10 triumphant years: Dekmantel's biggest ever festival is still a tight-knit community of electronic music obsessives

Since 2013, Dekmantel has firmly established itself as a cornerstone of Europe’s festival circuit. Celebrating its 10th anniversary this year, the acclaimed festival continues to push boundaries with its innovative multi-venue programming, evolving stage designs, and an idyllic setting in the heart of the Amsterdamse Bos, a large woodland park on the outskirts of the Dutch capital.

What began as a modest 200-capacity party conceived by Thomas Martojo and Casper Tielrooij has since evolved into a kaleidoscope of the past, present, and future of dance music. This year's 10-day celebration highlighted its remarkable journey with an eclectic array of events: from live performances inside the historic Het HEM, a former munitions factory turned contemporary arts centre, to a 'bigger than ever' set of industry conferences at Aan Het IJ, film screenings at EYE Filmmuseum, leading to the climactic three-day escape in the forest and beloved post-festival afterparties.

As I roll into the campsite on Thursday afternoon for four days of Dekmantel —this time with a remarkable crew of 30+ Northerners—I instantly feel at home. People are all around, cracking cans and chatting heads off. With so much on offer, like Actress and Space Afrika performing live in the city centre in the evening, staying put at the campsite is a tough decision. But as I dance the night away on the homemade campsite beach and reconnect with familiar faces, I set a mission for myself this year: to fully embrace the atmosphere and soak in the environment of the Bos, rather than slipping into my usual dark room, head-down, deep-in-the-abyss routine of Amsterdam’s clubs.

From its early days the festival has grown significantly, yet it continues to maintain a close-knit community atmosphere, a characteristic often lost as festivals expand. Dekmantel makes conscious changes to the stage experience, including redesigns and soundsystem upgrades, while preserving the close proximity of its eight stages. Although close to one another, each stage maintains a distinct atmosphere, both visually and in terms of the overall vibe. The most notable change for this year’s edition was at The Loop, which was designed as a 360-degree circle. According to Creative Director Albert van Abbe, this design was intended to symbolise unity and create a space for the audience to “celebrate Dekmantel together as one united crowd.”

Across the line-up, Dekmantel maintains its reputation for showcasing a diverse range of electronic music, featuring established artists like Jeff Mills, Carista, Young Marco, Jyoty and Palms Trax flexing their might, as well rising talents such as Amor Satyr b2b Siu Mata, Otis, and Nick León deliver dynamic performances, contributing to the festival's forward-thinking approach to dance music.

The Selectors stage feels like the festival's heartbeat, nestled beneath a majestic, ancient tree. It’s the perfect daytime spot, with sunlight filtering through the treetops. Each day the stage opens with extended sets from crowd favourites like Eris Drew, Call Super, and the debuting Dr. Banana, who guide us through expansive musical discoveries. Saturday afternoon truly captures the essence of the Selectors stage, as Call Super seamlessly transitions from an early drum ‘n’ bass section into Delfonic & Kapote’s ethereal ‘Flying Rejam’, perfectly embodying the stage’s eclectic and exploratory spirit. DVS1’s alternative house set also turns heads, especially with the classic ‘Don’t Lead’ by House Master Baldwin floating through the airwaves.

Just a hop across the wooden walkway, this year’s Greenhouse showcases Dekmantel’s playful side with its extravagant inflatable structure, reminding us to embrace fun and not take ourselves too seriously. This stage, focused on live music, creates more of a gig-like experience that’s tailor-made for sinking pints with friends. On Friday afternoon, Peter Hook and The Light take the stage, delivering a nostalgic journey through the anthems of Joy Division and New Order. Crowd favourites like ‘Transmission’, ‘Blue Monday’, and ‘Love Will Tear Us Apart’ ignite one of the more civilised mosh pits I’ve ever witnessed. While I briefly regret not packing my Stone Island smock for this set, I’m quickly amused by the drummer’s T-shirt declaring “You Can’t Kill Me, I’m a Rockstar”, a fitting nod to their enduring iconic status. By Saturday, I take the opportunity to kick back and relax to the soothing array of instruments from Ron Trent’s ‘Warm’ live show, cleansing my soul before the day ahead. Sunday sees the Greenhouse’s most packed moment as Mala and James Blake step up for their b2b set, armed with weighty selections of dubstep essentials.

The intimate vortex of UFO2 pushes boundaries with a more experimental approach - the starlight express-style LED panels from 2022 are gone, replaced by an interactive, moveable lighting structure enhanced by built-in smoke machines and an intricate array of strobe lights. These scenographic changes, conceived by Parisian creatives Matière Noire, don’t compromise on the stage’s intimate, club-like atmosphere, making it the perfect spot to lose yoursel completely on the dancefloor.

A few moments stand out: Malibu & Sky H1 deliver a serene ambient set, Polygonia captivates with her intrinsic live sound design, and the legendary Cari Lekebusch electrifies with a '90s techno set that powerfully nods to the past. Yet, the true highlight of the weekend is Otis. His high-energy performance is marked by daring track selections, an unconventional mixing style, and masterful control over the crowd’s energy. Watching him bounce in perfect sync with each beat, I can’t help but be drawn to the front. His set features dizzying track IDs, a quintessential BRAT (or "Brotis") moment, and the crowd erupts when Nikki Nair’s ‘Prowler’ drops. As if riding an emotional rollercoaster, Otis closes with the dreamy synths of Mechatok's ‘All The Time’, layered with an acapella from French rapper Freeze Corleone's ‘Lamborghini Benie’, perfectly encapsulating the unique essence of the UFO2 stage.

Just a short walk away, UFO1 transforms an old barn into a warehouse-style dungeon, where translucent cube boxes filled with pyrotechnics and strobe lights create a near-satanic backdrop. This eerie setting perfectly complements a fierce line-up, including Helena Hauff, Akua, Karenn, Rene Wise, and Parrish Smith. Capturing the hedonistic intensity of techno at a daytime festival is no easy task, but Dekmantel succeeds in crafting an alternate universe for heads-down ravers. The Sunday closing set from Amniote Editions boss Mama Snake and Herrensauna's Cem is a standout, with their razor-sharp, trance-infused techno electrifying the crowd and satisfying my impulsive senses.

The buzz around the new Radar stage is tangible, especially after hearing it was the place to be from last year’s attendees. As Dekmantel's newly independent streaming stage, Radar steps into the space once held by Boiler Room and HÖR, quickly establishing its own unique identity. With its towering scaffolding and centrally placed DJ booth, the stage seems to cultivate its own atmosphere within the festival. At its best, there’s a sense of irresistible, encircling ecstasy. Though it can be challenging to catch a true vibe with shortened sets and people vying to be on camera. The standout moments that shine through and leave a lasting impressiom come from Roza Terenzi, Job Jobse, Freddy K, and even founder Casper Tielrooij—complete with a birthday cake. And when rain threatens to dampen the mood on Saturday, I dive into the crowd for a rib-rattling hour of dubstep from Loefah. Tracks like ‘Poison Dart’ and the furious ‘My G (Disko Rekah Vocal Edit)’ reverberate through the metal structures, shaking both the stage and the crowd to their cores.

While it isn’t a main focus for me this year, the Connects stage serves nicely as background music while exploring the various food options scattered around the stage peripheries. With curation and hosting from tastemaking favs - this year’s being Rey Colino, Animistic Beliefs and Kamma & Masalo - it seems like a worthy spot to spend more time in the future for artist discovery.

With bass-centric music pulsating throughout the festival, The Nest has solidified its place as the epicenter for UK crowds, complete with raucous chants of “OI OI!”, making it one of Dekmantel’s most interactive stages. This year, the addition of the Krackfree Soundsystem brings an extra layer of clarity beneath the slanted scaffolding. Unforgettable moments come from the dynamic rhythms of Bok Bok to a powerful Friday set by leftfield reggaeton experimenters Toccororo and Safety Trance, where CRRDR’s ‘Hardcore Vibes’ pushes the speakers to their limits. However, it is on Sunday that the duo of the moment, Amor Satyr b2b Siu Mata, truly steal the show, packing out The Nest with their exhilarating set, highlighted by the raucous drop of Levity and Dem Jointz’s ‘Flip It’.

The Dekmantel experience wouldn't be complete without a visit to the iconic main stage, The Loop, which this year fully embraced its identity as a 360-degree coliseum — a fitting arena for dance music legends. On Friday, Dekmantel veteran Carista closes out the night with a set that elevates the crowd, with her vibrant, feel-good energy perfectly matched by a polychromatic lighting show. The momentum carries into Saturday with Octo Octa’s live performance, where her rendition of ‘Can You See Me’ resonates deeply through the crowd, amplifying the warm atmosphere inside The Loop.

UK influence is undeniable when the formidable duo of Ben UFO and Joy Orbison take to the stage, guiding us through a few hours of mostly unreleased gems. Opening the set with a James Massiah vocal edit of Charli XCX, weaving through earth-shattering bass and breaks, before closing with an edit of Irish group of the moment Fontaines D.C.’s ‘Starbuster’. Sunday afternoon brought a sense of returning to dance music’s roots as Detroit house and techno stalwarts Octave One deliver a masterclass in sound. Tracks like ‘Dema’ and a snare-heavy version of ‘Blackwater’ leeave an indelible mark, destined to live rent-free in my mind for years to come.

Beyond the festival grounds, Saturday night leads late-night adventurers to the chaos of Lofi, where they’re joined by an energetic Amsterdam Pride crowd vibing out to Octo Octa's set well into the early hours. The night is made even more memorable by a surprise set from Akua in Room 2. An honourable mention also goes to the campsite DJs on Monday AM — if I recall correctly, they were called Ice Cream Men — who dropped a series of riotous edits, including a ri-donk-ulous version of Lily Allen’s ‘Not Fair’, capping off four outrageous nights at the EuroParks site.

Each group we encounter as the weekend closes out has separate highlights and a different take on how their time panned out, influenced by their varied tastes and dancefloor preferences. It’s apparent that Dekmantel offers dancers the freedom to discover the festival however they choose, with endless first-rate options. In a year that saw the closure of more than 60 Dutch festivals, Dekmantel's triumphant 10-year anniversary underscores its deep ties to the local community and its enduring appeal to electronic music enthusiasts from Europe and beyond.