If you want to ring in the New Year in style by showing off your hottest dance moves, LED's OMFG NYE in San Diego is the place to be.

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This year's two-day fest will feature your favorite DJs, including headliners Tiësto and Zedd, with Dillon Francis, Illenium, Kayzo, NGHTMRE, GRAVES, and more to help get your year off to an energized start.

OMFG NYE 2018 will be held Dec. 30 and 31 in San Diego's Valley View Casino Center. Ticket are on sale now.

DJ Mag Reveals Their Top 100 DJs List For 2017

As any fan can attest, dance music is a broad church spanning myriad micro-genres, fan communities and city-specific scenes. The genre’s reach was as wide as ever in 2023, stretching from the biggest festival stages to the most intimate clubs, with variations in moods and beats-per-minute to suit all tastes. 

Nostalgia for rave’s ‘90s heyday was everywhere, fueling big-name releases and underground club sets alike. [Surprise supergroups](https://www.grammy.com/news/coachella-2023-weekend-2-recap-skrillex-four-tet-fred-again-gorillaz-bad-bunny-eric-pyrdz-performances-surprises-video) and [long-time collaborators](https://www.grammy.com/news/skrillex-fred-again-friendship-timeline-collaborations-videos) hit big in 2023, while albums from [James Blake](https://www.grammy.com/artists/james-blake/17760), [the Chemical Brothers](https://www.grammy.com/artists/chemical-brothers/7746), Disclosure and Everything But The Girl showed there’s still power in the electronic LP format. 

With festivals and DJ touring schedules back to a pre-COVID pace, dance music also enjoyed a busy year on the road. Across North America, [ILLENIUM](https://www.grammy.com/artists/Illenium/38165), G Jones, ZHU and ODESZA (not to mention Beyoncé’s house music-indebted Renaissance tour) sold out venues across the country. In a genre that can feel impossible to get your arms around, these five trends were undeniable in 2023. 

Everything Old Was New Again

Wherever you looked this year, DJ-producers were reaching back to the racing sounds of trance, rave and Eurodance that dominated dancefloors in the ‘90s and early 2000s. David Guetta and Calvin Harris spent 2023 memorably mining this past — the latter’s "Desire," featuring Sam Smith, could be ripped straight from a decades-old pop-trance compilation. 

Meanwhile, South Korean DJ-producer Peggy Gou released "(It Goes Like) Nanana," a dance-pop earworm with shades of ATB’s late ‘90s hit, "9PM (Till I Come)." Already a hugely popular draw as a DJ, Gou’s time-warping groover became her first Billboard chart entry and ignited buzz for her debut artist album, expected in 2024. 

On the less commercial spectrum, European producers like DJ Heartstring, Narciss and Marlon Hoffstadt continued to contextualize vintage sounds for a new audience. Meanwhile, a cluster of Dutch DJs, most notably Job Jobse, Young Marco and KI/KI, played throwback anthem-fuelled sets on festival stages usually reserved for steely techno, including at Dekmantel and Time Warp. 

For some DJs, looking back to the past meant embracing the fast and furious tempos of hardstyle and hard dance, two subgenres with passionate niche followings but little mainstream crossover. Continuing a trend from 2022, speedier BPMs were very much in vogue, as DJs kept pace with fans demanding a harder, faster workout. 

Women Danced To The Front 

Many of the year’s most invigorating and genre-blurring releases were made by women. Having built a steady career as a producer and singer, Kenya Grace broke out in 2023 with "Strangers," which caught fire on TikTok and converted new fans via a sleek mix of pop, drum & bass and Grace’s hushed vocals. Peggy Gou’s aforementioned "(It Goes Like) Nanana," also captured the TikTok zeitgeist with a widely-viewed video of Gou teasing the single for a dancefloor in Morocco. 

Electronic chameleon [Charli XCX](https://www.grammy.com/artists/charli-xcx/18360) stayed squarely in the limelight, following 2022’s stellar *Crash* with the one-two punch of "In The City" featuring Sam Smith and "Speed Drive"(from *Barbie the Album*, which is nominated for Best Compilation Soundtrack For Visual Media alongside *AURORA*, *Weird: The Al Yankovic Story*, *Black Panther: Wakanda Forever- Music From And Inspired By*, and *Guardians of the Galaxy, Vol. 3: Awesome Mix*). Meanwhile, two of the year’s standout albums came from women coloring outside the lines of their best-known projects: the xx vocalist Romy’s *Mid Air* embraced her queerness through euphoric dance-pop, while Aluna (of electronic duo AlunaGeorge) blossomed as a solo artist and activist on her second album, *MYCELiUM*. 

While dance music’s ranks remained largely white and male in 2023, undeniable albums from the likes of Jayda G, PinkPanthress and Róisín Murphy were a welcome counterbalance. 

UK Bass Got Bombastic

Following the runaway success of Eliza Rose and Interplanetary Criminal’s 2022 UK garage-tinged house anthem "B.O.T.A. (Baddest of Them All)" the previous year, British bass music continued to shine in 2023. 

While still relatively niche in the U.S., the UK garage (UKG) and bassline subgenres that thrived in the Y2K era found a new generation of British converts, thanks to releases like Interplanetary Criminal’s *All Thru The Night* and Conducta’s *In Transit* EP. Elsewhere, acclaimed British singer/songwriter Jorja Smith tapped her UKG roots on the irresistible single "Little Things." 

Welsh duo Overmono weaved garage textures into their accomplished debut album, *Good Lies*, and rounded out the year with a powerful Boiler Room live set from Manchester’s Warehouse Project. The set and album cemented their bona fides as the UK’s next dance festival headliner. 

The many mutations of UK bass music shone bright all year in DJ sets from the likes of Anz, Nia Archives, Jyoty and Joy Anonymous. (The latter’s near-three-hour set with Austrian producer salute and New Jersey-born garage godfather Todd Edwards at Amsterdam Dance Event captured the jubilant mix of house and UKG that was dominant this year.) 

Bringing it full circle, Eliza Rose parlayed the success of "B.O.T.A." into a collaboration with Calvin Harris on this year’s housey "Body Moving," which started with the pair exchanging Instagram DMs. 

Technology Upped The Ante

In a year where artificial intelligence and rapid technological advancement were burning topics, a wave of dance music artists found new ways to embrace the future. 

The possibilities of technology to enhance live performance were on full display in two raved-about Coachella sets. Swedish veteran [Eric Prydz](https://www.grammy.com/artists/eric-prydz/5679) brought his HOLO show to the California festival, deploying cutting-edge tech to create giant holographic images that extend over the crowd. Meanwhile, inside the festival's Sahara Tent, melodic techno duo Tale Of Us completed their transition to EDM crowd-pleasers with a full-scale audiovisual spectacle that explored themes of robot-human connection. (One half of the duo, Matteo Milleri, is also all-in on NFTs.) 

Meanwhile, techno favorite Nicole Moudaber debuted an AV show in which her own movements control a towering digital avatar. The year also saw big-name DJs embracing the metaverse — from Carl Cox playing a set in the Sensorium Galaxy to Swedish House Mafia joining the Roblox platform — in a trend that’s sure to carry into 2024. 

Techno & Techno-House Go Center Stage

Continuing a trend from 2022, big room techno and tech-house muscled onto U.S. festival stages usually reserved for EDM anthems. In particular, tech-house — which in 2023 sounds a world away from the raw UK club records that birthed the subgenre — cemented its place in the mainstream with Fisher and Chris Lake’s back-to-back set at Coachella’s Outdoor Theatre. (Later in the year, the pair shut down Hollywood Boulevard in Los Angeles for an epic street party.) 

Both coming off a star-making 2022, tech-house mischief-makers John Summit and Dom Dolla leveled up with bigger shows and feverish fan followings. Meanwhile, Belgian sensation Charlotte de Witte became the techno artist booked on the Ultra Miami main stage, scheduled incongruously alongside the likes of Zedd and Afrojack, while in Europe, techno specialists Amelie Lens and Nina Kraviz were given the same honor (and challenge) for a sprawling crowd at Tomorrowland. 

Whether mining the past or accelerating into the future, the dance/electronic genre never stood still this year, setting the stage for a thrilling 2024.  

[2023 In Review: 5 Trends That Defined Pop Music](https://www.grammy.com/news/pop-music-trends-2023-year-in-review-taylor-swift-sza)

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions,  and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit “Talk Saxy” — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with “Razor,” many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 “Barbra Streisand” sound with their new dance single, “LALALA.”

Listen to these seven new tracks that will gear you up for spooky season 2023.

RIIZE - “Talk Saxy”

Kpop’s rising stars, RIIZE, are making a vibrant musical return with their new single, “Talk Saxy,” a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention. 

“Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy,” RIIZE croons on the chorus. 

This track follows their debut single “Get a Guitar,” which launched their announcement to signing with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of “Razor,” a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track “'Virginia Moon.”

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song “Wherever I Go,” a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record. 

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover. 

**The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as “Little Blue” with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.** 

Mr Eazi's - The Evil Genius

Afrobeat sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

At first glance, the worlds of rock and dance music might appear diametrically opposed. Dig a little deeper, though, and the two genres share more than just a love for all-black outfits.

In recent years, a wave of dance stars have embraced their inner mosher by collaborating with their favorite metal, post-hardcore, emo, and pop-punk artists, creating a mutant sound with a foot in both spaces. Just this month, Canada's dark bass maestro Rezz released a winkingly titled EP, It's Not A Phase, which channels the punk and metal she loved as a teen. (On release day, she posted an old photo in front of a My Chemical Romance poster, with the caption, "this one's for everyone who had an emo phase.") 

The EP followed Illenium's self-titled album in April — which features several of the Denver producer's rock heroes — while the likes of Marshmello, Kayzo and Excision have also tried their hands at rock/dance collaborations. For DJ-producers who grew up on raw guitars and tear-the-house-down vocals, it's a natural next step. 

Of course, this mixing of worlds is not just a recent phenomenon. For decades, dance artists have remixed, borrowed from, and occasionally collaborated with their rock counterparts. From the punkish ferocity of the Prodigy's 1997 album The Fat of the Land to Justice's Slipknot-sampling "Genesis" ten years later, the examples are endless. 

In the decade since the EDM boom minted a new generation of superstars, crossover collaborations have increasingly positioned the dance artist in the lead. In honor of this phenomenon, we're head-banging our way through eight of the best. 

deadmau5 feat. Gerard Way — "Professional Griefers" (2012)

Back in 2012, as EDM was taking over America, deadmau5 was busy touring an early iteration of his eye-popping 'Cube' show and preparing to release his sixth studio album, > album title goes here <. Ahead of the LP, the producer born Joel Zimmerman released "Professional Griefers," a hard-charging dance-rock stomper featuring My Chemical Romance vocalist Gerard Way.

While fans had already heard an instrumental version of the track in deadmau5's live shows, Way's vampy vocals brought the rock swagger, even as the production remained resolutely electronic. To celebrate the release, the collaborators appeared as gamers piloting a UFC battle between two giant mau5-headed robots in what Zimmerman told SPIN was "one of the highest-budget electronic music videos of all time." And yes, it's as extra as it sounds. 

Steve Aoki feat. Fall Out Boy — "Back To Earth" (2014)

Steve Aoki is one of dance music's most voracious collaborators, teaming up with everyone from will.i.am to Louis Tomlinson to Backstreet Boys. He's also a punk rocker from way back, having jumped between hardcore bands as a singer and guitarist in his pre-fame life.

These passions have intersected throughout Aoki's DJ/producer career in his collaborations with Linkin Park and blink-182, as well as Rifoki, the straight-up hardcore band he formed with Sir Bob Cornelius Rifo of the Bloody Beetroots. 

In 2014, Aoki joined forces with pop-punk favorites Fall Out Boy on "Back To Earth," which featured on his collab-stacked album, Neon Future I. In an interview with Billboard, Aoki explained that the band worked on their live instrumentation in a separate studio before he added the dance elements, and the result was "one of my favorite rock collaborations." 

The Bloody Beetroots feat. Jason Butler — "Crash" (2017)

Like his friend and collaborator Steve Aoki, the Bloody Beetroots' masked leader Sir Bob Cornelius Rifo is a punk at heart. That raucous spirit was present on the breakout Aoki/Beetroots team-up, "Warp 1.9" (2009), then turned up to 11 in their aforementioned hardcore band, Rifoki.

In 2017, after a few years away from the limelight, Sir Rifo delivered the third Bloody Beetroots album, The Great Electronic Swindle, featuring guests like Jane's Addiction frontman Perry Farrell, GRAMMY-nominated singer-songwriter Greta Svabo Bech, and Australian rock band Jet. 

On "Crash," the Italian producer hooked up with post-hardcore singer Jason Butler, of Letlive and Fever 333, to make a heavy, distorted and shouty head-banger that honors both of their styles. In true punk fashion, it's over and out in just over two minutes. 

Kayzo & Underoath — "Wasted Space" (2018)

Few DJ-producers relish the opportunity to slam together dance music and rock quite like Houston-born Kayzo. For his 2019 album, Unleashed, the rising star secured some of his favorite metal, hardcore and pop-punk acts as guests, including Of Mice & Men, Boys of Fall, Blessthefall, and Alex Gaskarth of All Time Low.

One of the album's standouts, "Wasted Space," pairs Kayzo with Underoath, the Florida metalcore outfit who previously collaborated with Rezz on her 2019 release, "Falling." The collaboration is equal parts metal — with dueling vocalists Aaron Gillespie and Spencer Chamberlain at full-tilt — and shuddering bass drops built for an EDM main stage. 

Marshmello feat. A Day To Remember — "Rescue Me" (2019)

Perma-helmeted producer Marshmello has enjoyed a whirlwind decade, with a famously prolific output that includes several dance and pop hits. In 2019, he surprised fans by announcing a team-up with Florida four-piece A Day To Remember, whose metalcore meets pop-punk sound is a far cry from Marshmello's usual vibe.

Their collaboration, "Rescue Me," finds an easy middle ground between crunching rock guitars, frontman Jeremy McKinnon's impassioned vocals, and Marshmello's skittering trap-pop beats. In an interview with Kerrang! Radio, McKinnon recalled his surprise at how quickly Marshmello shared the chorus on socials, adding that he wishes rock artists could be as spontaneous. 

Illenium and All Time Low — "Back To You" (2023)

Hot on the heels of his first GRAMMY nomination in 2022, Denver-based phenom Illenium got back in the studio to make another album straight from the heart. The producer's self-titled fifth LP took inspiration from his teenage years listening to the likes of blink-182 and Linkin Park, while staying true to his own bass-heavy aesthetic.

Thanks to his stadium-filling stature, Illenium assembled a starry lineup of guests, including pop-punk royalty Avril Lavigne and Travis Barker on "Eyes Wide Shut" and metalcore band Motionless in White on "Nothing Ever After." Early fan favorite "Back To You" features the full force of pop-punkers All Time Low going up against Illenium's furious drops — and achieving perfect harmony. 

Excision, Wooli, and The Devil Wears Prada — "Reasons" (2023)

Fellow bass lovers Excision and Wooli are frequently paired, whether they're going back-to-back as DJs or co-producing EPs like 2019's Evolution and 2023's Titans. This time around, the collaborators decided to try something outside their comfort zone, calling up Ohioan metalcore band The Devil Wears Prada to bring their distinctive grit to "Reasons."

In contrast to more pop-leaning entries on this list, "Reasons" is unapologetically heavy from the halfway mark, morphing back-and-forth from metalcore theatrics to hard-hitting wubs. In a statement, The Devil Wears Prada described this team-up as "uncharted territory" for the band, and their gamble paid off. 

Rezz, Tim Henson, and Silverstein — "Dreamstate" (2023)

In a statement accompanying her new EP, It's Not A Phase, Rezz notes that she "grew up listening to bands exclusively, and over time developed an understanding of what it was about those songs that I loved." 

That innate grasp of rock dynamics is on full display throughout Rezz's most vocal-driven release to date, with guest turns from the likes of Alice Glass, Johnny Goth, and Raven Gray. On "Dreamstate," Rezz embraces her inner emo kid with the help of Canadian post-hardcore band Silverstein and metal guitar prodigy Tim Henson, undergirding her guests' contributions with dark, stabbing bass.

"I listened to a bunch of Silverstein growing up, so it felt nostalgic to me," Rezz told Front Row Live Ent., before admitting that it was "the hardest song I've ever mixed." The extra sweat resulted in a one-of-a-kind collaboration, proving once again that dance music and rock are a potent mix — one with plenty of fuel left in the tank.

Watch Backstage Interviews At Ultra Music Festival 2023: Carl Cox, Charlotte De Witte, Joel Corry, Subtronics & More