Electronic

Marsal Ventura has signed with Analog for worldwide representation, which feels right for a DJ who treats genres the way tapas treats food groups—grab a little of everything, don’t overthink it, and make sure it pairs well with something loud.

Ventura’s not new to this. He’s been building dancefloors and twisting expectations since long before techno flamenco was something people took seriously—or Googled to make sure it wasn’t a typo. Now, he’s clocking 255,000 monthly listeners on Spotify, with Spain lighting up the heatmap like it’s voting in Eurovision. Madrid, Barcelona, Valencia, Bilbao, Málaga—it’s less of a fanbase and more of a distributed rhythm section.

His latest remix, “Caballo Maldito,” blends techno kick drums with flamenco handclaps like it’s trying to out-seduce both Berlin and Seville at the same time. And somehow, it works. It’s not EDM. It’s not traditional. It’s… emotionally percussive. It’s what happens when you turn a Spanish horse chant into a club anthem.

Marsal’s played

Netsky has signed with Wasserman for worldwide representation—excluding North and South America—because when your fanbase spans five continents and your genre of choice moves at 174 BPM, you need an agency that can keep pace without asking for a translation.

The Belgian producer, known for wrapping drum and bass in melody and serotonin, currently pulls in nearly 2 million monthly Spotify listeners, with top cities like Brussels, London, Auckland, Prague, and Manchester—essentially a map of places where people still believe in dance music as therapy.

His latest release, “Out of Body” with fellow Belgian Andromedik, came via Payday Records and leans into what Netsky does best: high-energy euphoria that somehow still feels personal. It’s not just DnB—it’s DnB with feelings, bottled and filtered through synths that sound like sunrise and regret in equal parts.

If you’re just joining the story: Netsky (real name Boris Daenen) came up through Hospital Records, where his early 2010s output

Getter has signed with UTA for representation, which feels like the official next chapter for an artist who’s made a career out of doing everything a little bit sideways.

Still managed by ALL BUT 6, the producer/rapper/meme engine currently racks up over 465,000 monthly listeners on Spotify, with his top cities reading like a Bass Canyon field guide: Denver, Chicago, Los Angeles, Phoenix, and Dallas. If you’ve ever had your ribcage tested by subwoofers in any of those zip codes, odds are Getter was involved.

Born Tanner Petulla, Getter built his name in the early dubstep explosion—first as the guy your favorite DJ was sneaking into sets, then as a bona fide headliner with his own cult following. He released early bangers on Firepower Records, got the co-sign from Skrillex’s OWSLA, and somewhere

DVBBS has signed with Ace Agency for worldwide representation, because when your discography still causes spontaneous crowd surges and your drop catalogue doubles as cardio, it’s probably time to recalibrate the booking strategy.

Ace will represent the duo globally, with North America (U.S. and Canada) handled in collaboration with IAG (Independent Artist Group)—a smartly layered setup for a group that plays both global mega-festivals and highly curated cross-genre shows.

Still managed by STRVCTVRE, DVBBS first detonated onto the scene with “Tsunami”, the 2013 hit that became EDM’s unofficial natural disaster. The 2014 vocal version with Tinie Tempah went No. 1 on both the UK Singles and Dance charts, and the track hasn’t really stopped echoing through festival fields since.

But this isn’t just nostalgia. DVBBS has 12 platinum singles, including “IDWK”, “West Coast”, “Tinted Eyes”, and “Not Going Home”. They’ve found the sweet

Sunnery James & Ryan Marciano have signed with Anna Agency for representation across Europe, Asia, the Middle East, and Oceania, which is less of a “new era” move and more of a finely-tuned geographic shuffle. The duo stays with UTA for North America, because of course: when your tribal-house empire spans four continents, you need a multi-pronged booking strategy that’s as layered as your percussion tracks.

The Dutch DJ-producer pair first broke out with 2013’s “S.O.T.U” (with Nicky Romero), a Beatport Top 100 smash and a track title that still reads like EDM shorthand for world domination. Since then, they’ve served up peak-hour anthems like “Triton,” “Salute,” and “Come Follow,” cycling through Spinnin’ Records before staking out their own lane with SONO Music under the Armada Music umbrella—a label that doubles as a calling card for their distinctively percussive, Afro-house-inflected style.

This year alone, they’ve hit Tomorrowland Winter,

Dimitri Vegas & Like Mike have signed with Independent Artist Group for representation, which is probably less about a change in direction and more about updating the machinery behind one of dance music’s most persistent export operations.

The Belgian-Greek brothers have built their careers on scale: crowd sizes, BPMs, and enough pyrotechnics to register on climate maps. Ranked No. 1 on DJ Mag’s Top 100 list in both 2015 and 2019 (and reliably hovering around No. 2 in between), they’ve been EDM royalty for over a decade—and like most royalty, their empire runs on infrastructure. Smash The House, their label founded in 2010, still churns out festival bait with algorithmic precision.

Their catalog includes massive crossover moments like “Tremor” with Martin Garrix and “Higher Place” with Ne-Yo, but the real asset is their presence. Think Tomorrowland, Creamfields, EDC, UNTOLD, and Parookaville, plus a residency at Ushuaïa Ibiza that may as well come with equity. Their stage persona—part hype-man, part war general—has become synonymous

Belgian hard dance phenom MANDY has signed with Corson Agency for North American representation, a move that makes perfect sense if you’ve ever seen her set—and less sense if you’re trying to track BPMs below 150. She’ll continue to be repped by Platform Artist Agency in Belgium and managed globally by One World Artists, which is to say: the team is tight, and the sound is louder than your heartbeat.

MANDY blew in back in 2017 with “RaggaDrop,” a viral, rave-leaning banger that made hardstyle briefly feel like it could break through to the masses. It didn’t (entirely), but MANDY did—thanks to relentless touring, a cultish fanbase, and a string of releases that kept pushing the limits of what you can reasonably call “melodic.”

Since then, she’s turned the major festival circuit into her playground: Tomorrowland, Defqon.1,

Lincoln Jesser has signed with UTA for representation, a move that suggests the alt-pop-electronica shapeshifter is leveling up from bedroom beat-maker to main stage architect. He continues to be managed by Moodswing, the crew that’s been steering his genre-bending, synth-laced, emotionally vulnerable rocket since he first cracked open SoundCloud with sun-drenched heartbreak.

If you’ve been sleeping: Jesser is one of those artists whose Spotify metrics (currently over 269,000 monthly listeners) suggest he’s not just buzzing—he’s quietly embedding himself into playlists from Los Angeles to Sydney, with New York City, Chicago, and Melbourne rounding out the top cities. His latest release, Quema Quema via TH3RD BRAIN, blends Latin-tinged groove and Jesser’s signature moody pop aesthetic into something that sounds like the soundtrack to a night out you almost regret—but not quite.

A former touring member of Foster the People, Jesser’s got live chops too. He’s brought his set to tastemaker festivals like CRSSD and Splash House, and has opened for acts like