David Guetta, Swedish House Mafia Storm Electric Daisy Carnival

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Since 1997, EDC had been a Los Angeles institution – but following last year's widely reported drug-related death of a 15-year-old girl, the festival decamped this year for Las Vegas, whose mayor welcomed the promoters Insomniac by officially declaring an Electric Daisy Carnival Week. Unsurprisingly, security was tight, with a comically long list of prohibited items. But in the end, remarkably few incidents were reported – a few dozen arrests and not a single life-threatening health problem. (A 19-year-old man died earlier this month at a Dallas edition of EDC; two people died this year at Bonnaroo.)

Throughout the weekend, Vegas felt like summer camp for DJs, especially at the Cosmopolitan, the new Strip hotel that housed most of the artists. Fans staked out elevator bays for Facebook photo ops, DJs hit the blackjack tables and drank together by the pools. At a daytime pool party next door at Aria, German DJ Boys Noize – whose morning set was a highlight of Night Two – gathered friends including Diplo and rising DJ Skrillex, a former emo singer signed to Deadmau5’s label.

When the pool party wrapped, the crew commandeered the hotel’s nightclub Haze, with Boys Noize spinning tracks accompanied by Diplo on a keyboard. Later that night, during Skrillex’s own set, he turned the stage into yet another party, packing it with fellow DJs, dancers, industry types and members of the media. Toward the end, he managed the impossible at EDC – creating total silence, as he convinced the crowd of thousands to quietly remember his friend Ryan Dunn, the Jackass star who died in a car crash the week before the festival.

David Guetta performs during night 2 of the Electric Daisy Carnival in Las Vegas, Nevada
David Guetta performs during night 2 of the Electric Daisy Carnival in Las Vegas, Nevada
C Flanigan/Getty Images

All EDC, anticipation had been building for the closing-night set by Swedish House Mafia – the Scandinavian trio of Axwell, Angello and Sebastian Ingrosso – who debuted their epic remix of Coldplay’s new single "Every Teardrop is a Waterfall," building on the tune’s ravey, Underworld-ish intro. "Shit can happen when we play together that wouldn’t happen when we play solo," Axwell said the night before, eating with his bandmates at a Japanese spot on the Strip. "It’s three brains working together." The Swedish crew’s monster single "Save The World" – which has racked up nearly 15 million YouTube views – was a goosebump moment when it they finally played it, with vocalist John Martin singing and all three mafiosi up onto the top of their DJ console, dancing along with the crowd.

Because of the pressure of pleasing such a vast audience, act after act dropped the same handful of guaranteed crowd-pleasers, giving a déjà vu quality to wandering between the stages. But in a nice twist, what might have been the weekend’s biggest jam wasn’t a remix of any of the pop, R&B or hip-hop stars currently riding house beats to the top of the Hot 100. It was a aggressive new take on the twisted mid-Nineties Chicago house classic "Flash" by Green Velvet, who also lit up the second-largest stage with a set of own. Another vet, techno legend Richie Hawtin, played twice – including one of the weekend’s musical peaks: the menacing, nail-hard minimal tracks he cranked out under his Plastikman moniker. In a nice twist, the most famous Plastikman track, the machine-gun assault "Spastik," was sampled by younger acts throughout the weekend.

And in the end, it really was the massiveness of EDC that makes it special: so many of the scene’s biggest stars, the perfect sound, the retina-frying lights, the endless amusements (carnival rides; nightly 4th of July-worthy fireworks; fire-breathing Burning Man-style art; stunt planes buzzing the grounds in formation at dawn). "It’s the location, it’s the synergy around it, it’s the fact that it’s the biggest one," Skrillex said backstage before his much-buzzed set. "It’s EDC!"

Additional reporting by Melissa Arseniuk

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Song Stories

“Whoomp! (There It Is)”

Tag Team | 1993

Cecil Glenn — a.k.a., "D.C." — was a cook at Magic City, a nude dance club in Atlanta, when he first heard women shout "Whoomp — there it is!" Inspired by the party chant, he and partner Steve "Roll'n" Gibson wrote a song around it. Undaunted by label rejections, they borrowed $2,500 from Glenn's parents and pressed 800 singles, which quickly sold out in the Atlanta area. A record deal came soon after. Glenn said the song was meant for positive partying. "If you're going to say 'Whoomp there it is,' and you're doing something negative, we'd rather it not have come out of your mouth."

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