Dekmantel 2025 confirms its relevance in curating electronic music Amsterdam festival remains a meeting place for underground legends and new promises

After eleven years, Dekmantel remains one of those rare stages on which every artist tied to the underground electronic scene dreams of performing, and where established names also wish to return. Its strength lies not in size or spectacle, but in consistency, vision, and a deep cultural credibility. Dekmantel continues to be a benchmark for quality, artistic freedom, and the ability to explore the boundaries of sound, year after year. The eleventh edition of the festival took place in Amsterdam from Wednesday, July 30 to Sunday, August 3. Over five days, it reaffirmed its unique role as a global crossroads for electronic music. Dekmantel is much more than a festival: it is an ecosystem, powered by its own label Dekmantel Records, a clothing line, a program of conferences and educational activities. Since 2014, its curatorial choices have built a space where more than 150 artists can coexist, placing historical pioneers side by side with voices that are redefining the sound of the future.

Thursday was dedicated to the Dekmantel Aan Het IJ program, with concerts spread across venues like Muziekgebouw, Bimhuis, EYE, Shelter, and Parallel. The lineup brought together giants like Jeff Mills, The Orb, and Leftfield with new wave figures such as Erika De Casier and Sega Bodega, who strongly represent the language of contemporary music. On Friday, the festival moved to its true home: the Amsterdamse Bos. For many Dutch attendees, cycling to the forest is a well-established tradition, but for those coming from elsewhere, it becomes an integral part of the experience. Groups of people on bicycles, silently crossing paths along the tree-lined road, create a unique, almost ritualistic atmosphere of anticipation. Seven stages set in the forest shaped distinct sonic and visual worlds. Performances by Honey Dijon, Four Tet, Avalon Emerson, and Richie Hawtin formed the backbone of the weekend. Hawtin, in particular, made his Dekmantel debut on Sunday, presenting an updated version of his audiovisual show DEX EFX X0X, which reinterprets his works from the 1995–2005 period in a modern key.

Among the most interesting novelties this year was the presence of the Sunflower Soundsystem on the Greenhouse stage: an innovative eight-channel audio system designed by Floating Points. Right there, Friday opened with an impressive 10-hour back-to-back marathon between Floating Points and Palms Trax, an unclassifiable sonic journey, full of cross-vibrations and constant shifts in atmosphere. The same stage later hosted the encounter between dBridge and Donato Dozzy, a deep and unpredictable dialogue of rhythms and textures. Closing the Greenhouse on Sunday were two festival veterans, Kamma & Masalo, with a vibrant, sunny set capable of capturing the very essence of the festival. Alongside the more well-known names, a few key performances emerged that best embodied the avant-garde spirit of the edition. On Friday, CCL closed The Nest stage with a deep set built with great sensitivity—an emotional journey made of nuance and musical storytelling. On Saturday, Kia took over UFO II, bringing a personal and sophisticated vision of experimental techno. The set was as elaborate as it was cohesive. That same evening, Verraco closed The Nest with explosive energy, confirming his reputation as one of the most interesting producers of the moment.

Sunday delivered one of the most intense moments of the festival, with the back-to-back between Djrum and Objekt: impeccable technique and emotional depth fused into a unique experience. Djrum’s use of three turntables and Objekt’s surgical precision gave life to a mix of breakbeat, techno, and cinematic environments, perfect for closing the festival with a memorable moment. Dekmantel continues to lead the way in electronic music not only thanks to the presence of established artists, but also through its concrete support for new talent, both via the label and by offering real space on its stages. Each edition is not only a reflection of the present but a projection into the future. Dekmantel manages every year to capture the current state of electronic music while also charting the sound to come.