Special Report
IV Madrid: Innervisions Showed Us What the Future of Electronic Music Could Sound Like
An extraordinary night of music, synthesizers that seemed to twist the room itself, and darkness that occasionally went too far. Innervisions brought its sonic universe to Madrid and proved once again that it operates on another level.
Some events are about going out to listen to music. Others leave you feeling completely immersed in it. What we experienced at IV in Madrid was much closer to the latter.
Innervisions arrived in the Spanish capital with a musical offering that was difficult to fault. The selection throughout the night was simply outstanding. It is hard to recall a single track that felt out of place. Every set had its own personality, yet all of them shared the distinctive sonic identity the label has built over the years. Because Innervisions has something that cannot be achieved simply by putting big names on a lineup: a recognisable musical direction.
Darkness Was Also Part of the Experience
One of the most striking aspects of the night was the production. At certain moments, the darkness was almost absolute and, combined with the smoke, it became excessive. There were times when it was barely possible to make out what was happening around you. We understand the concept perfectly: eliminate distractions, reduce the visual element and allow the music to occupy the entire space. But perhaps this time, the idea was taken a little too far.
Musically, however, the result was hypnotic. Some of the synthesizers seemed to physically twist the room. Acid sounds, impossible textures and frequencies stretching and distorting through a sound system capable of revealing every last detail. At times, a single track was enough to transform the entire atmosphere. And that was the magic of it. Even when you could barely see the person standing next to you, it was impossible not to surrender to what was coming through the speakers.
Who Played the Best Set? A Difficult Question
Choosing one set over another becomes particularly difficult when the overall standard is this high. The B2B between Jimi Jules and Âme was a masterclass in musical judgement, moving through unexpected sounds without ever losing the thread of the dancefloor. But personally, if I had to pick one moment of the night, it would be Trikk and Dixon. There is something special about the way they build their sets, how they manage tension and make each new track arrive at precisely the right moment. They do not need obvious tricks to keep the crowd engaged. Everything unfolds in a much more organic way.
Special mention also goes to Julya Karma, who delivered an outstanding warm-up. A bold opening set that explored more experimental territories of electronic music, gradually building an atmosphere that fitted perfectly with what was to come. And that deserves recognition. A great warm-up is not about trying to steal the spotlight from the headliner; it is about knowing how to prepare the ground. Julya understood that perfectly.
The Music We Will Be Hearing in 2027… or Even 2028
One of the most interesting feelings we took away from Madrid was that we had been listening to music that did not quite belong to the present yet. Unknown tracks, productions that may take months to be released, and sounds that could end up shaping parts of the electronic music landscape in 2027 and even 2028. That is one of Innervisions' greatest strengths: it does not need to follow trends because, more often than not, it helps create them. We only hope some of those gems do not take as long to see the light of day as Whisper to Me. There were several moments when I even had to record the floor of the dancefloor just to preserve some evidence of the incredible music we were hearing.
What You Don't See from the Dancefloor
We also had the opportunity to observe part of IV's setup from backstage, and the scale of the production was impressive. Behind that dark, seemingly minimal universe lies a considerable technical and human operation. But what caught our attention was not just the infrastructure; it was the connection between the people working behind the scenes. There was a clear sense of trust, closeness and a shared understanding of what they were building. Something that, in its own way, is also reflected on the dancefloor. There was another detail we particularly appreciated. Through Instagram, we could see that the Innervisions circle is not solely focused on giving visibility to established names in the industry. There is also an interest in supporting and recognising emerging talent. And in a scene where it can sometimes feel as though everything revolves around the same artists, that kind of gesture matters.
A Dancefloor That Felt More Connected
The event took place at Lenovo Garage, a venue with a capacity of around 5,000 people that appeared to be operating at roughly half its full capacity on this occasion. We do not know whether that configuration was part of the original production plan or an adjustment based on expected attendance. Either way, it would be unfair to judge the success of a night solely by the number of people in the room. With attendance visually estimated at somewhere in the low thousands, the atmosphere ultimately worked. The crowd responded, and the music achieved what mattered most: bringing people fully into the experience.
BSTM LIVE is clearly making a strong commitment to quality electronic music. We recommend following its Instagram account to keep an eye on upcoming events. Both the production and the sound system were more than up to the task. It is also worth putting the night into context. We are living through a moment when hard techno dominates much of the media attention and many of the biggest events. The more melodic, hypnotic and experimental sides of electronic music do not always draw the same crowds. But perhaps that is part of their appeal. Not everything needs to be measured by the size of the venue or the number of tickets sold. Sometimes, what matters most is what happens musically inside the room.
Innervisions Is Still Looking Ahead
We left Madrid with the feeling that we had attended one of those nights that remind you why you fell in love with electronic music in the first place. There were areas for improvement, particularly the darkness, which at certain moments became uncomfortable. But it would be absurd to let that overshadow the true protagonist of the night. The music was outstanding, the artists demonstrated a sonic identity that is difficult to find elsewhere, and the production created an experience with a character of its own. Innervisions does not need to make more noise than anyone else to demonstrate its influence. It simply needs to select the right music, bring together the right artists and let everything else unfold. And if what we heard at IV Madrid is even a small indication of what lies ahead, we cannot wait to discover what 2027 will sound like.