tempts-investors.html|work=The New York Times|date=April 4, 2012|access-date=February 18, 2017|archive-date=December 24, 2016|archive-url=https://web.archive.org/web/20161224104529/http://www.nytimes.com/2012/04/05/business/media/electronic-dance-genre-tempts-investors.html|url-status=live}} At the time, a wave of electronic music bands from the United Kingdom, including The Prodigy, The Chemical Brothers, Fatboy Slim and Underworld, had been prematurely associated with an "American electronica revolution".Sherburne, Philip. [https://www.spin.com/2011/09/new-rave-generation/ "Harder, Better, Faster, Stronger"] {{Webarchive|url=https://web.archive.org/web/20180405154919/https://www.spin.com/2011/09/new-rave-generation/ |date=April 5, 2018 }}, Spin Magazine, pages 41–53, October 2011Chaplin, Julia & Michel, Sia. [https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40 "Fire Starters"] {{Webarchive|url=https://web.archive.org/web/20230403212927/https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40 |date=April 3, 2023 }}, Spin Magazine, page 40, March 1997, Spin Media LLC. But rather than finding mainstream success, many established EDM acts were relegated to the margins of the US industry. In 1998, Madonna's album Ray of Light—heavily influenced by club music trends and produced with British producer William Orbit—brought dance music to the attention of popular music listeners.[https://www.rollingstone.com/music/lists/the-30-greatest-edm-albums-of-all-time-20120802/21-madonna-ray-of-light-maverick-1998-19691231 The 30 Greatest EDM Albums of All Time] {{Webarchive|url=https://web.archive.org/web/20150129101450/http://www.rollingstone.com/music/lists/the-30-greatest-edm-albums-of-all-time-20120802/21-madonna-ray-of-light-maverick-1998-19691231 |date=January 29, 2015 }}, Rolling Stone, August 2, 2012[http://www.allmusic.com/song/ray-of-light-mt0003907536 Ray of Light—Madonna] {{Webarchive|url=https://web.archive.org/web/20151120174739/http://www.allmusic.com/song/ray-of-light-mt0003907536 |date=November 20, 2015 }} Allmusic In the late 1990s, despite US media interest in dance music re-branded as electronica, American house and techno producers continued to travel abroad to establish their careers as DJs and producers. According to New York Times journalist Kelefa Sanneh, Aaliyah's 2000 single "Try Again" "helped smuggle the innovative techniques of electronic dance music onto the American pop charts"{{cite news|last=Sanneh|first=Kelefa|date=September 2, 2001|url=https://www.nytimes.com/2001/09/02/arts/a-pioneer-briefly-of-a-new-sound.html|title=A Pioneer, Briefly, Of a New Sound|newspaper=The New York Times|access-date=December 9, 2012|archive-url=https://web.archive.org/web/20121108045550/http://www.nytimes.com/2001/09/02/arts/a-pioneer-briefly-of-a-new-sound.html|archive-date=November 8, 2012|url-status=live}}

By the mid-2000s, Dutch producer Tiësto was bringing worldwide popular attention to EDM after providing a soundtrack to the entry of athletes during the opening ceremony of the 2004 Summer Olympics — an event which The Guardian deemed as one of the 50 most important events in dance music.{{cite news|title=A history of dance music: Tiësto DJs at the Athens Olympics opening ceremony|url=https://www.theguardian.com/music/2011/jun/15/tiesto-athens-olympics-opening-ceremony|access-date=December 2, 2015|work=The Guardian|archive-date=May 31, 2023|archive-url=https://web.archive.org/web/20230531020350/https://www.theguardian.com/music/2011/jun/15/tiesto-athens-olympics-opening-ceremony|url-status=live}} In 2003, the influence of dance music on American radio resulted in Billboard creating the first-ever Dance/Mix Show Airplay chart.{{cite news|url=https://books.google.com/books?id=IBEEAAAAMBAJ|magazine=Billboard|date=October 17, 2003|access-date=June 28, 2010|title=Billboard Bits: Jack Black, Dub Narcotic, Milky|last=Caulfield|first=Keith|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108064145/https://books.google.com/books?id=IBEEAAAAMBAJ|url-status=live}} By 2005, the prominence of dance music in North American popular culture had markedly increased. According to Spin, Daft Punk's performance at Coachella in 2006 was the "tipping point" for EDM—it introduced the duo to a new generation of "rock kids". As noted by Entertainment Weekly, Justin Timberlake's "SexyBack" helped introduce EDM sounds to top 40 radio, as it brought together variations of electronic dance music with the singer's R&B sounds.{{cite magazine | url=http://www.ew.com/article/2016/07/08/justin-timberlake-sexyback-david-bowie | title=Justin Timberlake explains how David Bowie influenced 'SexyBack' | magazine=Entertainment Weekly | date=July 8, 2016 | access-date=July 9, 2016 | author=Goodman, Jessica | archive-date=July 9, 2016 | archive-url=https://web.archive.org/web/20160709160939/http://www.ew.com/article/2016/07/08/justin-timberlake-sexyback-david-bowie | url-status=live }}{{cite magazine | url=http://www.billboard.com/articles/columns/pop/7431171/david-bowie-justin-timberlake-sexyback | title=How David Bowie Inspired Justin Timberlake's 'SexyBack' | magazine=Billboard | date=July 8, 2016 | access-date=July 9, 2016 | author=Craddock, Lauren | archive-date=July 8, 2016 | archive-url=https://web.archive.org/web/20160708223212/http://www.billboard.com/articles/columns/pop/7431171/david-bowie-justin-timberlake-sexyback | url-status=live }} In 2009, French house musician David Guetta began to regularly achieve crossover hits via collaborations with other pop and hip-hop acts, such as Kelly Rowland ("When Love Takes Over"),{{cite news|url=http://www.cnn.com/2014/12/18/world/how-did-edm-get-so-popular/index.html|title=It's a $6.2B industry but, how did EDM get so popular?|author=Abel Alvarado|website=CNN|access-date=March 29, 2017|archive-date=September 4, 2018|archive-url=https://web.archive.org/web/20180904090043/http://www.cnn.com/2014/12/18/world/how-did-edm-get-so-popular/index.html|url-status=live}} Akon ("Sexy Bitch"), The Black Eyed Peas ("I Gotta Feeling"), and Sia ("Titanium").{{cite news |title=DJ David Guetta leads the EDM charge into mainstream |url=http://usatoday30.usatoday.com/life/music/news/story/2012-06-05/david-guetta-brings-electronic-dance-music-mainstream/55385368/1 |work=USA Today |date=June 5, 2012 |access-date=January 25, 2014 |archive-date=November 5, 2017 |archive-url=https://web.archive.org/web/20171105205306/https://usatoday30.usatoday.com/life/music/news/story/2012-06-05/david-guetta-brings-electronic-dance-music-mainstream/55385368/1 |url-status=live }}{{Cite magazine |last=Lipshutz |first=Jason |date=2023-01-19 |title='M3GAN' Scores Streaming Gains for David Guetta & Sia's 'Titanium' |url=https://www.billboard.com/pro/m3gan-titanium-sia-streaming-megan-film/ |access-date=2025-01-06 |magazine=Billboard |language=en-US}} The music sharing website SoundCloud, as well as the video sharing website YouTube, also helped fuel interest in electronic music. Dubstep producer Skrillex popularized a harsher sound dubbed "Brostep", which had drawn comparisons to the aggression and tone of heavy metal.{{cite news|title= How Rave Music Conquered America|url= https://www.theguardian.com/music/2012/aug/02/how-rave-music-conquered-america|work= The Guardian|date= August 2, 2012|access-date= December 14, 2016|archive-date= December 19, 2013|archive-url= https://web.archive.org/web/20131219180350/http://www.theguardian.com/music/2012/aug/02/how-rave-music-conquered-america|url-status= live}}{{cite news|title= The Dumbing Down of Electronic Dance Music|author= Jim Fusilli|url= https://www.wsj.com/news/articles/SB10001424052702303830204577446842134707610|work= The Wall Street Journal|date= June 6, 2012|access-date= March 13, 2017|archive-date= March 29, 2017|archive-url= https://web.archive.org/web/20170329140601/https://www.wsj.com/news/articles/SB10001424052702303830204577446842134707610|url-status= live}}{{cite web |title='The potential for disaster was just too big': small Canadian city shuts down Skrillex gig |work=FACT Magazine |url=http://www.factmag.com/2012/06/26/the-potential-for-disaster-was-just-too-big-small-canadian-city-shuts-down-skrillex-gig/ |access-date=November 16, 2012 |date=June 26, 2012 |archive-date=July 12, 2012 |archive-url=https://web.archive.org/web/20120712225539/http://www.factmag.com/2012/06/26/the-potential-for-disaster-was-just-too-big-small-canadian-city-shuts-down-skrillex-gig/ |url-status=live }}{{cite web|title=Is dubstep the new metal? |work=Mixmag |url=http://www.mixmag.net/words/news/is-dubstep-the-new-metal |access-date=November 16, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121016161509/http://mixmag.net/words/news/is-dubstep-the-new-metal |archive-date=October 16, 2012}}

With the increasing popularity of electronic dance music, promoters and venues realized that DJs could generate larger profits than traditional musicians; Diplo explained that "a band plays [for] 45 minutes; DJs can play for four hours. Rock bands—there's a few headliner dudes that can play 3,000–4,000-capacity venues, but DJs play the same venues, they turn the crowd over two times, people buy drinks all night long at higher prices—it's a win-win." Electronic music festivals, such as Electric Daisy Carnival (EDC) in Las Vegas and Ultra Music Festival in Miami also grew in size, placing an increased emphasis on visual experiences, and DJs who had begun to attain a celebrity status. Other major acts that gained prominence, including Avicii and Swedish House Mafia, toured major venues such as arenas and stadiums rather than playing clubs; in December 2011, Swedish House Mafia became the first electronic music act to sell out New York City's Madison Square Garden.

In 2011, Spin declared a "new rave generation" led by acts like David Guetta, Deadmau5, and Skrillex. In January 2013, Billboard introduced a new EDM-focused Dance/Electronic Songs chart, tracking the top 50 electronic songs based on sales, radio airplay, club play, and online streaming.{{cite magazine|title=New Dance/Electronic Songs Chart Launches With Will.i.am & Britney at No. 1|url=http://www.billboard.com/articles/news/1510640/new-danceelectronic-songs-chart-launches-with-william-britney-at-no-1|magazine=Billboard|access-date=August 13, 2014|archive-date=November 10, 2016|archive-url=https://web.archive.org/web/20161110034638/http://www.billboard.com/articles/news/1510640/new-danceelectronic-songs-chart-launches-with-william-britney-at-no-1|url-status=live}} According to Eventbrite, EDM fans are more likely to use social media to discover and share events or gigs. They also discovered that 78% of fans say they are more likely to attend an event if their peers do, compared to 43% of fans in general. EDM has many young and social fans.Peoples, Glenn. "EDM's Social Dance." Billboard: The International Newsweekly of Music, Video and Home Entertainment July 6, 2013: 8. ProQuest. Web. July 20, 2015 . By late 2011, Music Trades was describing electronic dance music as the fastest-growing genre in the world.{{cite web|title=Just How Big is EDM?|url=http://digitaleditions.sheridan.com/publication/index.php?i=180656&m=&l=&p=68&pre=|work=Music Trades Magazine|access-date=June 14, 2014|archive-date=April 8, 2022|archive-url=https://web.archive.org/web/20220408064144/http://digitaleditions.sheridan.com/publication/index.php?i=180656&m=&l=&p=68&pre=|url-status=live}} Elements of electronic music also became increasingly prominent in pop music. Radio and television also contributed to dance music's mainstream acceptance.{{cite magazine|title=The Year EDM Sold Out: Swedish House Mafia, Skrillex and Deadmau5 Hit the Mainstream|url=http://www.billboard.com/biz/articles/news/1483909/the-year-edm-sold-out-swedish-house-mafia-skrillex-and-deadmau5-hit-the|magazine=Billboard|access-date=January 27, 2014|archive-date=December 8, 2013|archive-url=https://web.archive.org/web/20131208022301/http://www.billboard.com/biz/articles/news/1483909/the-year-edm-sold-out-swedish-house-mafia-skrillex-and-deadmau5-hit-the|url-status=live}}

Corporate consolidation in the EDM industry began in 2012—especially in terms of live events. In June 2012, media executive Robert F. X. Sillerman—founder of what is now Live Nation—re-launched SFX Entertainment as an EDM conglomerate, and announced his plan to invest $1 billion to acquire EDM businesses. His acquisitions included regional promoters and festivals (including ID&T, which organises Tomorrowland), two nightclub operators in Miami, and Beatport, an online music store which focuses on electronic music.{{cite news|title=Exclusive: SFX Acquires ID&T, Voodoo Experience|url=http://www.billboard.com/biz/articles/news/touring/1521628/exclusive-sfx-acquires-idt-voodoo-experience|magazine=Billboard|access-date=April 18, 2013|archive-date=October 1, 2018|archive-url=https://web.archive.org/web/20181001182120/https://www.billboard.com/biz/articles/news/touring/1521628/exclusive-sfx-acquires-idt-voodoo-experience|url-status=live}}{{cite news |title=SFX Purchases 75% Stake in ID&T, Announce U.S. Edition of Tomorrowland at Ultra |url=http://www.billboard.com/biz/articles/news/1553846/sfx-purchases-75-stake-in-idt-announce-us-edition-of-tomorrowland-at-ultra |magazine=Billboard |access-date=April 16, 2013 |archive-date=June 22, 2014 |archive-url=https://web.archive.org/web/20140622012204/http://www.billboard.com/biz/articles/news/1553846/sfx-purchases-75-stake-in-idt-announce-us-edition-of-tomorrowland-at-ultra |url-status=live }} Live Nation also acquired Cream Holdings and Hard Events, and announced a "creative partnership" with EDC organizers Insomniac Events in 2013 that would allow it to access its resources whilst remaining an independent company;{{cite news |author = Zel McCarthy |title = Live Nation Teams With Insomniac Events in 'Creative Partnership' |url = http://www.billboard.com/biz/articles/news/branding/1567396/live-nation-teams-with-insomniac-events-in-creative-partnership |magazine = Billboard |date = June 20, 2013 |access-date = August 8, 2014 |archive-date = April 4, 2019 |archive-url = https://web.archive.org/web/20190404230920/https://www.billboard.com/biz/articles/news/branding/1567396/live-nation-teams-with-insomniac-events-in-creative-partnership |url-status = live }} Live Nation CEO Michael Rapino described EDM as the "[new] rock 'n' roll".{{cite news |title=Live Nation Acquires L.A. EDM Promoter HARD: Will the Mainstream Get More Ravey? |url=https://www.spin.com/2012/06/live-nation-acquires-la-edm-promoter-hard-will-mainstream-get-more-ravey/ |work=Spin |access-date=April 25, 2014 |archive-date=April 5, 2018 |archive-url=https://web.archive.org/web/20180405154635/https://www.spin.com/2012/06/live-nation-acquires-la-edm-promoter-hard-will-mainstream-get-more-ravey/ |url-status=live }}{{cite news |title=Live Nation Buys EDM Entertainment Company Cream Holdings Ltd, Owner of Creamfields Festivals |author=Dan Rys |url=http://www.billboard.com/biz/articles/news/1096966/live-nation-buys-edm-entertainment-company-cream-holdings-ltd-owner-of |magazine=Billboard |date=May 9, 2012 |access-date=April 25, 2014 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612191958/https://www.billboard.com/biz/articles/news/1096966/live-nation-buys-edm-entertainment-company-cream-holdings-ltd-owner-of |url-status=live }}

US radio conglomerate iHeartMedia, Inc. (formerly Clear Channel Media and Entertainment) also made efforts to align itself with EDM. In January 2014 It hired noted British DJ and BBC Radio 1 personality Pete Tong to produce programming for its "Evolution" dance radio brand,{{cite news | author =Ben Sisario | title =Boston Radio Station Switches to Electronic Dance Format | url =http://mediadecoder.blogs.nytimes.com/2012/12/20/boston-radio-station-switches-to-electronic-dance-format | work =The New York Times | date =December 20, 2012 | access-date =December 22, 2012 | archive-date =December 23, 2012 | archive-url =https://web.archive.org/web/20121223090642/http://mediadecoder.blogs.nytimes.com/2012/12/20/boston-radio-station-switches-to-electronic-dance-format/? | url-status =live }} and announced a partnership with SFX to co-produce live concerts and EDM-oriented original programming for its top 40 radio stations. iHeartMedia president John Sykes explained that he wanted his company's properties to be the "best destination [for EDM]".{{cite news| author= Kerri Mason| title= SFX and Clear Channel Partner for Digital, Terrestrial Radio Push| url= http://www.billboard.com/biz/articles/news/branding/5862283/sfx-and-clear-channel-partner-for-digital-terrestrial-radio-push| magazine= Billboard| date= January 6, 2014| access-date= March 31, 2014| archive-date= January 11, 2014| archive-url= https://web.archive.org/web/20140111063358/http://www.billboard.com/biz/articles/news/branding/5862283/sfx-and-clear-channel-partner-for-digital-terrestrial-radio-push| url-status= live}}{{cite news | author = Kerri Mason | title = John Sykes, Robert Sillerman on New Clear Channel, SFX Partnership: 'We Want to Be the Best' | url = http://www.billboard.com/biz/articles/news/branding/5862290/john-sykes-robert-sillerman-on-new-clear-channel-sfx-partnership | magazine = Billboard | date = January 6, 2014 | access-date = March 31, 2014 | archive-date = January 10, 2014 | archive-url = https://web.archive.org/web/20140110053955/http://www.billboard.com/biz/articles/news/branding/5862290/john-sykes-robert-sillerman-on-new-clear-channel-sfx-partnership | url-status = live }}

Major brands have also used the EDM phenomena as a means of targeting millennials{{cite web| last = Burns| first = Will| title = Is Electronic Dance Music The Ticket To Reach Millennials?| newspaper = Forbes| date = May 26, 2014| url = https://www.forbes.com/sites/willburns/2014/05/26/is-electronic-dance-music-the-ticket-to-reach-millennials/?sh=4e1cc12865da| access-date = June 13, 2021| archive-date = August 21, 2021| archive-url = https://web.archive.org/web/20210821202313/https://www.forbes.com/sites/willburns/2014/05/26/is-electronic-dance-music-the-ticket-to-reach-millennials/?sh=4e1cc12865da| url-status = live}}{{cite web| last = Kusnierek| first = Timmy| title = Why Millennials And EDM Get Along So Well| newspaper = | date = April 21, 2016| url = https://www.youredm.com/2016/04/19/why-millennials-and-edm-get-along-so-well/| access-date = June 13, 2021| archive-date = June 18, 2021| archive-url = https://web.archive.org/web/20210618055713/https://www.youredm.com/2016/04/19/why-millennials-and-edm-get-along-so-well/| url-status = live}} and EDM songs and artists have increasingly been featured in television commercials and programs.{{cite news |title=Booming business: EDM goes mainstream |url=http://www.miamiherald.com/2014/03/26/4020841/booming-business.html |date=March 26, 2014 |work=Miami Herald |access-date=March 31, 2014 |archive-date=July 2, 2014 |archive-url=https://web.archive.org/web/20140702234805/http://www.miamiherald.com/2014/03/26/4020841/booming-business.html |url-status=live }} Avicii's manager Ash Pournouri compared these practices to the commercialization of hip-hop in the early 2000s. Heineken has a marketing relationship with the Ultra Music Festival, and has incorporated Dutch producers Armin van Buuren and Tiësto into its ad campaigns. Anheuser-Busch has a similar relationship as beer sponsor of SFX Entertainment events. In 2014, 7 Up launched "7x7Up"—a multi-platform EDM-based campaign that included digital content, advertising featuring producers, and branded stages at both Ultra and Electric Daisy Carnival.{{cite web|title=7Up Turns to Electronic Dance Music to Lift Spirits – and Sales|url=http://adage.com/article/cmo-strategy/7up-shifts-focus-embraces-electronic-dance-music/292536/|website=Advertising Age|date=April 8, 2014|access-date=June 27, 2015|archive-date=June 29, 2015|archive-url=https://web.archive.org/web/20150629112924/http://adage.com/article/cmo-strategy/7up-shifts-focus-embraces-electronic-dance-music/292536/|url-status=live}}{{cite news| title =Ultra Music Festival's 16th Anything but Sweet, Though Still Potent| url =http://www.hollywoodreporter.com/news/ultra-music-festivals-16th-anything-693415| work =The Hollywood Reporter| date =April 3, 2014| author =Roy Trakin| access-date =December 10, 2014| archive-date =April 21, 2021| archive-url =https://web.archive.org/web/20210421053246/https://www.hollywoodreporter.com/news/ultra-music-festivals-16th-anything-693415| url-status =live}} Wireless carrier T-Mobile US entered into an agreement with SFX to become the official wireless sponsor of its events, and partnered with Above & Beyond to sponsor its 2015 tour.{{cite magazine|title=Exclusive: Bolstering Massive EDM Strategy, T-Mobile Debuts Above & Beyond Video Series|url=http://www.billboard.com/articles/columns/code/6545983/t-mobile-above-beyond-video-series-massive-edm-strategy|magazine=Billboard|access-date=June 27, 2015|archive-date=June 19, 2021|archive-url=https://web.archive.org/web/20210619225537/https://www.billboard.com/articles/columns/code/6545983/t-mobile-above-beyond-video-series-massive-edm-strategy|url-status=live}}

In August 2015, SFX began to experience declines in its value,{{cite news|last1=Mac|first1=Ryan|title=The Fall Of SFX: From Billion-Dollar Company To Bankruptcy Watch|url=https://www.forbes.com/sites/ryanmac/2015/08/24/the-fall-of-an-edm-empire-sfx/|access-date=September 3, 2015|work=Forbes|archive-date=September 5, 2015|archive-url=https://web.archive.org/web/20150905052838/http://www.forbes.com/sites/ryanmac/2015/08/24/the-fall-of-an-edm-empire-sfx/|url-status=live}} and a failed bid by CEO Sillerman to take the company private. The company began looking into strategic alternatives that could have resulted in the sale of the company.{{cite news|url=https://www.nytimes.com/2015/08/15/business/media/sfx-entertainment-is-back-on-the-block.html?ref=business|title=SFX Entertainment Is Back on the Block|date=August 14, 2015|access-date=August 15, 2015|author=Sisario, Ben|newspaper=The New York Times|archive-date=July 7, 2017|archive-url=https://web.archive.org/web/20170707131339/https://www.nytimes.com/2015/08/15/business/media/sfx-entertainment-is-back-on-the-block.html?ref=business|url-status=live}}{{cite web | url=http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-sfx-entertainment-ceo-takeover-20150814-story.html | title=After failed CEO takeover bid, what's next for SFX Entertainment? | work=Los Angeles Times | date=August 14, 2015 | access-date=August 17, 2015 | author=Faughnder, Ryan | archive-date=April 3, 2023 | archive-url=https://web.archive.org/web/20230403213827/https://www.latimes.com/entertainment/envelope/cotown/la-et-ct-sfx-entertainment-ceo-takeover-20150814-story.html | url-status=live }} In October 2015, Forbes declared the possibility of an EDM "bubble", in the wake of the declines at SFX Entertainment, slowing growth in revenue, the increasing costs of organizing festivals and booking talent, as well as an oversaturation of festivals in the eastern and western United States. Insomniac CEO Pasquale Rotella felt that the industry would weather the financial uncertainty of the overall market by focusing on "innovation" and entering into new markets.{{cite web|title=The $6.9 Billion Bubble? Inside The Uncertain Future Of EDM|url=https://www.forbes.com/sites/natalierobehmed/2015/10/15/the-future-of-edm/#2715e4857a0b155e7254792f|website=Forbes|access-date=January 17, 2016|archive-date=January 28, 2016|archive-url=https://web.archive.org/web/20160128012933/http://www.forbes.com/sites/natalierobehmed/2015/10/15/the-future-of-edm/#2715e4857a0b155e7254792f|url-status=live}} Despite forecasts that interest in popular EDM would wane, in 2015 it was estimated to be a £5.5bn industry in the US, up by 60% compared to 2012 estimates.{{Cite news|url=http://www.bbc.co.uk/newsbeat/article/36832727/has-edm-opened-doors-or-slammed-them-shut-in-dance-music|title=Has EDM opened doors or slammed them shut in dance music?|last=Blake|first=Jimmy|date=July 2016|access-date=October 8, 2016|archive-date=November 6, 2020|archive-url=https://web.archive.org/web/20201106053035/http://www.bbc.co.uk/newsbeat/article/36832727/has-edm-opened-doors-or-slammed-them-shut-in-dance-music|url-status=live}}

SFX emerged from bankruptcy in December 2016 as LiveStyle, under the leadership of Randy Phillips, a former executive of AEG Live.{{cite news|title=SFX Entertainment Emerges From Bankruptcy With New Name: LiveStyle|url=https://www.nytimes.com/2016/12/07/business/media/sfx-entertainment-livestyle.html?_r=0|website=The New York Times|date=December 7, 2016|access-date=February 9, 2017|last1=Sisario|first1=Ben|archive-date=February 26, 2017|archive-url=https://web.archive.org/web/20170226140137/https://www.nytimes.com/2016/12/07/business/media/sfx-entertainment-livestyle.html?_r=0|url-status=live}}{{cite magazine|title=SFX Emerges From Bankruptcy with a New Name, LiveStyle, and New Leader in Randy Phillips|url=http://www.billboard.com/articles/business/7604354/sfx-emerges-bankruptcy-new-name-livestyle-new-leader-randy-phillips|magazine=Billboard|access-date=February 9, 2017|archive-date=February 11, 2017|archive-url=https://web.archive.org/web/20170211081607/http://www.billboard.com/articles/business/7604354/sfx-emerges-bankruptcy-new-name-livestyle-new-leader-randy-phillips|url-status=live}} The company began to slowly divest its live music assets in 2018, including selling its stakes in Rock in Rio (which it had bought as part of an attempted Las Vegas edition of the festival),{{Cite magazine|title=Live Nation Acquires Rock in Rio Festival|url=https://www.billboard.com/articles/business/8448558/live-nation-acquires-rock-in-rio-festival|access-date=11 December 2018|magazine=Billboard|archive-date=March 8, 2021|archive-url=https://web.archive.org/web/20210308091157/https://www.billboard.com/articles/business/8448558/live-nation-acquires-rock-in-rio-festival|url-status=live}}{{Cite web|date=May 2, 2018|title=Live Nation Acquires Rock in Rio Festival|url=https://variety.com/2018/biz/news/live-nation-acquires-rock-in-rio-festival-1202794887/|access-date=11 December 2018|website=Variety|archive-date=March 8, 2021|archive-url=https://web.archive.org/web/20210308085431/https://variety.com/2018/biz/news/live-nation-acquires-rock-in-rio-festival-1202794887/|url-status=live}} and later other SFX-owned promoters such as ID&T{{Cite web|last=Middleton|first=Ryan|title=Superstruct Entertainment Purchases Dutch Festival Brand ID&T|url=https://www.magneticmag.com/2021/09/superstruct-entertainment-purchases-dutch-festival-brand-id-t/|access-date=2022-01-10|website=Magnetic Magazine|date=September 20, 2021 |language=en-us|archive-date=January 10, 2022|archive-url=https://web.archive.org/web/20220110021403/https://www.magneticmag.com/2021/09/superstruct-entertainment-purchases-dutch-festival-brand-id-t/|url-status=live}}{{Cite web|date=2021-09-17|title=UK-based live events firm Superstruct Entertainment buys electronic music giant ID&T|url=https://www.musicbusinessworldwide.com/uk-based-festival-promoter-superstruct-entertainment-buys-electronic-music-giant-idt/|access-date=2022-01-10|website=Music Business Worldwide|language=en-US|archive-date=January 10, 2022|archive-url=https://web.archive.org/web/20220110021404/https://www.musicbusinessworldwide.com/uk-based-festival-promoter-superstruct-entertainment-buys-electronic-music-giant-idt/|url-status=live}} and React Presents.{{Cite web|date=2020-02-10|title=LiveXLive Acquires EDM Promoter React Presents for $2 Million|url=https://www.digitalmusicnews.com/2020/02/10/livexlive-react-presents/|access-date=2022-01-10|website=Digital Music News|language=en-US|archive-date=January 10, 2022|archive-url=https://web.archive.org/web/20220110023235/https://www.digitalmusicnews.com/2020/02/10/livexlive-react-presents/|url-status=live}} Phillips stepped down as CEO in 2019 to pursue other projects.{{Cite magazine|last=Brooks|first=Dave|date=2019-09-05|title=Randy Phillips Steps Down as CEO of LiveStyle, Shifts Focus to Managing Boy Band Why Don't We: Exclusive|url=https://www.billboard.com/pro/randy-phillips-steps-down-livestyle-ceo-managing/|access-date=2022-01-10|magazine=Billboard|language=en-US|archive-date=January 10, 2022|archive-url=https://web.archive.org/web/20220110021358/https://www.billboard.com/pro/randy-phillips-steps-down-livestyle-ceo-managing/|url-status=live}}

Following the popularization of EDM in America a number of producers and DJs, including Carl Cox, Steve Lawler, and Markus Schulz, raised concerns that the perceived over-commercialisation of dance music had impacted the art of DJing. Cox saw the "press-play" approach taken by newer EDM DJs as unrepresentative of what he called a "DJ ethos". Writing in Mixmag, DJ Tim Sheridan argued that "push-button DJs" who use auto-sync and play pre-recorded sets of "obvious hits" resulted in a situation overtaken by "the spectacle, money and the showbiz".{{cite news|title=Is EDM killing the art of DJing? |url=http://www.mixmag.net/words/features/is-edm-killing-the-art-of-djing |work=Mixmag |access-date=June 7, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140529084448/http://www.mixmag.net/words/features/is-edm-killing-the-art-of-djing |archive-date=May 29, 2014 }} "Big room house"—an EDM genre characterized by simplistic songs designed to be played in festival settings (exemplified by songs such as Martin Garrix's "Animals"), also faced criticism for being a homogenized sound with little originality. In May 2014, the NBC variety show Saturday Night Live satirized EDM culture and push-button DJs in a Digital Short titled When Will the Bass Drop?. It featured a DJ who goes about performing everyday activities—playing a computer game, frying eggs, collecting money—who then presses a giant "BASS" button, which explodes the heads of concertgoers.{{cite news |title=SNL Digital Shorts return with 'Davvincii' to skewer EDM and overpaid DJs |url=https://www.theverge.com/2014/5/18/5727788/snl-digital-shorts-return-with-davvincii-to-skewer-edm-and-overpaid-djs |work=The Verge |date=May 18, 2014 |access-date=August 31, 2017 |archive-date=July 8, 2017 |archive-url=https://web.archive.org/web/20170708032937/https://www.theverge.com/2014/5/18/5727788/snl-digital-shorts-return-with-davvincii-to-skewer-edm-and-overpaid-djs |url-status=live }}{{cite news|title=Watch Saturday Night Live Mock Big Room DJ Culture|url=http://www.mixmag.net/news/watch-saturday-night-live-sketch-mock-big-room-dj-culture|work=Mixmag|access-date=June 7, 2014|url-status=dead|archive-url=https://web.archive.org/web/20140605130014/http://www.mixmag.net/news/watch-saturday-night-live-sketch-mock-big-room-dj-culture|archive-date=June 5, 2014}}{{cite news |title=SNL takes stab at EDM culture in new digital short featuring 'Davvincii' |url=http://www.dancingastronaut.com/2014/05/snl-takes-stab-ridiculousness-edm-culture-new-digital-short-will-bass-drop |work=Dancing Astronaut |date=May 2014 |access-date=June 7, 2014 |archive-date=April 6, 2023 |archive-url=https://web.archive.org/web/20230406020612/https://dancingastronaut.com/2014/05/snl-takes-stab-ridiculousness-edm-culture-new-digital-short-will-bass-drop/ |url-status=live }}

Some house producers openly admitted that "commercial" EDM needed further differentiation and creativity. Avicii, whose 2013 album True featured songs incorporating elements of bluegrass, such as lead single "Wake Me Up", stated that most EDM lacked "longevity".{{cite news|title=EDM Will Eat Itself: Big Room stars are getting bored|url=http://www.mixmag.net/music/the-blog/edm-will-eat-itself-big-room-stars-are-getting-bored|work=Mixmag|access-date=January 20, 2014|url-status=dead|archive-url=https://web.archive.org/web/20140118085704/http://www.mixmag.net/music/the-blog/edm-will-eat-itself-big-room-stars-are-getting-bored|archive-date=January 18, 2014}} Deadmau5 criticized the homogenization of popular EDM, and suggested that it "all sounds the same". During the 2014 Ultra Music Festival, Deadmau5 made critical comments about up-and-coming producer Martin Garrix, and later played an edited version of Garrix's "Animals" remixed to the melody of "Old McDonald Had a Farm". Afterwards, Tiësto criticized Deadmau5 on Twitter for "sarcastically" mixing Avicii's "Levels" with his own "Ghosts 'n' Stuff" (in reference to being a last-minute substitution for Avicii on the festival schedule due to a medical issue), to which Deadmau5 asked whether playing a song "sarcastically" involved "sneer[ing] while hitting the sync button".{{cite news|title= Deadmau5 Trolls Martin Garrix with 'Old MacDonald Had a Farm' Remix of 'Animals' at Ultra|url= http://radio.com/2014/03/31/deadmau5-trolls-martin-garrix-with-old-macdonald-had-a-farm-remix-of-animals-at-ultra|work= radio.com|date= March 31, 2014|url-status= dead|archive-url= https://web.archive.org/web/20140428174220/http://radio.com/2014/03/31/deadmau5-trolls-martin-garrix-with-old-macdonald-had-a-farm-remix-of-animals-at-ultra/|archive-date= April 28, 2014}}{{cite news|title=Deadmau5 gives reason for techno track: "EDM sounds the same to me"|url=http://www.inthemix.com.au/news/57693/Deadmau5_talks_making_techno_EDM_all_sounds_the_same_to_me|work=Mixmag|access-date=April 25, 2014|archive-date=September 24, 2015|archive-url=https://web.archive.org/web/20150924042945/http://www.inthemix.com.au/news/57693/Deadmau5_talks_making_techno_EDM_all_sounds_the_same_to_me|url-status=live}}{{cite news|title=Deadmau5: The Man Who Trolled the World |url=http://www.mixmag.net/music/the-blog/deadmau5/man-who-trolled-the-world |work=Mixmag |access-date=April 25, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140425040816/http://www.mixmag.net/music/the-blog/deadmau5/man-who-trolled-the-world |archive-date=April 25, 2014 }}{{cite news| title=Afrojack and Deadmau5 argue over what's "good music"| url=http://www.mixmag.net/words/news/afrojack-and-deadmau5-argue-over-whats-good-music| work=Mixmag| access-date=January 20, 2014| url-status=dead| archive-url=https://web.archive.org/web/20140201234411/http://www.mixmag.net/words/news/afrojack-and-deadmau5-argue-over-whats-good-music| archive-date=February 1, 2014}}

Porter Robinson was another critic of commercial EDM, believing that EDM was oriented towards "entertainment" rather than artistry, and felt that trying to gear songs towards towards dance and DJs was compromising the quality of his music. In August 2014, he released a studio album entitled "Worlds", which pivoted from his previous EDM-oriented material in favor of atmospheric tracks with aspects of video game music, new wave, and electropop. He had denounced .{{Cite web |last=Kamps |first=Garrett |date=2014-08-14 |title=Porter Robinson Invents Shoegaze-EDM on Dazzling 'Worlds' |url=https://www.spin.com/2014/08/porter-robinson-worlds/ |access-date=2025-01-06 |website=SPIN |language=en-US}}{{Cite news |last=Cooper |first=Duncan |date=2014-07-31 |title=Porter Robinson conquered EDM, and now he wants more |url=https://www.thefader.com/2014/07/31/porter-robinson-conquered-edm-and-now-he-wants-more |url-status=live |archive-url=https://web.archive.org/web/20160602022744/https://www.thefader.com/2014/07/31/porter-robinson-conquered-edm-and-now-he-wants-more |archive-date=June 2, 2016 |access-date=2023-09-25 |work=The Fader}} His later albums, "Nurture" and "Smile! :D" reflected further departures from electronic music, with the former having an indie pop-driven sound,{{Cite web |last=Jolley |first=Ben |date=2021-04-20 |title=Porter Robinson – 'Nurture' review: dance don trades bombast for blissed-out beats |url=https://www.nme.com/reviews/porter-robinson-nurture-review-2924175 |access-date=2025-01-06 |website=NME |language=en-GB}}{{Cite web |last=Pappis |first=Konstantinos |date=2021-04-29 |title=Album Review: Porter Robinson, 'Nurture' |url=https://ourculturemag.com/2021/04/29/album-review-porter-robinson-nurture/ |access-date=2025-01-06 |website=Our Culture |language=en-GB}} and the latter carrying pop-punk and hyperpop influences.{{Cite web |title=Porter Robinson - SMILE! :D album review - The Skinny |url=https://www.theskinny.co.uk/music/reviews/albums/porter-robinson-smile |access-date=2025-01-06 |website=www.theskinny.co.uk |language=en}}

After years of rapid growth, the American popular EDM market started to wane in 2016, when some producers began to diversify beyond the "big room" sound. This development was directly referenced by two such DJs – David Guetta and Showtek – in a techno-influenced single released in April 2016 titled "The Death of EDM".{{Cite web|url=https://www.ministryofsound.com/posts/articles/2016/june/david-guettas-new-track-is-worse-for-techno-than-it-is-for-edm/|title=David Guetta's New Track Is Worse For Techno Than It Is For EDM|website=Ministry of Sound|access-date=September 12, 2018|archive-date=September 12, 2018|archive-url=https://web.archive.org/web/20180912091849/https://www.ministryofsound.com/posts/articles/2016/june/david-guettas-new-track-is-worse-for-techno-than-it-is-for-edm/|url-status=live}} By the end of the 2010s, EDM's position as the dominant force in mainstream popular music began to plateau as it became displaced by other styles.{{cite web| last = Knopper| first = Steve| title = 'The Balloon Deflated': What's Next for Dance Music After the EDM Era| newspaper = Billboard| date = March 12, 2020| url = https://www.billboard.com/articles/news/dance/9332803/dance-music-post-edm-era-analysis-2020-dance-issue/| access-date = June 13, 2021| archive-date = May 4, 2021| archive-url = https://web.archive.org/web/20210504205651/https://www.billboard.com/articles/news/dance/9332803/dance-music-post-edm-era-analysis-2020-dance-issue/| url-status = live}}

In May 2015, the International Music Summit's Business Report estimated that the global electronic music industry had reached nearly $6.9 billion in value; the count included music sales, events revenue (including nightclubs and festivals), the sale of DJ equipment and software, and other sources of revenue. The report also identified several emerging markets for electronic dance music, including East Asia, India, and South Africa, credited primarily to investment by domestic, as well as American and European interests. A number of major festivals also began expanding into Latin America.{{cite web|title=Electronic Music Industry Now Worth Close to $7 Billion Amid Slowing Growth|url=https://www.vice.com/en/article/electronic-music-industry-now-worth-close-to-7-billion-amid-slowing-growth/|website=Thump|date=May 25, 2015|publisher=Vice Media|access-date=January 17, 2016|archive-date=May 28, 2015|archive-url=https://web.archive.org/web/20150528232325/http://thump.vice.com/en_us/article/electronic-music-industry-now-worth-close-to-7-billion-amid-slowing-growth|url-status=live}}

In Ghana, West Africa, an artist named Djsky introduced EDM in 2015–present and organised successful festivals and events such as Hey Ibiza, Sunset music Festival, Sky show and more.{{Cite web|url=https://www.pulse.com.gh/lifestyle/events/dj-sky-shines-at-jd-music-fest/vntbfkh|title=DJ Sky shines at JD Music Fest|date=October 7, 2019|website=www.pulse.com.gh|access-date=October 9, 2019|archive-date=October 7, 2019|archive-url=https://web.archive.org/web/20191007191803/https://www.pulse.com.gh/lifestyle/events/dj-sky-shines-at-jd-music-fest/vntbfkh|url-status=live}}{{Cite web|url=https://www.ghanaweb.com/GhanaHomePage/entertainment/DJSky-delivers-electrifying-performance-at-JD-Music-Fest-787076|title=DJSky delivers electrifying performance at JD Music Fest|website=www.ghanaweb.com|date=October 7, 2019|access-date=October 9, 2019|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108070815/https://www.ghanaweb.com/GhanaHomePage/entertainment/DJSky-delivers-electrifying-performance-at-JD-Music-Fest-787076|url-status=live}}{{Cite web|url=https://www.peacefmonline.com/pages/showbiz/news/201908/389626.php|title=Kuami Eugene, Wendy Shay, Edem, Yaa Pono, Others For Jack Daniel's Music Festival|last=Online|first=Peace FM|website=www.peacefmonline.com|access-date=October 9, 2019|archive-date=October 9, 2019|archive-url=https://web.archive.org/web/20191009155251/https://www.peacefmonline.com/pages/showbiz/news/201908/389626.php|url-status=live}}{{Cite web|url=http://www.yasour.org/2018/ar/news/details/news-13116|title=منسق الموسيقى وحفلات ال dj العالمي سكاي وفريقه زار مستشفى سرطان الاطفال في غانا|website=يا صور|date=April 21, 2019 |language=ar|access-date=October 9, 2019|archive-date=October 9, 2019|archive-url=https://web.archive.org/web/20191009155250/http://www.yasour.org/2018/ar/news/details/news-13116|url-status=live}} In an interview with WatsUp TV, Djsky revealed he was the first to introduce Electronic Music Dance into Ghana music.{{Cite web|url=https://www.pulse.com.gh/entertainment/music/dj-sky-brags-says-he-introduced-electronic-dance-music-to-ghana/p97vx3p|title=DJ Sky brags, says he introduced electronic dance music to Ghana|date=October 11, 2019|website=Entertainment|access-date=October 11, 2019|archive-date=October 11, 2019|archive-url=https://web.archive.org/web/20191011214110/https://www.pulse.com.gh/entertainment/music/dj-sky-brags-says-he-introduced-electronic-dance-music-to-ghana/p97vx3p|url-status=live}}{{Cite web|url=https://watsup.tv/celebrities/10109/introduced-electronic-dance-music-to-ghana-djsky-on-watsup-tv.html|title=Introduced Electronic Dance Music to Ghana, Djsky on WatsUp TV – watsup.tv|last=WatsUpTV|date=October 11, 2019|website=WatsUp.TV, Pan African Entertainment TV Show|language=fr|access-date=October 11, 2019|archive-date=October 11, 2019|archive-url=https://web.archive.org/web/20191011214116/https://watsup.tv/celebrities/10109/introduced-electronic-dance-music-to-ghana-djsky-on-watsup-tv.html|url-status=live}}

In Ethiopia EDM has become part of mainstream music after the 2018 breakthrough of a young artist named Rophnan which incorporated EDM sound with traditional rhythms and melodies.{{Cite web|url=https://www.forbesafrica.com/30-under-30/2019/07/01/30under30-creatives-category-2019/|title=#30Under30: Creatives Category 2019|last=Mwendera|first=Karen|date=July 1, 2019|website=Forbes Africa|access-date=September 17, 2019|archive-date=August 19, 2019|archive-url=https://web.archive.org/web/20190819000108/https://www.forbesafrica.com/30-under-30/2019/07/01/30under30-creatives-category-2019/|url-status=dead}} In his shows, tens of thousands of youth were packing stadiums across the country and radios started to play the emerging genre.{{Cite web|url=https://addisfortune.net/addisfortunefeature/rophnan-roots-with-rare-genre/|title=Rophnan: Roots with Rare Genre|website=Addis Fortune|date=September 9, 2018|access-date=July 29, 2019|archive-date=July 30, 2019|archive-url=https://web.archive.org/web/20190730030013/https://addisfortune.net/addisfortunefeature/rophnan-roots-with-rare-genre/|url-status=live}}{{Cite web|url=http://www.thereporterethiopia.com/article/rophnan-shines-leza-awards-night|title=Rophnan shines at Leza Awards night | The Reporter Ethiopia English|website=www.thereporterethiopia.com|date=October 27, 2018|access-date=August 8, 2020|archive-date=October 25, 2020|archive-url=https://web.archive.org/web/20201025060448/https://www.thereporterethiopia.com/article/rophnan-shines-leza-awards-night|url-status=live}}

China is a market where EDM had initially made relatively few inroads; although promoters believed that the mostly instrumental music would remove a metaphorical language barrier, the growth of EDM in China was hampered by the lack of a prominent rave culture in the country as in other regions, as well as the popularity of domestic Chinese pop over foreign artists. Former Universal Music executive Eric Zho, inspired by the US growth, made the first significant investments in electronic music in China, including the organisation of Shanghai's inaugural Storm festival in 2013, the reaching of a title sponsorship deal for the festival with Anheuser-Busch's Budweiser brand, a local talent search, and organising collaborations between EDM producers and Chinese singers, such as Avicii and Wang Leehom's "Lose Myself". In the years following, a larger number of EDM events began to appear in China, and Storm itself was also preceded by a larger number of pre-parties in 2014 than its inaugural year. A new report released during the inaugural International Music Summit China in October 2015 revealed that the Chinese EDM industry was experiencing modest gains, citing the larger number of events (including new major festival brands such as Modern Sky and YinYang), a 6% increase in the sales of electronic music in the country, and the significant size of the overall market. Zho also believed that the country's "hands-on" political climate, as well as investments by China into cultural events, helped in "encouraging" the growth of EDM in the country.{{cite news|author1=Hannah Karp|title=In China, Concert Promoter Wants EDM in the Mix|url=https://www.wsj.com/articles/in-china-concert-promoter-wants-edm-in-the-mix-1412351903|work=The Wall Street Journal|date=October 5, 2014|access-date=March 6, 2017|archive-date=February 6, 2017|archive-url=https://web.archive.org/web/20170206172347/https://www.wsj.com/articles/in-china-concert-promoter-wants-edm-in-the-mix-1412351903|url-status=live}}{{cite web|title=Is the EDM Scene in China about to Pop Off?|url=https://www.vice.com/en/article/is-the-edm-scene-in-china-about-to-pop-off/|website=Thump|date=October 12, 2015|publisher=Vice Media|access-date=January 17, 2016|archive-date=April 29, 2016|archive-url=https://web.archive.org/web/20160429022213/https://thump.vice.com/en_us/article/is-the-edm-scene-in-china-about-to-pop-off|url-status=live}}

{{Main|List of electronic music festivals}}

File:Electric Love 2013.jpg, Austria with over 100,000 attendees,{{Cite web|url=http://www.technoton-magazin.com/veranstaltung26_technotonontour_electriclove2014.html|title=technoton-magazin.com – technoton magazin Resources and Information.|website=www.technoton-magazin.com|access-date=January 13, 2015|archive-date=May 7, 2020|archive-url=https://web.archive.org/web/20200507124045/https://www.technoton-magazin.com/veranstaltung26_technotonontour_electriclove2014.html|url-status=usurped}} exhibiting the large crowds and dramatic lighting common at such events since the early 2000s.]]

In the 1980s, electronic dance music was often played at illegal underground rave parties held in secret locations, for example, warehouses, abandoned aircraft hangars, fields and any other large, open areas. In the 1990s and 2000s, aspects of the underground rave culture of the 1980s and early 1990s began to evolve into legitimate, organized EDM concerts and festivals. Major festivals often feature a large number of acts representing various EDM genres spread across multiple stages. Festivals have placed a larger emphasis on visual spectacles as part of their overall experiences, including elaborate stage designs with underlying thematics, complex lighting systems, laser shows, and pyrotechnics. Rave fashion also evolved among attendees, which The Guardian described as having progressed from the 1990s "kandi raver" to "[a] slick and sexified yet also kitschy-surreal image midway between Venice Beach and Cirque du Soleil, Willy Wonka and a gay pride parade".{{cite news |title=An Electric Desert Experience: The 2014 EDC Las Vegas Phenomenon |url=http://www.dancingastronaut.com/2014/06/edc |author=Valerie Lee |date=June 27, 2014 |work=Dancing Astronaut |access-date=December 9, 2014 |archive-date=July 7, 2022 |archive-url=https://web.archive.org/web/20220707101406/https://dancingastronaut.com/2014/06/edc/ |url-status=live }} These events differed from underground raves by their organized nature, often taking place at major venues, and with measures to ensure the health and safety of attendees.{{cite news|title=A fatal toll on concertgoers as raves boost cities' income|url=http://www.latimes.com/local/la-me-coliseum-rave-deaths-20130203-story.html#page=1|work=Los Angeles Times|date=February 3, 2013|access-date=January 13, 2015|archive-date=February 3, 2020|archive-url=https://web.archive.org/web/20200203235237/https://www.latimes.com/local/la-me-coliseum-rave-deaths-20130203-story.html#page=1|url-status=live}} MTV's Rawley Bornstein described electronic music as "the new rock and roll",Lisa Rose, [http://www.nj.com/news/index.ssf/2012/05/new_jersey_basks_in_the_summer.html "N.J. basks in the glow of the brave new rave: Electronic dance festivals go mainstream"] {{Webarchive|url=https://web.archive.org/web/20181215175807/https://www.nj.com/news/index.ssf/2012/05/new_jersey_basks_in_the_summer.html |date=December 15, 2018 }}, Newark Star Ledger, May 16, 2012. as has Lollapalooza organizer Perry Farrell.{{cite news | author =Sarah Maloy | title =Lollapalooza's Perry Farrell on EDM and Elevating the Aftershow: Video | url =http://www.billboard.com/articles/columns/music-festivals/480607/lollapaloozas-perry-farrell-on-edm-and-elevating-the | magazine =Billboard | date =August 4, 2012 | access-date =January 13, 2015 | archive-date =June 15, 2021 | archive-url =https://web.archive.org/web/20210615143138/https://www.billboard.com/articles/columns/music-festivals/480607/lollapaloozas-perry-farrell-on-edm-and-elevating-the | url-status =live }}

File:BeatBurger in 2016 Spectrum Dance Music Festival.jpg

Ray Waddell of Billboard noted that festival promoters have done an excellent job at branding. Larger festivals have been shown to have positive economic impacts on their host cities the 2014 Ultra Music Festival brought 165,000 attendees—and over $223 million—to the Miami/South Florida region's economy. The inaugural edition of TomorrowWorld—a U.S.-based version of Belgium's Tomorrowland festival, brought $85.1 million to the Atlanta area—as much revenue as its hosting of the NCAA Final Four (the semi-final and national championship games of the NCAA Division I men's basketball tournament) earlier in the year.{{cite news |title=Study: TomorrowWorld had $85m impact |url=https://www.ajc.com/business/study-tomorrowworld-had-85m-impact/GpULUiT6wdAu041HnF3FUL/ |date=April 8, 2014 |author=Melissa Ruggieri |work=The Atlanta Journal-Constitution |access-date=August 18, 2021 |archive-date=August 18, 2021 |archive-url=https://web.archive.org/web/20210818180723/https://www.ajc.com/business/study-tomorrowworld-had-85m-impact/GpULUiT6wdAu041HnF3FUL/ |url-status=live }} EDC Las Vegas boosted the Clark County economy by $350.3 million in 2015 alone, with over 405,000 attendees across three days (June 19–21).{{Cite web|url=https://www.insomniac.com/news/report-reveals-edc-vegas-1-3b-impact-on-local-economy/|archive-url=https://web.archive.org/web/20191029050623/https://www.insomniac.com/news/report-reveals-edc-vegas-1-3b-impact-on-local-economy/|url-status=dead|archive-date=October 29, 2019|title=Report Reveals EDC Vegas' $1.3B+ Impact on Local Economy | Insomniac}}

The popularity of EDM and festivals also led some multi-genre festivals not strongly associated with electronic music, such as Coachella and Lollapalooza, to add more electronic acts to their lineup. They often play EDM-specific stages, but major acts such as Deadmau5, Calvin Harris and Subtronics have made overall headlining appearances on the main stages of Lollapalooza and Coachella respectively—placements that are typically associated with rock and alternative acts.{{cite news |title=House Music Comes Home: How Chicago's Summer of Music Festivals Has Reinvigorated the City's Dance Spirit |url=https://www.vice.com/en/article/house-music-comes-home-how-chicagos-summer-of-music-festivals-has-reinvigorated-the-citys-dance-spirit/ |work=Noisey |publisher=Vice |access-date=December 9, 2014 |archive-date=March 4, 2016 |archive-url=https://web.archive.org/web/20160304000251/http://noisey.vice.com/en_ca/blog/house-music-comes-home-how-chicagos-summer-of-music-festivals-has-reinvigorated-the-citys-dance-spirit |url-status=live }}{{cite news|title=How Coachella's final day symbolizes the electronic music fever pitch|url=http://www.lvweekly.com/ae/music/2014/apr/14/how-coachellas-final-day-symbolizes-electronic-mus|work=Las Vegas Weekly|date=April 14, 2014|access-date=December 9, 2014|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108064151/https://lasvegasweekly.com/ae/music/2014/apr/14/how-coachellas-final-day-symbolizes-electronic-mus/|url-status=live}}

Russell Smith of The Globe and Mail felt that the commercial festival industry was an antithesis to the original principles of the rave subculture, citing "the expensive tickets, the giant corporate sponsors, the crass bro culture—shirtless muscle boys who cruise the stadiums, tiny popular girls in bikinis who ride on their shoulders – not to mention the sappy music itself."{{cite news|title=Russell Smith: Exposés on EDM festivals shift long overdue blame|url=https://www.theglobeandmail.com/arts/music/exposes-on-electronic-dance-music-festivals/article25415136/|access-date=October 3, 2015|work=The Globe and Mail|date=July 12, 2015|archive-date=April 21, 2017|archive-url=https://web.archive.org/web/20170421024945/http://www.theglobeandmail.com/arts/music/exposes-on-electronic-dance-music-festivals/article25415136/|url-status=live}} Drug-related incidents, as well as other complaints surrounding the behaviour of their attendees, have contributed to negative perceptions and opposition to electronic music events by local authorities.{{cite news|title=Music festival safety recommendations come too late for family|url=http://www.cbc.ca/news/health/music-festival-safety-recommendations-come-too-late-for-family-1.3129576|access-date=October 3, 2015|work=CBC News|archive-date=April 4, 2023|archive-url=https://web.archive.org/web/20230404002545/https://www.cbc.ca/news/health/music-festival-safety-recommendations-come-too-late-for-family-1.3129576|url-status=live}}

After Ultra Music Festival 2014, where a crowd of gatecrashers trampled a security guard on its first day, Miami's city commissioners considered banning the festival from being held in the city, citing the trampling incident, lewd behavior, and complaints by downtown residents of being harassed by attendees. The commissioners voted to allow Ultra to continue being held in Miami due to its positive economic effects, under the condition that its organizers address security, drug usage and lewd behavior by attendees.{{cite magazine|title=Ultra Fest to Stay in Miami, City Commission Decides|url=https://www.rollingstone.com/music/news/ultra-fest-to-stay-in-miami-city-commission-decides-20140424|magazine=Rolling Stone|date=April 24, 2014|access-date=April 25, 2014|archive-date=April 25, 2014|archive-url=https://web.archive.org/web/20140425202000/http://www.rollingstone.com/music/news/ultra-fest-to-stay-in-miami-city-commission-decides-20140424|url-status=live}}{{cite web|title=Miami Commission: Ultra stays in downtown Miami|url=http://www.miamiherald.com/2014/04/24/4076523/police-union-cut-private-guards.html|work=Miami Herald|access-date=April 25, 2014|archive-date=April 26, 2014|archive-url=https://web.archive.org/web/20140426221035/http://www.miamiherald.com/2014/04/24/4076523/police-union-cut-private-guards.html|url-status=live}}{{cite magazine|title=Ultra Music Announces Review After Festival Security Draws Criticism|url=http://www.billboard.com/articles/news/6032610/ultra-music-announces-review-after-festival-security-draws-criticism|magazine=Billboard|access-date=April 7, 2014|archive-date=April 4, 2014|archive-url=https://web.archive.org/web/20140404211930/http://www.billboard.com/articles/news/6032610/ultra-music-announces-review-after-festival-security-draws-criticism|url-status=live}} In 2018, after continued concerns, the commissioners voted to bar the festival from being held in Bayfront Park and downtown Miami,{{Cite news|url=https://www.miaminewtimes.com/music/ultra-music-festival-2019-return-to-bayfront-park-to-be-decided-september-27-10766873|title=Ultra Music Festival 2019 Tickets on Sale; Fate of Bayfront Park Location to Be Decided Thursday|last=Duran|first=Jose D.|date=September 25, 2018|work=Miami New Times|access-date=September 27, 2018|archive-date=March 31, 2019|archive-url=https://web.archive.org/web/20190331042626/https://www.miaminewtimes.com/music/ultra-music-festival-2019-return-to-bayfront-park-to-be-decided-september-27-10766873|url-status=live}}{{Cite news|url=https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article218284625.html|title=Ultra Music Festival gave thousands to Miami campaigns. Will donations sway votes?|work=Miami Herald|access-date=September 27, 2018|archive-date=March 31, 2019|archive-url=https://web.archive.org/web/20190331042736/https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article218284625.html|url-status=live}}{{Cite news |url=https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article219114005.html |title=Miami Commission votes down Ultra Music Festival's return to Bayfront Park |work=Miami Herald |access-date=September 27, 2018 |archive-date=March 31, 2019 |archive-url=https://web.archive.org/web/20190331042720/https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article219114005.html |url-status=live }} but subsequently approved a proposal to move the event to one of Miami's barrier islands, Virginia Key.{{Cite news|url=https://www.miamiherald.com/news/local/community/miami-dade/article221649275.html|title=Ultra Music Festival gets new home on Virginia Key for at least one year|work=Miami Herald|access-date=November 22, 2018|archive-date=February 28, 2019|archive-url=https://web.archive.org/web/20190228120234/https://www.miamiherald.com/news/local/community/miami-dade/article221649275.html|url-status=live}} Following the festival, which was impacted by transportation issues (as there is only one vehicular link between Virginia Key and mainland Miami) and other problems, Ultra pulled out of the agreement, and negotiated an agreement to return to Bayfront Park.{{Cite web|url=https://www.miaminewtimes.com/music/ultra-music-festival-will-return-to-bayfront-park-in-2020-11206314|title=Ultra Music Festival to Return to Bayfront Park in 2020|last=Nelson|first=Jess|date=July 25, 2019|website=Miami New Times|access-date=August 12, 2019|archive-date=August 6, 2019|archive-url=https://web.archive.org/web/20190806182507/https://www.miaminewtimes.com/music/ultra-music-festival-will-return-to-bayfront-park-in-2020-11206314|url-status=live}}{{Cite magazine |magazine=Billboard |url=https://www.billboard.com/articles/news/dance/8525825/ultra-music-festival-miami-2020 |title=Ultra Music Festival Announces New Miami 2020 Dates in Classic Downtown Location |access-date=September 7, 2019 |archive-date=August 2, 2019 |archive-url=https://web.archive.org/web/20190802023526/https://www.billboard.com/articles/news/dance/8525825/ultra-music-festival-miami-2020 |url-status=live }} The UK Jungle and Drum and Bass focused record label, Hospital Records, runs a festival called Hospitality{{Cite web|title=Hospitality DNB|url=https://www.hospitalitydnb.com/|access-date=January 23, 2023|archive-date=January 22, 2023|archive-url=https://web.archive.org/web/20230122125124/https://www.hospitalitydnb.com/|url-status=live}} in clubs and other locations scattered around the UK and other countries with big EDM influence. These events are usually concerts from artists on the record's roster of musicians.

Due to the COVID-19 pandemic, cancellation of festivals, accompanied by the restrictions on social distancing has negatively impacted economic activity of festivals and the music industry.{{Cite journal |last1=Khlystova |first1=Olena |last2=Kalyuzhnova |first2=Yelena |last3=Belitski |first3=Maksim |date=2022-02-01 |title=The impact of the COVID-19 pandemic on the creative industries: A literature review and future research agenda |journal=Journal of Business Research |language=en |volume=139 |pages=1192–1210 |doi=10.1016/j.jbusres.2021.09.062 |pmid=34629569 |pmc=8490124 |issn=0148-2963}} Festivals are required to have regulations on health and safety, as well as deal with crisis and risk management, since they are at high risk due to the mass of people that attend. As a result, it has become normal for festivals or performances to be streamed online.

During 2020, all large EDM music festivals were postponed or canceled due to the COVID-19 pandemic. On March 4, 2020, Ultra Miami was the first electronic dance music festival to cancel an event since the event could not conform to the state's capacity rules and county's safety protocols and regulations.{{Cite web |date=2020-03-04 |title=BREAKING: Ultra Miami Cancelled Over Coronavirus Fears |url=https://www.youredm.com/2020/03/04/ultra-music-festival-2020-officially-cancelled/ |access-date=2022-03-01 |website=Your EDM |language=en-US |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301164259/https://www.youredm.com/2020/03/04/ultra-music-festival-2020-officially-cancelled/ |url-status=live }} On April 21, 2020, Electric Forest music festival in Rothbury, Michigan rescheduled their event on June 25–27, 2020 to June 2021 due to health concerns.{{Cite web |date=2022-02-16 |title=COVID-19 Concert Cancellation Tracker: Gauging How Long The Event Shutdown Will Last [Updates] |url=https://liveforlivemusic.com/news/covid-19-concert-cancellation-tracking/ |access-date=2022-03-01 |website=L4LM |language=en-US |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160312/https://liveforlivemusic.com/news/covid-19-concert-cancellation-tracking/ |url-status=live }} On July 9, 2020, New York City Mayor Bill de Blasio decided that all sizeable events will be suspended through September 30.{{Cite news |last=Hatfield |first=Amanda |title=Electric Zoo 2020 cancelled due to coronavirus |url=https://www.brooklynvegan.com/electric-zoo-2020-cancelled-due-to-coronavirus/ |access-date=2022-03-01 |website=BrooklynVegan |language=en |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160321/https://www.brooklynvegan.com/electric-zoo-2020-cancelled-due-to-coronavirus/ |url-status=live }} As a result, Electric Zoo 2020, which takes place on Randall's Island in New York City during Labor Day Weekend, fully canceled their 2020 event.

Electric Daisy Carnival Las Vegas (EDC), the biggest dance music festival in North America, was scheduled to happen on May 15–17, 2020. In April, EDC postponed their May event to October 2–4, 2020, and later declared on August 2 that EDC Las Vegas 2020 would be officially canceled.{{Cite magazine |last=Brooks |first=Dave |date=2020-08-02 |title=Electric Daisy Carnival Officially Canceled for 2020, Founder Announces |url=https://www.billboard.com/culture/events/edc-2020-canceled-2021-dates-announced-9428267/ |access-date=2022-03-01 |magazine=Billboard |language=en-US |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160321/https://www.billboard.com/culture/events/edc-2020-canceled-2021-dates-announced-9428267/ |url-status=live }} Instead, EDC CEO Pasquale Rotella announced the celebration of EDC's 25th anniversary on May 21–23, 2021.{{Cite web |date=2020-08-03 |title=EDC Las Vegas Officially Canceled For 2020 |url=https://siachenstudios.com/news/edc-las-vegas-officially-canceled-for-2020/ |access-date=2022-03-01 |website=Siachen Studios |language=en-GB |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160313/https://siachenstudios.com/news/edc-las-vegas-officially-canceled-for-2020/ |url-status=live }} On April 9, 2021, EDC had not yet released their lineup and COVID-19 safety protocols for the event happening in May 2021.{{Cite magazine |last=Blistein |first=Jon |date=2021-04-09 |title=Electric Daisy Carnival to Take Place in May Despite Continued COVID-19 Concerns |url=https://www.rollingstone.com/music/music-news/electric-daisy-carnival-festival-may-covid-19-1153652/ |access-date=2022-03-01 |magazine=Rolling Stone |language=en-US |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160351/https://www.rollingstone.com/music/music-news/electric-daisy-carnival-festival-may-covid-19-1153652/ |url-status=live }} On April 20, 2021, Rotella postponed the festival to October 22–24, 2021.{{Cite web |title=COVID-19 effect: EDC Las Vegas postpones festival to October |url=https://www.aninews.in/news/entertainment/music/covid-19-effect-edc-las-vegas-postpones-festival-to-october20210421190801/ |access-date=2022-03-01 |website=ANI News |language=en |archive-date=November 8, 2023 |archive-url=https://web.archive.org/web/20231108071320/https://www.aninews.in/news/entertainment/music/covid-19-effect-edc-las-vegas-postpones-festival-to-october20210421190801/ |url-status=live }}

The cancellations of these events economically hurt the music industry and the companies that run these events. EDC 2020 originally sold out of the 200,000 tickets for their first event, but offered full returns for those who could not make it to new dates.{{Cite magazine |last=Bain |first=Katie |date=2021-04-23 |title=EDC 2021's Failure to Launch: How a Plan to Bring 200,000 People to Vegas Fell Apart |url=https://www.billboard.com/pro/edc-2021-las-vegas-canceled-failed-plan-pandemic/ |access-date=2022-03-01 |magazine=Billboard |language=en-US |archive-date=March 1, 2022 |archive-url=https://web.archive.org/web/20220301160313/https://www.billboard.com/pro/edc-2021-las-vegas-canceled-failed-plan-pandemic/ |url-status=live }} Electric Zoo included an incentive for customers to keep their ticket by providing an extra $50 for General Admission tickets and $100 for VIP tickets to spend on merchandise and food on festival grounds.  Most music festival companies offered to rollover the ticket to their next event or give full refunds to those who could not attend, but ultimately lost a lot of customers due to the uncertainty of COVID-19.

{{See also|Club drug|Party pills|MDMA|2C-B|4-MA|Cannabis (drug){{!}}Cannabis|Cocaine|gamma-Hydroxybutyric acid{{!}}GHB|N,N-Dimethyltryptamine{{!}}DMT|LSD|Ketamine|Amphetamine|Benzylpiperazine|Benzodiazepine}}

Dance music has a long association with recreational drug use,{{cite web|url=https://www.theatlantic.com/health/archive/2013/09/electronic-dance-music-s-love-affair-with-ecstasy-a-history/279815/|title=Electronic Dance Music's Love Affair With Ecstasy: A History|author=P. Nash Jenkins|work=The Atlantic|date=September 20, 2013|access-date=March 6, 2017|archive-date=April 25, 2020|archive-url=https://web.archive.org/web/20200425022659/https://www.theatlantic.com/health/archive/2013/09/electronic-dance-music-s-love-affair-with-ecstasy-a-history/279815/|url-status=live}} particularly with a wide range of drugs that have been categorized under the name "club drugs". Russell Smith noted that the association of drugs and music subcultures was by no means exclusive to electronic music, citing previous examples of music genres that were associated with certain drugs, such as psychedelic rock and LSD, disco music and cocaine, and punk music and heroin.

File:Ecstasy monogram.jpg

Methylenedioxymethamphetamine (MDMA), also known as ecstasy, "E", or "Molly", is often considered the drug of choice within the rave culture and is also used at clubs, festivals and house parties.{{cite journal |vauthors=Carvalho M, Carmo H, Costa VM, Capela JP, Pontes H, Remião F, Carvalho F, Bastos Mde L | title = Toxicity of amphetamines: an update | journal = Arch. Toxicol. | volume = 86 | issue = 8 | pages = 1167–1231 | date = August 2012 | pmid = 22392347 | doi = 10.1007/s00204-012-0815-5 | bibcode = 2012ArTox..86.1167C | s2cid = 2873101 | quote = MDMA has become a popular recreational drug of abuse at nightclubs and rave or techno parties, where it is combined with intense physical activity (all-night dancing), crowded conditions (aggregation), high ambient temperature, poor hydration, loud noise, and is commonly taken together with other stimulant club drugs and/or alcohol (Parrott 2006; Von Huben et al. 2007; Walubo and Seger 1999). This combination is probably the main reason why it is generally seen an increase in toxicity events at rave parties since all these factors are thought to induce or enhance the toxicity (particularly the hyperthermic response) of MDMA. ... Another report showed that MDMA users displayed multiple regions of grey matter reduction in the neocortical, bilateral cerebellum, and midline brainstem brain regions, potentially accounting for previously reported neuropsychiatric impairments in MDMA users (Cowan et al. 2003). Neuroimaging techniques, like PET, were used in combination with a 5-HTT ligand in human ecstasy users, showing lower density of brain 5-HTT sites (McCann et al. 1998, 2005, 2008). Other authors correlate the 5-HTT reductions with the memory deficits seen in humans with a history of recreational MDMA use (McCann et al. 2008). A recent study prospectively assessed the sustained effects of ecstasy use on the brain in novel MDMA users using repeated measurements with a combination of different neuroimaging parameters of neurotoxicity. The authors concluded that low MDMA dosages can produce sustained effects on brain microvasculature, white matter maturation, and possibly axonal damage (de Win et al. 2008).}} In the rave environment, the sensory effects from the music and lighting are often highly synergistic with the drug. The psychedelic amphetamine quality of MDMA offers multiple reasons for its appeals to users in the "rave" setting. Some users enjoy the feeling of mass communion from the inhibition-reducing effects of the drug, while others use it as party fuel because of the drug's stimulatory effects.{{cite book|last=Reynolds|first=Simon|title=Generation Ecstasy: Into the World of Techno and Rave Culture|year=1999|publisher=Routledge|isbn=978-0415923736|page=81|url=https://books.google.com/books?id=tGaRJiXe74UC&q=Generation+Ecstasy+MDMA&pg=PA81|access-date=February 13, 2021|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108064150/https://books.google.com/books?id=tGaRJiXe74UC&q=Generation+Ecstasy+MDMA&pg=PA81#v=snippet&q=Generation%20Ecstasy%20MDMA&f=false|url-status=live}} Another drug para-Methoxyamphetamine (4-MA) also known as pink ecstasy, PMA, "Death" or "Dr. Death", it is similar to MDMA but they can take up to an hour to produce effects, which can result in hyperthermia and subsequently, organ failure. People who take PMA are often mistaken for it being identified as MDMA.{{cite web|title=Warning over fake ecstasy tablets after seven people die in Scotland|url=https://www.theguardian.com/society/2013/jul/10/fake-ecstasy-warning-die-scotland|work=The Guardian|first=Caroline|last=Davies|access-date=July 10, 2013|date=May 25, 2018|archive-date=February 2, 2020|archive-url=https://web.archive.org/web/20200202193438/https://www.theguardian.com/society/2013/jul/10/fake-ecstasy-warning-die-scotland|url-status=live}}{{cite web|title=PMA: 'Not just another drug scare story'|url=https://www.theguardian.com/society/shortcuts/2013/jul/22/pma-not-another-drug-scare-story|work=The Guardian|first=Emine|last=Saner|date=July 22, 2013|access-date=May 25, 2018|archive-date=November 8, 2019|archive-url=https://web.archive.org/web/20191108140742/https://www.theguardian.com/society/shortcuts/2013/jul/22/pma-not-another-drug-scare-story|url-status=live}}

MDMA is occasionally known for being taken in conjunction with psychedelic drugs. The more common combinations include MDMA combined with LSD, MDMA combined with DMT, MDMA with psilocybin mushrooms, and MDMA with the dissociative drug ketamine. Many users use mentholated products while taking MDMA for its cooling sensation while experiencing the drug's effects. Examples include menthol cigarettes, Vicks VapoRub, NyQuil,{{cite web|url=http://www.drugabuse.gov/DirReports/DirRep500/DirectorReport5.html |title=Director's Report to the National Advisory Council on Drug Abuse |publisher=National Institute on Drug Abuse |date=May 2000 |url-status=dead |archive-url=https://web.archive.org/web/20090826051026/http://drugabuse.gov/DirReports/DirRep500/DirectorReport5.html |archive-date=August 26, 2009 }} and lozenges.

The incidence of nonmedical ketamine has increased in the context of raves and other parties.Increased non-medical use references:

• {{cite journal|ref=none |last= Awuonda |first= M |title= Swedes alarmed at ketamine misuse |journal= The Lancet |date= July 13, 1996 |volume= 348 |issue= 9020 |page= 122 |doi= 10.1016/S0140-6736(05)64628-4 |s2cid=53269227}}
• {{cite journal|ref=none |last1= Curran |first1= HV |last2= Morgan |first2= C |title= Cognitive, dissociative and psychotogenic effects of ketamine in recreational users on the night of drug use and 3 days later |journal= Addiction |date= April 2000 |volume= 95 |issue= 4 |pages= 575–90 |pmid= 10829333 |doi= 10.1046/j.1360-0443.2000.9545759.x}}
• {{cite journal |ref= none |last= Gahlinger |first= PM |title= Club drugs: MDMA, gamma-hydroxybutyrate (GHB), Rohypnol, and ketamine |journal= American Family Physician |date= June 1, 2004 |volume= 69 |issue= 11 |pages= 2619–2626 |pmid= 15202696 |url= http://www.aafp.org/afp/2004/0601/p2619.html |access-date= November 15, 2015 |archive-date= November 17, 2015 |archive-url= https://web.archive.org/web/20151117033142/http://www.aafp.org/afp/2004/0601/p2619.html |url-status= live }}
• {{cite journal|ref=none |last= Jansen |first= KL |title= Non-medical use of ketamine |journal= BMJ |date= March 6, 1993 |volume= 306 |issue= 6878 |pages= 601–2 |pmid= 8461808 |pmc= 1676978 |doi= 10.1136/bmj.306.6878.601}}
• {{harvp|Joe-Laidler|Hunt|2008}} However, its emergence as a club drug differs from other club drugs (e.g. MDMA) due to its anesthetic properties (e.g., slurred speech, immobilization) at higher doses;{{sfnp|Joe-Laidler|Hunt|2008}} in addition, there are reports of ketamine being sold as "ecstasy".Ketamine sold as "ecstasy" references:
• {{cite journal |ref=none |last=Tanner-Smith |first=E.E. |title=Pharmacological content of tablets sold as "ecstasy": Results from an online testing service |journal=Drug and Alcohol Dependence |volume=83 |issue=3 |pages=247–254 |date=July 2006 |pmid=16364567 |doi=10.1016/j.drugalcdep.2005.11.016 |url=http://www.recoveryonpurpose.com/upload/Pharmacology%20of%20Ecstasy.pdf |access-date=November 15, 2015 |archive-date=March 4, 2016 |archive-url=https://web.archive.org/web/20160304044352/http://www.recoveryonpurpose.com/upload/Pharmacology%20of%20Ecstasy.pdf |url-status=usurped }}
• {{cite journal|ref=none |last1=Copeland |first1=J. |last2=Dillon |first2=P. |title=The health and psycho-social consequences of ketamine use |journal=International Journal of Drug Policy |volume=16 |issue=2 |year=2005 |pages=122–131 |doi=10.1016/j.drugpo.2004.12.003}}
• {{cite book|ref=none|last1=Measham |first1= Fiona |last2= Parker |first2= Howard |first3= Judith |last3= Aldridge |title= Dancing on Drugs: Risk, Health and Hedonism in the British Club Scene |year= 2001 |publisher= Free Association Books |location= London |isbn= 9781853435126 }}{{Verify source|date=August 2014}}{{page needed|date=December 2013}} The use of ketamine as part of a "postclubbing experience" has also been documented.{{cite journal |last1= Moore |first1= K |last2= Measham |first2= F |title= Ketamine use: Minimising problems and maximising pleasure |journal= Drugs and Alcohol Today |year= 2006 |volume= 6 |issue= 3 |pages= 29–32 |doi= 10.1108/17459265200600047|url= https://usir.salford.ac.uk/id/eprint/49688/ }} Ketamine's rise in the dance culture was rapid in Hong Kong by the end of the 1990s.{{sfnp|Joe-Laidler|Hunt|2008}} Before becoming a federally controlled substance in the United States in 1999, ketamine was available as diverted pharmaceutical preparations and as a pure powder sold in bulk quantities from domestic chemical supply companies.{{cite journal |last1=Morris |first1=H. |last2=Wallach |first2=J. |title=From PCP to MXE: A comprehensive review of the non-medical use of dissociative drugs |journal=Drug Testing and Analysis |volume=6 |issue=7–8 |pages=614–632 |date=July 2014 |pmid=24678061 |doi=10.1002/dta.1620}} Much of the current ketamine diverted for nonmedical use originates in China and India.

A number of deaths attributed to apparent drug use have occurred at major electronic music concerts and festivals. The Los Angeles Memorial Coliseum blacklisted Insomniac Events after an underaged attendee died from "complications of ischemic encephalopathy due to methylenedioxymethamphetamine intoxication" during Electric Daisy Carnival 2010; as a result, the event was re-located to Las Vegas the following year.{{cite web|title='EDC' Raver Teen Sasha Rodriguez Died From Ecstasy Use|url=http://www.laweekly.com/news/edc-raver-teen-sasha-rodriguez-died-from-ecstasy-use-2386344|website=LA Weekly|date=August 31, 2010|access-date=January 4, 2017|archive-date=September 22, 2018|archive-url=https://web.archive.org/web/20180922154322/https://www.laweekly.com/news/edc-raver-teen-sasha-rodriguez-died-from-ecstasy-use-2386344|url-status=live}}{{cite news| title= Man dies at Electric Daisy Carnival in Las Vegas| url= https://www.chicagotribune.com/2014/06/22/man-dies-at-electric-daisy-carnival-in-las-vegas/| date= June 22, 2014| work= Chicago Tribune| access-date= January 13, 2015| archive-date= January 13, 2015| archive-url= https://web.archive.org/web/20150113183555/http://articles.chicagotribune.com/2014-06-22/news/chi-electric-daisy-carnival-death-20140622_1_electric-daisy-carnival-drug-molly-jennifer-forkish| url-status= live}}{{cite news | title=A Bit of Caution Beneath the Thump | author=Jon Pareles | url=https://www.nytimes.com/2014/09/01/arts/music/electric-zoo-returns-under-watchful-eyes.html | work=The New York Times | date=September 1, 2014 | access-date=February 18, 2017 | archive-date=August 23, 2019 | archive-url=https://web.archive.org/web/20190823115034/https://www.nytimes.com/2014/09/01/arts/music/electric-zoo-returns-under-watchful-eyes.html | url-status=live }}{{cite news| title=Electric Zoo to Clamp Down on Drugs This Year| url=https://www.wsj.com/articles/electric-zoo-to-clamp-down-on-drugs-this-year-1409278227| work=The Wall Street Journal| date=August 28, 2014| access-date=March 13, 2017| archive-date=November 20, 2018| archive-url=https://web.archive.org/web/20181120051725/https://www.wsj.com/articles/electric-zoo-to-clamp-down-on-drugs-this-year-1409278227| url-status=live}} Drug-related deaths during Electric Zoo 2013 in New York City, United States, and Future Music Festival Asia 2014 in Kuala Lumpur, Malaysia, prompted the final day of both events to be cancelled,{{cite news|title=Six dead from 'meth' at Future Music Festival Asia 2014: police|url=http://www.smh.com.au/entertainment/music/six-dead-from-meth-at-future-music-festival-asia-2014-police-20140317-34wev.html|access-date=October 3, 2015|work=Sydney Morning Herald|archive-date=October 18, 2019|archive-url=https://web.archive.org/web/20191018111600/https://www.smh.com.au/entertainment/music/six-dead-from-meth-at-future-music-festival-asia-2014-police-20140317-34wev.html|url-status=live}} while Life in Color cancelled a planned event in Malaysia out of concern for the incident, and other drug-related deaths that occurred at the A State of Trance 650 concerts in Jakarta, Indonesia.{{cite web|title=Blanked out: Life In Color cancelled due to drug deaths|url=http://www.thestar.com.my/Lifestyle/Entertainment/Music/News/2014/03/19/Goodbye-parties-Life-In-Color-cancelled-to-stop-drug-deaths|work=Malaysia Star|access-date=April 7, 2014|archive-date=July 11, 2017|archive-url=https://web.archive.org/web/20170711075830/http://www.thestar.com.my/lifestyle/entertainment/music/news/2014/03/19/goodbye-parties-life-in-color-cancelled-to-stop-drug-deaths/|url-status=dead}}{{cite web|title=Police Probe 'A State of Trance' Festival Drug Deaths|url=http://www.thejakartaglobe.com/news/jakarta/police-probe-state-trance-festival-drug-deaths/|work=Jakarta Globe|access-date=April 7, 2014|archive-url=https://web.archive.org/web/20140408221112/http://www.thejakartaglobe.com/news/jakarta/police-probe-state-trance-festival-drug-deaths/|archive-date=April 8, 2014|url-status=dead}}{{cite web|title=Three Dead After State of Trance Festival in Jakarta, Drugs Suspected|url=http://www.spin.com/2014/03/three-dead-after-state-of-trance-festival-in-jakarta-drugs-suspected/|website=Spin.com|date=March 17, 2014|access-date=October 3, 2015|archive-date=January 31, 2020|archive-url=https://web.archive.org/web/20200131174832/https://www.spin.com/2014/03/three-dead-after-state-of-trance-festival-in-jakarta-drugs-suspected/|url-status=live}}

In September 2016, the city of Buenos Aires, Argentina banned all electronic music events, pending future legislation, after five drug-related deaths and four injuries at a Time Warp Festival event in the city in April 2016. The ban forced electronic band Kraftwerk to cancel a planned concert in the city, despite arguing that there were dissimilarities between a festival and their concerts.{{cite magazine|title=Kraftwerk Can't Play Buenos Aires Concert Due to Electronic Music Ban: Report|url=http://www.billboard.com/articles/news/dance/7573336/buenos-aires-kraftwerk-concert-electronic-music-ban|magazine=Billboard|access-date=January 5, 2017|archive-date=April 3, 2019|archive-url=https://web.archive.org/web/20190403102320/https://www.billboard.com/articles/news/dance/7573336/buenos-aires-kraftwerk-concert-electronic-music-ban|url-status=live}}{{cite web|title=Buenos Aires bans electronic music festivals after five deaths|url=https://www.theguardian.com/world/2016/apr/26/buenos-aires-bans-electronic-music-festivals-after-five-deaths|website=The Guardian|date=April 26, 2016|access-date=January 5, 2017|archive-date=July 13, 2019|archive-url=https://web.archive.org/web/20190713144721/https://www.theguardian.com/world/2016/apr/26/buenos-aires-bans-electronic-music-festivals-after-five-deaths|url-status=live}}

(Alphabetical)

• Alternative dance
• Beatport
• Dance music
• Drop
• EBM
• Freetekno
• Latin freestyle
• List of electronic dance music venues
• List of electronic music genres
• Rave music
• Remix
• Sampling
• Timeline of electronic music genres

{{Reflist|group=Note}}

{{Reflist|30em}}

{{Refbegin}}

• {{cite book |last1=Brewster |first1=Bill |title=Last Night a DJ Saved My Life |date=2006 |publisher=Headline |location=London |url=https://worldcat.org/en/title/82671259 |access-date=3 November 2022 }}
• {{cite book|url=https://books.google.com/books?id=opzZzFUgDfEC|title=Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music|last=Butler|first=Mark Jonathan|publisher=Indiana University Press|year=2006|isbn=9780253346629|access-date=November 20, 2015|archive-date=November 8, 2023|archive-url=https://web.archive.org/web/20231108064156/https://books.google.com/books?id=opzZzFUgDfEC|url-status=live}}
• {{cite book|last1=Collins|first1=Nick|last2=Schedel|first2=Margaret|last3=Wilson|first3=Scott|title=Electronic Music|year=2013|publisher=Cambridge University Press|isbn=978-1-107-24454-2|url=https://books.google.com/books?id=0aMxAAAAQBAJ&pg=PA97}}
• {{wikicite|ref={{harvid|Cosgrove|1988}}|reference=Cosgrove (1988). {{Full citation needed|date=March 2020|reason=Inline author-date citation has no corresponding entry here in the reflist}},}}
• {{cite book|title='You Better Work'!: Underground Dance Music in New York|last=Fikentscher|first=Kai |publisher=Wesleyan University Press|year=2000|isbn=9780819564047|location=Hanover, NH}}
• {{cite book |last1=Hoffmann |first1=Frank |title=Encyclopedia of Recorded Sound |year=2004 |publisher=Routledge |isbn=978-1-135-94950-1 |url=https://books.google.com/books?id=-FOSAgAAQBAJ }}
• {{cite journal |last1=Joe-Laidler |first1=K. |last2=Hunt |first2=G. |title=Sit down to float: The cultural meaning of ketamine use in Hong Kong |journal=Addiction Research & Theory |date=June 1, 2008 |volume=16 |issue=3 |pages=259–271 |doi=10.1080/16066350801983673 |pmid=19759834 |pmc=2744071}}
• {{cite book|title=Music Cultures in the United States: an Introduction|last=Koskoff|first=Ellen |publisher=Routledge|year=2004|isbn=9780415965897}}
• {{cite book|title=This is Our House: House Music, Cultural Spaces, and Technologies|last=Rietveld |first=Hillegonda C.|publisher=Ashgate|year=1998|isbn=9781857422429|series=Popular Cultural Studies |volume=13}}
• Graham St John, editor. Weekend Societies: Electronic Dance Music Festivals and Event-Cultures, 2017, Bloomsbury Academic
• {{cite book|editor1-last=Trynka|editor1-first=Paul|editor2-last=Bacon|editor2-first=Tony|title=Rock Hardware|url=https://books.google.com/books?id=HDrIjd5FQ8QC&pg=RA1-PA1946|year=1996|publisher=Balafon Books|isbn=978-0-87930-428-7}}

{{Refend}}

• Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. {{ISBN|978-1-59863-503-4}}
• Simplified guide to the various EDM genres with sample tracks: [http://www.complex.com/music/2013/03/an-idiots-guide-to-edm-genres "An Idiot's Guide to EDM Genres"]
• Vice Magazine. 2013. Rave Culture, a handy guide for middle America: [https://www.vice.com/en/article/rave-culture-a-handy-guide-for-middle-america/ "Explaining Rave Culture to Americans"]
• {{usurped|1=[https://web.archive.org/web/20161109053234/http://thedancemusicguide.com/ "Beat Explorers Dance Music Guide"]}} from [http://beatexplorers.com/ "BeatExplorers"]

{{Electronica}}

{{Authority control}}

Category:1980s in music

Category:1980 neologisms

Category:1990s in music

Category:2000s in music

Category:2010s in music

Category:African-American culture

Category:Electronic dance music

Category:Italian-American culture

Category:Culture of Latin America