The world's premier electronic music festival is about to strike in Miami. In the days and weeks leading up to these unforgettable three days, you can immerse yourself in body-moving, brain-electrifying, future-forward sounds.

Ultra Music Festival has revealed two lavish playlists, curated to match their Main Stage and Resistance Stage. The former will feature talent like Swedish House Mafia, Marshmello, Nicky Romero, David Guetta, and other greats.

Digging even deeper into the contemporary electronic scene is the Resistance Stage-themed playlist, System Breach, which spotlights house, techno, and underground sounds. Artists featured will include Carl Cox, Eric Prydz, Claude VonStroke, and many more.

Ultra Music Festival 2023 will take place on Mar. 24-26 in downtown Miami. Check out the two playlists below, check out the full lineup here and grab your tickets here — for what will undoubtedly be a world-beating experience for electronic music fans everywhere!

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Before last year, the closest French producer Madeon and Dutch DJ San Holo ever came to collaborating was touring together in 2016. But on Nov. 5, the two dance stars found themselves closing out the 2023 Vision & Colour Music Festival in Wuhan, China, together after a last-minute cancellation from the original headliner — and their unexpected set was so magical, they're bringing their chemistry to Miami's Ultra Music Festival just four months later.

Madeon and San Holo — whose birth names are Hugo Leclercq and Sander van Dijck, respectively — will play a back-to-back set as headliners of Ultra's intimate amphitheater-style Live Stage on March 23. Like their VAC performance, the joint Ultra set will offer hard electronic beats, live mash-ups and fan-favorite cuts from both of their catalogs, curated by each artist in an attempt to impress the other.

"I've noticed a trend in dance music where audiences are attracted to moments — things that feel spontaneous, like back-to-backs that you didn't expect, shows that are announced very late," Madeon tells GRAMMY.com. "There's something about 'You had to be there.' As a performer, I want us to feel that energy."

San Holo echoes, "This all came from spontaneity. As long as we keep that alive, people are going to have an amazing time." 

Ahead of their Ultra set, Madeon and San Holo caught up with GRAMMY.com to hear more about their serendipitous partnership  — and why it's not guaranteed to ever happen again.

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I'm excited that you're bringing this joint effort back. I was so intrigued when you did the set in China. 

Madeon: The way it came about is probably why it ended up being so special. We were both in China playing our respective shows for this festival, VAC. I played Good Faith Forever, Sander played a DJ set hybrid. We were about to fly back, but the headliner that was supposed to close the entire festival was sick. They had this big fireworks show already, a huge production, and then they didn't have an artist. 

They asked us about a back-to-back, and we were like, "Well, that sounds kind of fun." Basically, 24 hours before going on stage, we were like, "We're gonna headline this mega festival and create a whole new show from scratch," which was a little reckless. I think the sleep deprivation and the time zone change probably played a part. 

Sander and I met up in the hotel room and took some big swings. We made a whole new visual show with a black-and-white camera feed. I was on my laptop making visuals on the way to the stage. Sander and I decided to each have succeeding sections, like 15 minutes each. We did not show each other what we were going to play. We're trying to make sure we would impress each other, like a proper back and forth. 

San Holo: The complicated thing is that Madeon is actually on different equipment. He has his own crazy, secret setup that is insane. He's extremely flexible, and I'm on the CDJs [turntables]. It's like trying to get different machines to talk. We have to really pay attention when we transition from our sections, which was really exciting and challenging.

Madeon: For me, the best part is that when you start playing, I know you're gonna play for 10 minutes or so, which is long enough for me to just dance, have fun and get lost in it. Then after 10 minutes, I think, "Okay, where do I take this next?" It feels very celebratory, and most of what Sander played was music I had never heard before. I felt like it was in the audience partying with everybody whenever he dropped something cool, and hopefully vice versa. 

San Holo: Absolutely. That's a fun thing of back-to-backs. You're like, "What is this?" Normally I would go look at the CDJ, but now I had to look over to this laptop machine with your setup. I was like, "Where can I find the song title?"

Madeon: We were supposed to only play an hour or so, and when we were gearing up for the ending, the festival was like "Do you want to play longer?" We ended up playing an extra 40 minutes completely unprepared. It was very magical. 

We had this handheld camera. Whenever he was playing, I was filming him, then whenever I was playing he was filming me. We looked at the footage and saw the way that it looked, and it felt strong and different. It didn't feel like a typical Madeon show or a typical San Holo show. So it felt true to what it was, as far as this spontaneous idea. It was such a special moment, and so unexpected. We didn't know how fun it was gonna be. 

I'm really shocked to hear this happened so last minute. Listening to the set, it felt like you had put so much thought into mixing your styles.

San Holo: I was a little bit scared, to be honest — like, "Is this gonna work?" But that actually made it so fun.

Madeon: I think if it was earlier in my career I would have been more scared, but we both have enough experience to know we can figure it out as DJs. When I do my live show and I'm singing, it's all super rehearsed — and same for you Sander, right? But when I DJ, I don't like to prepare, because otherwise I'm bored. 

This felt doubly exciting. The risk factor is what makes it real. We were there, we took a risk, and there was this magical memory. 

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So you whipped together this wild concept and the wheels didn't fall off mid-set. Going into this Ultra set, is that now part of the parameters of this project? 

Madeon: We're implementing a little surprise in the show, and we're very excited about that. That one is more planned, but it's also spontaneous — you'll see. We want to make sure it's not exactly what we did in China. 

Sander is just going to tell me the opening and closing song of each of his sections, and then it's my job to find the connection between. It's like a puzzle I'm going to solve, but I'm not going to over-prepare.

San Holo: I've got to talk about your setup. I'm jealous of your setup, because it really allows you to be completely free with the key and the BPM tempo. You can just flip it in whatever way you want. 

Madeon: But I'm jealous of your setup, because CDJs are everywhere. It's so convenient. They feel great to use. 

San Holo: It's just harder with CDJs to actually pitch things. You can pitch up tracks, and it's the Ableton algorithm so it still sounds pretty good.

Madeon: That's true. Sander sent me a bunch of his acapella and melodies, and I pitched them to the right key, and then I could play them on the launch pad so I could do mashups live. That's not something you can easily do on CDJ.

San Holo: No. I am a bit more prepared. I want to play some tracks I found from some really small artists, for example. I want to put them in the set because I think this is amazing music. People have to hear this.

Madeon: Well, there's one thing you're gonna have to prepare for a lot, that secret moment. I trust your skill there. 

San Holo: The fact that it's scary is also why it's fun. People will feel that too, in the audience.

Madeon: I love going on stage and not knowing exactly how it's going to go. I feel like my favorite moment of the set is going to be something that I did not expect. Certain shows are very prepared. It feels like performing a recital, but like this feels like going to a party for me. We know we're going to run into cool people and hear cool music, and things are gonna happen that are memorable. 

And you're closing out the Live Stage, which is more intimate than the 200-foot Main Stage or the airport hanger-style Megastructure that hold crowds of thousands.

Madeon: I love that stage, the amphitheater — and we have the honor of headlining it, which we're really proud of. That stage is where you get the most control over the look and feel of your show. When you play the main stage, it's so massive, so it has to be a collaboration between who you are as an artist, and what Ultra is. That's awesome, too, but it's fun for us to do the live stage because we can control a bit more of the experience. 

Are you bringing back the black and white camera?

San Holo: I've got to give a lot of credit to Hugo. He has a huge vision regarding visuals. 

Madeon: You also had some great insight. It's cool we were both willing to do something different than our normal show. We want to make sure that, if people have seen our shows a lot of times before, they feel like this is a different, secret, rare experience.

San Holo: You gotta tell about the logo.

Madeon: When I make music, I have a lot of self-doubt and I can be really nervous and work on songs for years. But when it comes to visuals, I tend to be very radical, cutthroat and confident. I will take a thing and then really double down on it. 

When we first were trying to figure out the visuals, the natural idea was to use half of my visuals and half of Sander's, and this didn't feel right. So, I started making those black-and-white things, and one of the first things I made took Sander's logo and my logo and just overlapped them on top of each other to create this abstract shape. I thought it looked cool and had a good gut feeling about it.

San Holo: The first time I saw the logo I was like, "Wow. That's kind of crazy," but I really love and admire the cutthroat approach. That's easier for me in my music sometimes. 

Madeon: If we had used it just a little bit, it would look like a mistake, but if you just commit to it, like "No, this is it," then people trust you. It's all about confidently committing. In the photos, we ended up really liking how everything looked. Some people in China who were there even got that logo tattooed, so it's one of these things where you have to feel the moment, feel the energy in the air at a given time. Again, I think that's where dance music is at right now. It feels more spontaneous, like you react to the magic in the air, and then go with it. Chase that excitement. 

(L-R) Madeon and San Holo at the 2023 Vision & Colour Festival | Photo: Haley Lan

It fits the way you're approaching the music as well. It's the two of you together and you're giving each other space to exist. It's more than the sum of its parts.

Madeon: I think audience members, one of their favorite parts is being with their friends, and [when] there's a song they love, they look at each other and react. As a solo performer on stage, you don't have that, because you know what you're going to play. But because there's two of us, we get to surprise each other. 

That's why I don't want to know too much about what he's going to play. I know he's made some edits to some of my songs, and I'm going to sample some of his songs too, but I want to surprise each other. I think that magic and that excitement is going to make us DJ better.

To give each other that space requires a lot of trust. Where does that come from?

San Holo: We haven't worked alongside each other a lot. I was on the Porter and Madeon Shelter tour [in 2016], and that was a life-changing experience for me. It's not like we call each other every day. If anything, our friendship is starting to really grow as we're doing the music thing together. I know Hugo has been doing this for a long time, and we trust each other in our professionalism. I made a huge mistake on the China stage. I spun back the wrong CDJ at some point, but we know how to fix it. 

Madeon: Yeah, that's the magic. A few years into doing this, you grow this connection with the audience where they trust you and you trust them. Some of my favorite memories on stage have been things going wrong. At the end of the day, it's not about perfection. It's about memorable, beautiful, joyful moments, and once you trust that, and you know that in your heart, you'll always find the path back to something joyful. 

Is this a collaboration you might continue? Is it too early to say?

Madeon: We're looking at returning to China where this began to do it again. The spirit of it needs to be spontaneous and quick. There's no pressure in trying to build something, but you never know. We might have so much fun [at Ultra] that we want to do it a ton. It's more about what feels right. 

Ultra asking us to do this was unexpected. I thought it was gonna be one-and-done. We accidentally created something other festivals were interested in, and now we get to bring it to the United States exclusively at Ultra. 

You never know. It might be a lot of music, maybe a lot of shows, or not. But I would say that people at Ultra, if they want to see this, they should go — because there's no guarantee.

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Like any self-respecting star during the early 2000s, Tiësto offered up a tour DVD to the world. Released in August 2003, Another Day at the Office follows the DJ's world tour the previous year, which culminated in a New Year's Eve set at Times Square in New York. The film captures the 33-year-old on the ascent—popular enough to be flown around the world, but still able to circulate a US festival mostly incognito.

The footage captures Tiësto jumping between international flights and limos, signing t-shirts and flyers for fans and playing gigs with a bag of vinyl records and a binder of promo CDRs. "My life in general is pretty hectic," he says early in the film, framed against New York's icy East River. "On Christmas Day, I played in Ireland and London, then the day after I flew to Hong Kong, and then a day later I'm here in New York." As he lists this sleepless schedule, the smile on his face suggests he wouldn't have it any other way.

Tiësto's newly hectic life coincided with the arrival of his debut album, In My Memory. Released in April of 2001 on the Black Hole Recordings sub-label Magik Muzik, the album confirmed the hotshot trance DJ's clout as a producer. Featuring the anthemic trinity of "Flight 643," "Lethal Industry" and "Suburban Train," In My Memory cemented Tiësto as the biggest name in his genre. Confirming his new status, he went on to win DJ Mag's Top 100 DJs poll for three years running from 2002 to 2004. The album also marked a distinct phase in Tiësto's production career as the new trance wunderkind before his evolution to a more polished sound on 2004's Just Be.

The DJ born Tijs Verwest was never idle in the years leading up to In My Memory. Starting out in the early '90s in his native Netherlands under the hardcore and gabber aliases DJ Limited and Da Joker, he soon broke through as DJ Tiësto. His marathon sets around Europe covered the trance spectrum, from delicate and uplifting to dark and enveloping. Early in his production career, he formed partnerships with fellow Dutch producers Ferry Corsten, as Gouryella, and Benno de Goeij, as Kamaya Painters.

As his career accelerated in the late '90s, he founded Black Hole Recordings with Arny Bink, launched the Magik and In Search of Sunrise mix series and collaborated twice with trance newcomer Armin van Buuren as Alibi and Major League.

In the late '90s, Tiësto also became known as a prolific remixer for BT, Signum and Balearic Bill. However his true breakout came in 2000 with the "In Search Of Sunrise Remix" of Delirium's "Silence," featuring Canadian singer-songwriter Sarah McLachlan. Tiësto spent three weeks getting his version just right. "Everything has to be perfect or [McLachlan] doesn't approve," he told Canada's bpm:tv in 2001. After his take on "Silence" blew up, Tiësto put a pause on remixing to focus on his debut album.

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Tiësto worked on the tracks for In My Memory at the Black Hole Recordings studio in his hometown of Breda. "Lethal Industry" was already a mainstay of his sets in 1999, guaranteeing its spot on the tracklist. (Tiësto's other big tune of that year, "Sparkles," was featured in the Ibiza-set comedy movie, Kevin & Perry Go Large.)

While the album promised purist, club-ready trance, Tiësto set out to showcase different shades to his sound with the help of British vocalists Kirsten Hawkshaw, Nicola Hitchcock and Jan Johnston. The DJ then created the Magik Musik sub-label in 2001 as a home for the album, while also finding time to put out a pair of mix compilations, Magik Seven: Live In Los Angeles and the double-disc Revolution.

Tiësto structured In My Memory as a journey towards the sure-fire trio of "Flight 643," "Lethal Industry" and "Suburban Train." Album opener "Magik Journey" expands on the classical work of Tiësto's collaborator Geert Huinink, with swelling strings and ghostly vocals driving to an explosive conclusion. The same drawn-out energy returns on "Obsession," a collaboration with Dutch producer Junkie XL, now best known for scoring Hollywood blockbusters like Mad Max: Fury Road and Deadpool.

Working together in Junkie XL's underground cellar in Amsterdam, the pair produced the ideal nine-minute track for an all-night Tiësto set. (On his YouTube channel, Junkie XL recalled taking the "obsession" soundbite from a Calvin Klein ad on TV: "The beautiful thing about the [year] 2000 is you'd get away with things you'd never get away with now.")

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Not all the tracks on In My Memory floored the accelerator. The warm pads of "Close To You," featuring seasoned trance vocalist Jan Johnston, evokes a hazy Ibiza sunrise, while the instrumental "Dallas 4PM" finds Tiësto in expansive progressive trance mode. Title track "In My Memory" features Nicola Hitchcock's brittle vocals over a radiant melody, while the trip-hop-influenced "Battleship Grey," featuring Kirsty Hawkshaw, is the album's most surprising deviation.

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The album saves its biggest hitters for last. "Flight 643", named after the non-stop service between Amsterdam and New York, is built around an unmistakable synth stab that never lets up. Following the propulsive tech-trance of "Lethal Industry," the album closes with "Suburban Train," which builds steadily over ten minutes to all-out euphoria.

The composition draws heavily on "Re-Form," a 2000 track by Dutch producer Kid Vicious (that Tiësto also remixed). While "Suburban Train" became a staple of Tiësto's sets for years to come, he occasionally reached for the vocal version featuring Kirsty Hawkshaw, "Urban Train."

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In My Memory ensured Tiësto rarely slept in his own bed. In addition to his residency for Cream at Amnesia in Ibiza, he ticked off early editions of Ultra Music Festival and Coachella in 2002. That summer, Moby booked Tiësto for his Area2 festival tour of the US, which features prominently in Another Day at the Office. With trance at the peak of its popularity in 2003 (led largely by Dutch talent), Tiësto drew 25,000 fans to the Gelredome in The Netherlands for an eight-hour set captured on the Tiësto In Concert DVD.

Despite his good fortunes, Tiësto was wary of being labeled as just a trance guy. "I am definitely a trance DJ, but I try to bring people into trance," he said backstage at the Global Gathering festival in 2002. "I think of it as a journey, and in that journey, I visit the warm and harder stuff, and different kinds of music."

In his 2001 interview with bpm.tv, he shrugged off the suggestion that he was moving to a more progressive style. "I got a little bit bored about all the same epic stuff that's coming out," he reasoned. "I just like to play music from the heart, that has some sensitive elements and some powerful energy."

That wariness of being pigeonholed informed Tiësto's vocal-heavy but still trance-focused 2007 album, Elements Of Life, which earned his first nomination for Best Electronic/Dance Album at the GRAMMYs. In 2009, his new label Musical Freedom and electro-pop album Kaleidoscope clearly signaled a new era.

As the EDM boom took over the US in the early 2010s, Tiësto's sets moved towards big-room electro-house, which in turn attracted a new audience. "I think some of the old trance guys still have their following, but it doesn't feel like anyone really cares," he told DJ Mag plainly in 2014. While the occasional trance classic still turns up in his sets, the sound of In My Memory is firmly in Tiësto's past.

In Another Day at the Office, Tiësto describes the pay-off for his punishing work hours. "I love what I do," he says simply. "It's still my hobby. When I DJ, I love it." Two decades later, after thousands of shows and a few musical evolutions, the hobby is still paying off.

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Like the spread of the virus itself, the growing fear surrounding the coronavirus outbreak has quickly escalated on a global scale over the past three months. Its impact on international industries and business is far and wide: Airlines, pharmaceutical conglomerates, big tech companies, gaming businesses and tourism industries are currently experiencing or bracing for the economical effects resulting from the novel coronavirus. It was only a matter of time until the furor reached the music industry. 

This week, the coronavirus sparked several major blows to the international live music industry. On the same day, Friday, March 6, both Ultra Music Festival (UMF), the Miami-based EDM mega-festival, and SXSW, the annual multi-day music, film, interactive media and tech festival and conference in Austin, Texas, canceled their 2020 editions due to concerns over the coronavirus. (Miami's Calle Ocho Festival, a one-day street festival and cultural event part of Carnaval Miami, was also canceled as part of the UMF announcement.)

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In the same week that UMF and SXSW were canceled, Tomorrowland Winter in France, an offshoot event of Belgium's globally attended annual Tomorrowland EDM festival, and Ultra Abu Dhabi, UMF's event in the Middle East, were both called off. 

The UMF and SXSW developments come on the heels of bubbling fears and recent cancellations and postponements of international music tours and prominent cultural events around the world since this January due to the coronavirus, including cancellations from major artists like BTS, Mariah Carey, Green Day, Stormzy, Khalid, The National and many others. 

The news marks the first-ever cancellations for both SXSW and UMF, which were each scheduled to take place this month. It's an unprecedented development triggered by an equally unheard-of event with potentially unknown ramifications on an industry-wide level. 

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The SXSW cancellation alone has already impacted Austin's local food, live music and hotel industries, with its ripple effect causing similar consequences on the city's businesses, communities and grassroots music scene. While local businesses and governments and city leaders are banding together to help alleviate the aftermath, launching funds, initiatives and fundraisers, the music industry is now scrambling for real-time responses and preemptive solutions as it heads into the 2020 festival season. 

Currently, there is lots of talk in the music industry surrounding event cancellation insurance as the coronavirus outbreak continues to impact large-scale events around the world. Generally speaking, infectious diseases are not covered in cancellation insurance policies, but rather come at an extra added premium. Still, many such insurance polices may exempt the novel coronavirus, according to Billboard. For example, while SXSW had insurance policies covering several types of events and scenarios, the festival did not have "cancellation insurance relating to a disease outbreak or triggered by the city declaring a 'local state of disaster,'" according to a report from The Austin Chronicle.

Consequently, many are putting the onus of event safety during the coronavirus era in the hands of event promoters and festival producers. "Concert promoters might need to come up with some kind of new model for this period," Carnegie Mellon University professor George Loewenstein told Billboard. "It feels to me like we're at the beginning." University of Massachusetts-Lowell bioethicist Nicholas Evans adds, "If there's a Los Angeles Times story that says 'Coachella becomes a hotbed for coronavirus,' I don't think it's going to be the company that serves drinks at the bar that's going to be taking the hit for that one. It's going to be the festival organizer." 

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The effects of the coronavirus on the music industry go beyond the live music sphere, with many music and entertainment companies taking stock market hits as early as February. Warner Music Group, which last month (Feb. 6) announced it was going public, delayed its initial public offering (IPO) "due to market turbulence caused by fears surrounding the spread of the coronavirus," according to Music Business Worldwide. Frankfurt Musikmesse, a major gear show and trade fair in Europe, postponed its 2020 edition, originally scheduled for April, due to coronavirus.

In the fallout of the SXSW and UMF cancellations, novel practices are starting to emerge across the live music and event industries. Many tech conferences and industry trade shows are taking their events and exhibitions virtual and online-only. In the music space, large-scale events are implementing advanced medical technologies and additional health measures such as “fever screening," a process by which festival and event attendees are screened for "exposure risks" via thermal-imaging cameras, as reported by Rolling Stone.

Read: Coachella Co-Founder Paul Tollett Talks Kanye, Safety, Legacy & More

Still, with the 2020 festival season on the horizon, questions, fears and concerns surrounding the global coronavirus outbreak continue to loom in the music industry. Days after the SXSW news, forecasts of future festival cancellations remain a hot topic. "I wouldn’t doubt over the next 20 days if we see a festival a day canceled,” Vans Warped Tour founder Kevin Lyman told Billboard in an interview prior to the SXSW and UMF cancellations. 

At the time of this writing, both Coachella and Stagecoach, the flagship festivals from music events and festival producer Goldenvoice, have not been canceled. Meanwhile, Riverside County, where both fêtes take place, today (March 8) declared a public health emergency after it confirmed its first coronavirus case.

As the coronavirus continues to spread, many are left wondering if those festivals, along with several major events around the world, will see their fates cut short during this festival season.

For more information and developments related to the coronavirus, visit the World Health Organization for ongoing news and updates.

Ultra Music Festival (UMF), the multi-day electronic music festival, has announced the initial lineup for its 2020 iteration. The festival, celebrating its 22nd edition next year, will include live performances from headliners Gesaffelstein plus GRAMMY winners Flume, who’s making his UMF debut as a live headliner, and Zedd, the latter of whom will present his LED-backed stage structure, The Orbit. UMF, taking place March 20–22, 2020, returns to Miami's Bayfront Park, its longtime home, following a brief relocation to Virginia Key earlier this year.

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Major Lazer, the cross-genre project from GRAMMY-winning super-producer Diplo, also joins the lineup, bringing its electrified takes on Latin pop, dancehall and reggae to the festival stage. Other announced UMF headliners include trance giants Above & Beyond, DJ Snake, Martin Garrix and many others. Australian house/tech-house artist, and 2018 GRAMMY nominee, FISHER and Belgian techno producer Amelie Lens, both breakout stars in their respective genres, will make their UMF festival debuts next March.

Read: Inside Ultra Music Festival's Record-Breaking 20th Anniversary

UMF 2020 will also feature a handful of debut back-to-back (b2b) performances, including techno icon Adam Beyer b2b Cirez D, the techno alias of GRAMMY nominee Eric Prydz, as well as SLANDER b2b Kayzo and Jauz b2b NGHTMRE, among many others.

U.K. electronic icon Carl Cox, who's curated his own stage at UMF since 2005, will once again revive the fan-favorite RESISTANCE Megastructure stage, which next year expands across the festival’s three days for the first time ever at Bayfront Park.

Watch: Carl Cox Plots Electronic/Dance Music's Evolution

Trance legend Armin van Buuren also returns to UMF with his A State of Trance stage, which will celebrate a decade as a dedicated space at the festival next year. Bass heavyweights NGHTMRE and SLANDER will debut their Gud Vibrations stage takeover, named after their collaborative event series and record label, at the UMF Radio stage.

View the full UMF 2020 lineup on the official festival website. Tickets for UMF 2020 are on sale now.

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