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Early examples of electronic dance music include Jamaican
dub music in the 1960s,
disco music of
Giorgio Moroder in the late 1970s, and the
electronic music of
Yellow Magic Orchestra in the late 1970s.
Author Michael Veal considers
dub music, a
Jamaican music stemming from
roots reggae and
sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music.
 Dub productions were
remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures.
 The music was pioneered by studio engineers, such as Sylvan Morris,
Lee "Scratch" Perry, and
 Their experiments included forms of
tape-based composition that Veal considers comparable to
musique concrète, with its emphasis on repetitive rhythmic structures being comparable to
minimalism. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio
mixing board as a performance instrument. They also foregrounded spatial effects such as
delay by using
auxiliary send routings creatively.
Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge.
Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired
ambient electronics, complete with drop-outs, echo, equalization and
psychedelic electronic effects. It featured layering techniques and incorporated elements of
world music, deep
bass lines and harmonic sounds.
 Techniques such as a long echo delay were also used.
Hip hop music has played a key role in the development of electronic dance music since the 1970s. Inspired by Jamaican sound system culture
Kool Herc introduced large bass heavy speaker rigs to the
 His parties are credited with having kick-started the
New York hip-hop movement in 1973.
 A technique developed by DJ Kool Herc that became popular in
hip hop culture was playing two copies of the same record on two turntables, in alternation, and at the point where a track featured a
break. This technique was further used to manually
loop a purely
percussive break, leading to what was later called a
 In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and
virtuosic use developed into a creative practice called turntablism.
George McCrae's early
disco hit "
Rock Your Baby" was one of the first records to use a
 an early
Roland rhythm machine.
 Its use of a drum machine was anticipated by
Sly and the Family Stone's "
Family Affair" (1971), which anticipated the sound of disco, with its rhythm echoed in "Rock Your Baby".
 The use of drum machines in "Family Affair"
Timmy Thomas' "
Why Can't We Live Together" (1972),
 which used a 1972 Roland rhythm machine,
 influenced the adoption of drum machines by later disco artists.
 Disco producer
synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976),
 "Soul Coaxing" (1977),
 and Eastern Man and Futuristic Journey
 (recorded from 1976 to 1977).
Love and Kisses, Munich Machine, and American acts
Donna Summer and the
Village People were acts that defined the late 1970s Euro disco sound. In 1977,
Giorgio Moroder and
Pete Bellotte produced "
I Feel Love" for Donna Summer. It became the first well-known disco hit to have a completely synthesised backing track. Other disco producers, most famously American producer
Tom Moulton, grabbed ideas and techniques from
dub music (which came with the increased
Jamaican migration to New York City in the seventies) to provide alternatives to the four on the floor style that dominated.
 During the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels and producers. Euro disco continued evolving within the broad mainstream pop music scene.
The early 1980s also saw the emergence of an electronic
South Asian disco scene in
Pakistan, popularized by Biddu,
R.D. Burman, and
 A notable experimental record to emerge from the Indian disco scene was
Synthesizing: Ten Ragas to a Disco Beat (1982), which anticipated the sound of
house music, years before the genre arose in the
Chicago house scene of the late 1980s.
During the post-disco era that followed the backlash against "disco" which began in the mid to late 1979, which in the United States lead to civil unrest and a riot in
Chicago known as the
Disco Demolition Night,
 an underground movement of "stripped-down" disco inspired music featuring "radically different sounds"
 started to emerge on the
[Note 1] This new scene was seen primarily in the New York metropolitan area and was initially led by the
urban contemporary artists that were responding to the over-commercialisation and subsequent demise of disco culture. The sound that emerged originated from
 the electronic side of
dub music, and other genres. Much of the music produced during this time was, like disco, catering to a
 At this time creative control started shifting to independent record companies, less established producers, and club DJs.
 Other dance styles that began to become popular during the post-disco era include
In the early 1980s, electro emerged as a fusion of
boogie. Also called electro-funk or electro-boogie, but later shortened to electro, cited pioneers include
 Early hip hop and rap combined with German and Japanese
electropop influences such as
Yellow Magic Orchestra inspired the birth of electro.
 As the electronic sound developed, instruments such as the
bass guitar and
drums were replaced by
synthesizers and most notably by iconic
drum machines, particularly the
Roland TR-808. Early uses of the TR-808 include several
Yellow Magic Orchestra tracks in 1980-1981, the 1982 track "
Planet Rock" by
Afrikaa Bambaataa, and the 1982 song "
Sexual Healing" by
 In 1982, producer
Arthur Baker with
Afrika Bambaataa released the seminal "
Planet Rock", which was influenced by Yellow Magic Orchestra, used Kraftwerk samples, and had drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, "
Warp 9. In 1983,
Hashim created an electro-funk sound with "Al-Naafyish (The Soul)"
 that influenced
Herbie Hancock, resulting in his hit single "
Rockit" the same year. The early 1980s were electro's mainstream peak.
In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older
disco records (mostly
Philly disco and
electro funk tracks by artists such as
hip hop music by
Arthur Baker, and
John Robie, and
electronic pop music by
Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ
Jesse Saunders and co-written by
Vince Lawrence, had elements that became staples of the early house sound, such as the
bass synthesizer and minimal vocals as well as a
drum machine and
"On and On" is sometimes cited as the 'first house record',
 though other examples from around that time, such as
J.M. Silk's "
Music is the Key" (1985), have also been cited.
 House music quickly spread to other American cities such as Detroit, New York City, and Newark—all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia.
 Chicago House experienced some commercial success in Europe with releases such as "House Nation" by House Master Boyz and the Rude Boy of House (1987). Following this, a number House inspired c releases such as "
Pump Up The Volume" by
MARRS (1987), "
Theme from S'Express" by
S'Express (1988), and "
Doctorin' the House" by
Coldcut (1988) entered the pop charts.
Techno, acid house, rave
In the mid 80s house music thrived on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old vinyl rock, pop, reggae, and disco records paired with an “anything goes” attitude made Ibiza a hub of drug-induced musical experimentation.
 The scene was mainly centered around a club called Amnesia where its resident DJ,
Alfredo Fiorito, pioneered
 Amnesia became known across Europe and by the mid to late 1980s it was drawing people from all over the continent.
By 1988, house music had become the most popular form of club music in Europe, with
acid house developing as a notable trend in the UK and Germany in the same year.
 In the UK an established warehouse party
subculture, centered on the
sound system scene fueled underground after-parties that featured dance music exclusively. Also in 1988, the
Balearic party vibe associated with Ibiza's DJ Alfredo was transported to London, when
Danny Rampling and
Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both places became synonymous with acid house, and it was during this period that
MDMA gained prominence as a party drug. Other important UK clubs included Back to Basics in
Leeds, Sheffield's Leadmill and Music Factory, and
The Haçienda in Manchester, where Mike Pickering and Graeme Park's spot, Nude, was an important proving ground for American
underground dance music.
 The success of house and acid house paved the way for
Detroit Techno, a style that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later.
 The term Techno first came into use after a release of a 10 Records/Virgin Records compilation titled Techno: The Dance Sound of Detroit in 1988.
One of the first Detroit productions to receive wider attention was Derrick May's "
Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987-1988
house music boom (see
Second Summer of Love).
 It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."
 According to British DJ
Mark Moore, "Strings of Life" led London club goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the
Mudd Club and clear the floor".
[Note 2] By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 10,000 people at a time were attending commercially organised underground parties called raves.
Breakbeat hardcore, jungle, drum & bass
By the early 1990s, a style of music developed within the rave scene that had an identity distinct from American house and techno. This music, much like
hip-hop before it, combined sampled
syncopated beats or break beats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. Relative to earlier styles of dance music such as house and techno, so called 'rave music' tended to emphasise bass sounds and use faster tempos, or
beats per minute (BPM). This subgenre was known as "hardcore" rave, but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle
techno", a genre influenced by
Jack Smooth and Basement Records, and later just "jungle", which became recognized as a separate musical genre popular at raves and on
pirate radio in
Britain. It is important to note when discussing the history of drum & bass that prior to jungle, rave music was getting faster and more experimental.
By 1994, jungle had begun to gain mainstream popularity and fans of the music (often referred to as
junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the
MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.
Popularization in the United States
Initially, electronic dance music was associated with European rave and club culture. It achieved limited popular exposure in America but by the mid-to-late 1990s efforts were underway to market a range of dance genres using the label "
 At the time, a wave of electronic music bands from the UK, including
The Chemical Brothers,
Fatboy Slim and
Underworld, had been prematurely associated with an "American electronica revolution".
 But rather than finding mainstream success, many established EDM acts were relegated to the margins of the US
 In 1998
Ray of Light brought the genre to the attention of popular music listeners.
 In the late 1990s, despite US media interest in dance music re-branded as electronica, American house and techno producers continued to travel abroad to establish their careers as DJs and producers.
By the mid 2000s Dutch producer
Tiësto was bringing worldwide popular attention to EDM after providing a soundtrack to the entry of athletes during the opening ceremony of the
2004 Summer Olympics — an event which
The Guardian deemed as one of the 50 most important events in dance music.
 By 2005, the prominence of dance music in North American popular culture had markedly increased. According to
Daft Punk's performance at
Coachella in 2006 was the "tipping point" for EDM—it introduced the duo to a new generation of "rock kids".
 As noted by
Justin Timberlake's "
SexyBack" helped introduce EDM sounds to
top 40 radio, as it brought together variations of electronic dance music with the singer’s R&B sounds.
 In 2009,
French house musician
David Guetta began to gain prominence in mainstream
pop music thanks to several
crossover hits on
Top 40 charts such as "
When Love Takes Over" with
 as well as his collaborations with US pop and
hip hop acts such as
Sexy Bitch") and
The Black Eyed Peas ("
I Gotta Feeling").
SoundCloud helped fuel interest in EDM, as well as
electro house and
Skrillex popularized a harsher sound nicknamed "
brostep", or dubstep.
The increased popularity of EDM was also influenced by live events and gigs.
Promoters and venues realized that DJs could generate larger profits than traditional musicians;
Diplo explained that "a band plays [for] 45 minutes; DJs can play for four hours. Rock bands—there's a few headliner dudes that can play 3,000-4,000-capacity venues, but DJs play the same venues, they turn the crowd over two times, people buy drinks all night long at higher prices—it's a win-win."
 Electronic music festivals notably the
Electric Daisy Carnival (EDC) and
Ultra Music Festival also grew in size, placing an increased emphasis on visual experiences, and the DJs themselves, who began to attain a celebrity status.
 Other major acts that gained prominence including
Swedish House Mafia held concert tours at
arenas rather than nightclubs; in December 2011, Swedish House Mafia became the first electronic music act to sell out
New York City's
Madison Square Garden.
In 2011, Spin declared a "new rave generation" led by acts like David Guetta,
 In January 2013,
Billboard introduced a new EDM-focused
Dance/Electronic Songs chart, tracking the top 50 electronic songs based on sales, radio airplay, club play, and online
 According to Eventbrite, EDM fans are more likely to use social media to discover and share events or gigs. They also discovered that 78% of fans say they are more likely to attend an event if their peers do, compared to 43% of fans in general. EDM has many young and social fans.
 By late 2011,
Music Trades was describing electronic dance music as the fastest-growing genre in the world.
 Elements of electronic music also became increasingly prominent in
 Radio and television also contributed to dance music's mainstream acceptance.
US corporate interest
consolidation in the EDM industry began in 2012—especially in terms of live events. In June 2012, media executive
Robert F. X. Sillerman—founder of what is now
SFX Entertainment as an EDM conglomerate, and announced his plan to invest $1 billion to acquire EDM businesses. His acquisitions included regional promoters and festivals (including
ID&T, which organises
Tomorrowland), two nightclub operators in
online music store which focuses on electronic music.
 Live Nation also acquired
Cream Holdings and
Hard Events, and announced a "creative partnership" with EDC organizers
Insomniac Events in 2013 that would allow it to access its resources whilst remaining an independent company;
 Live Nation CEO Michael Rapino described EDM as the "[new]
rock 'n' roll".
iHeartMedia, Inc. (formerly Clear Channel Media and Entertainment) also made efforts to align itself with EDM. In January 2014 It hired noted British DJ and
BBC Radio 1 personality
Pete Tong to produce programming for its "Evolution"
dance radio brand,
 and announced a partnership with SFX to co-produce live concerts and EDM-oriented original programming for its
top 40 radio stations. iHeartMedia president John Sykes explained that he wanted his company's properties to be the "best destination [for EDM]".
Major brands have also used the EDM phenomena as a means of targeting
 and EDM songs and artists have increasingly been featured in television commercials and programs.
 Avicii's manager Ash Pournouri compared these practices to the commercialization of
hip-hop in the early 2000s.
Heineken has a marketing relationship with the Ultra Music Festival, and has incorporated Dutch producers
Armin van Buuren and Tiësto into its ad campaigns.
Anheuser-Busch has a similar relationship as beer sponsor of
SFX Entertainment events.
 In 2014,
7 Up launched "7x7Up"—a multi-platform campaign centered around EDM that includes digital content, advertising featuring producers, and branded stages at both Ultra and Electric Daisy Carnival.
 Wireless carrier
T-Mobile US entered into an agreement with SFX to become the official wireless sponsor of its events, and partnered with
Above & Beyond to sponsor its 2015 tour.
In August 2015, SFX began to experience declines in its value,
 and a failed bid by CEO Sillerman to take the company private. The company began looking into strategic alternatives that could have resulted in the sale of the company.
 In October 2015,
Forbes declared the possibility of an EDM "
bubble", in the wake of the declines at SFX Entertainment, slowing growth in revenue, the increasing costs of organizing festivals and booking talent, as well as an oversaturation of festivals in the eastern and western United States. Insomniac CEO Pasquale Rotella felt that the industry would weather the financial uncertainty of the overall market by focusing on "innovation" and entering into new markets.
 Despite forecasts that interest in popular EDM would wane, in 2015 it was estimated to be a £5.5bn industry in the US, up by 60% compared to 2012 estimates.
SFX emerged from bankruptcy in December 2016 as
LiveStyle, under the leadership of Randy Phillips, a former executive of
In May 2015, the
International Music Summit's Business Report estimated that the global electronic music industry had reached nearly $6.9 billion in value; the count included music sales, events revenue (including nightclubs and festivals), the sale of DJ equipment and software, and other sources of revenue. The report also identified several emerging markets for electronic dance music, including
South Africa, credited primarily to investment by domestic, as well as American and European interests. A number of major festivals also began expanding into
China is a market where EDM had initially made relatively few inroads; although promoters believed that the mostly instrumental music would remove a metaphorical
language barrier, the growth of EDM in China was hampered by the lack of a prominent rave culture in the country as in other regions, as well as the popularity of domestic
Chinese pop over foreign artists. Former Universal Music executive Eric Zho, inspired by the US growth, made the first significant investments in electronic music in China, including the organisation of
Shanghai's inaugural Storm festival in 2013, the reaching of a
deal for the festival with Anheuser-Busch's Budweiser brand, a local talent search, and organising collaborations between EDM producers and Chinese singers, such as
Wang Leehom's "Lose Myself". In the years following, a larger number of EDM events began to appear in China, and Storm itself was also preceded by a larger number of pre-parties in 2014 than its inaugural year. A new report released during the inaugural International Music Summit China in October 2015 revealed that the Chinese EDM industry was experiencing modest gains, citing the larger number of events (including new major festival brands such as Modern Sky and YinYang), a 6% increase in the sales of electronic music in the country, and the significant size of the overall market. Zho also believed that the country's "hands-on" political climate, as well as investments by China into cultural events, helped in "encouraging" the growth of EDM in the country.