Mysteryland Named #1 Dance Music Festival in North America by THUMP; #2 Most Googled Festival in the US

Mysteryland Named #1 Dance Music Festival in North America by THUMP; #2 Most Googled Festival in the US

Mysteryland USA is closing out 2014 in style. As we gear up for the festival’s return to the sacred grounds of Woodstock ’69 in Bethel Woods, NY in May 2015, THUMP has named Mysteryland the #1 Dance Music Festival in all of North America—and for good reason:
“With its eye for tasteful details, bucolic surroundings, and something-for-everyone lineup, Mysteryland is easily one of the best festivals of the year.” Read the full write-up here.
The news comes right on the heels of another accolade for ML USA: the festival was the #2 most Googled music festival in the United States in 2014, second only to Coachella. This is no small feat given that 2014 marked the festival’s debut in America, and Fame House is incredibly proud to have been a part of the marketing team that launched the event this year. Congratulations to the entire Mysteryland USA team!
Check out our Holiday campaign for Mysteryland USA, the “12 Days of Mystery” here:


Beyond digital marketing experts, the Fame House staff is a group of music lovers – first and foremost. We’re fans ourselves, and as a company, we’re well invested in the growth and secure prosperity of electronic music culture. We’re privileged to be working with some of the most respected names in the scene, and it’s only fitting that we do our part to ensure we move the conversation forward of where this explosive scene is headed.

Fame House is an official partner with what is widely considered the “TED Talk” of electronic music, the International Music Summit. IMS is an educational, inspirational and motivational thought leadership platform dedicated to creating awareness of, and appreciation for, electronic music, the artistry related to DJing and all related popular art forms, primarily through the presentation of summits and events that celebrate the historic and ongoing contribution of the genre to art and culture worldwide. IMS hosts major events annually in Ibiza, Los Angeles and now Singapore. This alliance could not be more fitting for both sides, as the rise of electronic music in the U.S. – and now Asia – is directly correlated to the rise of digital.

IMS is a special client and partner to Fame House because not only are facilitating the conversation online through intense digital marketing initiatives, we’re involved in the conversation ourselves as electronic music fans and industry professionals. We’re proud to have taken part in the past two IMS Ibiza’s, been there to usher in the IMS Engage concept to American audiences in Los Angeles, and now have successfully helped launch the format into Asia for the inaugural IMS Asia-Pacific summit in Singapore. Read below for a recap of what took place in Singapore on December 11th.

 We look forward to many more of these to come and where this global electronic music culture is headed.

IMS Asia-Pacific – An Overview

IMS Asia-Pacific – An Overview


IMS ASIA-PACIFIC was IMS’s first ever event in the region – taking place at the beautiful W Singapore in Sentosa Cove.

Industry icons from nearly all countries across the region attended this one-day event held the same weekend as the legendary ZoukOut Festival. The day took in keynotes, one-to-one interviews, business reports about the value of the region, and the odd bit of explosive words from a certain promoter in Korea!

The day started with the first IMS Business Report for the region (available here in its entirety) estimating that its value is 1/6th of the global electronic music market at nearly $1 billion.



“A significant number of Asia-Pacific clubs rank in DJ Mag’s Top 100 Clubs and boast the largest, fastest-growing social media fans in the world,” said IMS Analyst Kevin Watson. “There are many large festivals across Asia-Pacific now, including Sunburn Goa, which is as big as Tomorrowland.”

India alone was of interest to Watson in this report: “If penetration in India reached just half the USA’s, it would be equivalent to 18 new festivals the size of Tomorrowland.”

Sandy Monteiro challenged the electronic music industry in Asia to address the concerns over drug deaths at its events or forfeit the huge potential of partnerships with brands in Asia.



“Asia is at a tipping point for an EDM explosion,” he said. “The genre is the driving beat behind pop music and product sales. The top five countries for Universal Music streams in the Asia-Pacific region are Korea, Thailand, Philippines, Indonesia, and Malaysia.”

Dr Gino Yu inspired the delegation with a talk about transformational music – deciphering fascinating cultural differences, which could be challenging for the genre’s growth.



“EDM is the contemporary incarnation of global transcendental connectedness through music,” he said. “However, EDM in the West is tied to drug culture, and there is a lack of local talent, infrastructure, and models. There exist some cultural challenges, but plenty of new opportunities too!”

Artists Nervo and Damian Lazarus sat with local artists from India, Thailand and Singapore.



“It’s important we don’t focus on booking strictly huge international artists in India because we have so much talent,” said Indian DJ Arjun Vagale. “That is critical if we are to build our own healthy scene.”

“25% of our performances have been in Asia the last four years,” the NERVO duo told audience members. “It’s only going to get bigger.”

The two later encouraged promoters to have their own local talent headline major festivals in order to secure support of regional fans to allow their own scenes to grow. Both Damian Lazarus and NERVO made a call for new electronic music with flavors unique to each region across Asia-Pacific, encouraging native producers and music makers to ensure their region truly has its own sound.

Gilbert Yeung, owner of Dragon-I and the Tazmania Ballroom in Hong Kong talked to Chris Ho of Lush Radio about his scene.



“Hong Kong is a friendly open market, but it’s getting competitive,” he said. “People have more choices; clubs must deliver higher quality.”

Promoters from global stature events from China, Hong Kong, South Korea, Singapore and Japan all discussed the huge growth they are experiencing. JC Ahn (International Director, VU ENT / Global Gathering / Life in Color, South Korea) challenged people for getting into the business for the wrong reasons with a torrent of harsh words.



“If you’re doing this for money, for greed, to be cool… you’re a dumbass,” he said. “You should not be in this scene if you’re not going to have the heart for it.”

With drug related deaths at dance music events being highlighted more and more by media, the panel decided to tackle the issue head on.

“The government in Hong Kong often addresses drug use though propaganda and not though education,” said Jason Swamy, promoter for Do What You Love / Robot Heart, Hong Kong.

Frank Cotela (Onelove Recordings / SFX Totem / Stereosonic, Australia) had words for promoters supporting local, regional talent: “If you’re a promoter, don’t be afraid to support your local artists. They’ll be making you your money in the long run.”



“We’ve reached a point where a good idea, even if it comes from the North Pole, it can go global overnight,” spoke Andrew Bull (Director, Shine Communications, Shanghai) on how digital will only continue to be a driving force in the growth and advancement of electronic music culture.

Steve Angello then talked with Pete Tong about his passions and experiences in Asia-Pacific.

“If you remain true to yourself, there will be opportunities out there for you,” he said on regional artists standing out and reaching a mass scale. Angello also expressed some frustration with the overall scene being complacent with music that isn’t pushing any creative boundaries.


“People have forgotten the essence of creating music,” he said. “We’re supposed to make music but if you don’t challenge yourself, what’s the point? Taking a risk in dance music today is not booking a pop artist. I think as a whole, we need to pause and think about our (scene’s) future plans.”

Richie Hawtin joined the debate about Get Played Get Paid hosted by the Association for Electronic Music – trying to ensure artist payments end up in the right hands.


“The more information we put out there, the more our scene can continue to grow and be independent,” he said.

And the godfather of dance music in Asia-Pacific, Lincoln Chen of Zouk, talked with Paul Oakenfold about his opening years in 1987, the influence of Ibiza on his club and he was honoured with the IMS Pioneer Award for his work in the region.



And then to the parties, where Pete Tong played for the first time with daughter Becky Tong, then NERVO closed out the event at W Singapore, followed by Paul Oakenfold performing at Attica with a surprise opening set by Steve Aoki.


An inspiring start to IMS’s first steps into the final frontier of global electronic music…