JamFest • Club Night • October 16–17, 2026

III Points Miami Is Happening Right Now: Charlotte de Witte, Four Tet, Floating Points, and Seth Troxler Are Turning Wynwood Into the Best Club in the World Tonight

III Points Miami • Wynwood Arts District • Final Night • JamFestRadio.com

Charlotte de Witte at peak time. Four Tet doing what only Four Tet does. Floating Points with four hours to work with. Seth Troxler with the same. Tonight in Wynwood is the argument for why festival electronic music, when it is programmed with this kind of intelligence, is something genuinely different from a night out at a club.

III Points Miami is in its final night tonight, October 17, and the two-day music and arts festival that has taken over Miami’s Wynwood Arts District for the 2026 edition has assembled a lineup for its closing evening that represents one of the strongest single-night collections of electronic music talent that any American festival has put together this year. Wynwood, the Miami neighborhood whose transformation from industrial district to arts hub mirrors the trajectory of electronic music culture more broadly, is the right setting for a festival that has always understood that the best electronic music events treat their physical environment as part of the experience rather than simply a container for it. The walls are painted. The air is warm. And tonight the music is exactly what it needs to be.

Charlotte de Witte anchors the peak-time programming with the specific authority she has built across a decade of performances that have made her one of the most respected techno producers and DJs working anywhere in the global underground. Her sets operate at the harder, more industrial end of the techno spectrum, building pressure through extended passages that trust the audience to stay with the music rather than demanding constant release, and her ability to read a peak-time festival crowd and deliver exactly the intensity the moment requires has made her one of the most reliable bookings at any event that takes the dance floor seriously. Charlotte de Witte at III Points on a Miami October night, with the heat and the humidity and the energy that the Wynwood crowd brings to a closing festival evening, is as close to a guaranteed transcendent experience as electronic music programming offers.

Four Tet’s presence on the same bill represents the breadth of what III Points understands the electronic music spectrum to contain. Sam Shepherd has been making music as Four Tet since the late 1990s, developing a sound that sits at the intersection of electronic music, jazz, folk, and ambient composition in a way that resists the genre categories that most electronic artists accept as given. His live sets have evolved significantly over the years from laptop-based performance toward something more responsive and more overtly musical, and the specific warmth and melodic intelligence that defines his best work translates in festival settings into performances that create a different kind of emotional experience than the harder techno programming on either side of him. The combination of Charlotte de Witte and Four Tet on the same night is precisely the kind of programming decision that separates the festivals that understand electronic music from the ones that merely book it.

Adam Port brings to III Points the specific sensibility that has made Keinemusik one of the most creatively coherent collectives in contemporary house and techno, a group whose shared aesthetic runs through every release on their label and every set from their affiliated artists without ever becoming formulaic. Port’s sets tend toward the melodic and hypnotic end of tech-house and deep house, building moods rather than simply escalating energy, and his peak-time slot at III Points gives the festival’s overall arc a middle point that connects the harder techno of Charlotte de Witte with the extended ambient investigations of Floating Points later in the evening. Cloonee and PAWSA complete the peak-time picture with the rhythm-heavy, club-focused tech-house that has made both artists central figures in the contemporary festival circuit, delivering the kind of locked-in groove programming that a dance floor at this stage of a festival evening needs.

The most significant programming decision on tonight’s III Points schedule is the allocation of four-hour set times to both Floating Points and Seth Troxler, and it is worth taking a moment to understand why that decision matters as much as any headline booking on the card. Festival electronic music has a structural problem that the best festivals are slowly learning to address: peak-time sets of ninety minutes or two hours are long enough to deliver impact but not long enough to develop the kind of sustained narrative arc that the best club music builds across an extended evening. Floating Points, whose sets move through jazz, electronic, and experimental music with the exploratory patience of a musician who has spent years developing his compositional intelligence as much as his DJ technique, needs time that a standard festival slot does not provide. Four hours gives him the space to begin somewhere unexpected, develop ideas across multiple phases, and arrive at conclusions that would be impossible to reach in a compressed format. Seth Troxler, one of the most gifted storytellers behind the decks in the global underground, builds sets that reward the audience willing to follow them across their full journey, and four hours is the appropriate investment required to experience what he is actually capable of.

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Four hours for Floating Points. Four hours for Seth Troxler. Wynwood in October. Tonight is exactly what Club Night on JamFest is built to celebrate.

JamFest • Club Night • October 2026

Roni Size Played a Rave 1,375 Feet Underground in an Abandoned Welsh Slate Mine. A World Record May Be on Its Way.

Roni Size • Cwmorthin Slate Mine, North Wales • October 15, 2026 • JamFestRadio.com

Ziplines, abseil ropes, flooded tunnels, a two-hour descent, 39 contest winners, the Welsh national anthem, and then drum and bass at 1,375 feet below the surface. This actually happened two days ago.

On Thursday, October 15, 2026, drum and bass pioneer Roni Size played a rave 1,375 feet underground inside the Cwmorthin Slate Mine in Eryri, North Wales, and the global electronic music community is currently waiting to find out whether the evidence gathered that night will be officially verified as a world record for the deepest underground concert or rave ever staged. The event was organized by adventure company Go Below and sponsored by Casio G-SHOCK to mark the launch of their new GDG-B100 MUDMAN watch, and the 39 people in the audience had won their spots through a ballot, which is one way to run a guest list and probably the only appropriate method for an event that required its audience to zipline, abseil, and wade through flooded passages for two hours before the music even started.

The Cwmorthin Slate Mine is an abandoned 19th-century quarry deep inside a Welsh mountain, and the chamber that Go Below and Roni Size turned into a dancefloor is called the Deep Sleep, a name that takes on a different kind of poetry when you understand that the 39 ballot winners standing inside it had earned their place through a multi-hour physical ordeal that most festival attendees would never consider undertaking in exchange for a headline set. The descent involved ziplining across subterranean water features, abseiling down shaft walls, and wading through passages where the water comes up to your waist, all of it conducted in the darkness of an underground mine with headlamps and the kind of waterproof equipment that the Casio MUDMAN watch was designed precisely for. When the group finally reached the Deep Sleep chamber and the Welsh national anthem played over the sound system as a formal opening to the event, they were a community in a more literal sense than most audiences ever become.

Roni Size was the right choice for the musical centerpiece of this event for reasons that go beyond his stature as a drum and bass pioneer. His fast-paced, rhythmically dense approach to the form was specifically calibrated to test the most unusual feature of the Deep Sleep chamber’s sound setup: a system of vibration transducers that projected the audio directly into the surrounding slate rather than simply pushing it through speakers into air. Geophones and hydrophones then captured the frequencies as they traveled through the rock, mud, and water of the mine’s structure, folding the natural acoustic response of the underground environment back into Size’s live audio mix in real time. The mine was not simply a venue. It was a participant in the performance, contributing its own sonic character to a set that could not have sounded the same anywhere else on or under the earth.

The acoustic engineering involved here deserves more attention than it typically receives in the coverage of the event, which has understandably focused on the spectacle of the descent and the record attempt. The decision to use the slate itself as a resonant medium rather than treating it as an acoustic obstacle, and the decision to capture those resonances through geological instrumentation and reintroduce them to the mix, represents a genuinely creative approach to the relationship between environment and sound design. Drum and bass, with its specific emphasis on sub-bass frequencies and its precise rhythmic architecture, is a genre that interacts unusually with unusual spaces, and the frequencies that Roni Size generated in the Deep Sleep chamber were traveling through hundreds of millions of years of compressed geological material before the geophones caught them and sent them back. No club in Ibiza or Berlin has an acoustic profile remotely similar.

The world record criteria for the deepest underground concert or rave requires a professional artist to perform a full, verified live set at a documented depth, with independent verification of the conditions and the performance. Organizers have gathered the logs and the data from the October 15 event and submitted the evidence for independent verification. The ruling is pending. Whether or not the official designation arrives, what happened in the Cwmorthin Slate Mine on Thursday is already one of the more genuinely unusual live music events in the history of electronic music, a reminder that the rave tradition that began in warehouses and fields in the late 1980s has never stopped looking for the next space that nobody has played before, no matter how far underground that space turns out to be.

LISTEN ON JAMFEST

1,375 feet underground. The Welsh national anthem. Then drum and bass until the rock itself started singing back. That is what the rave tradition is for.