12 times dance music made us glad to be alive in 2016

We all know that at its best, dance music is pure good times. And that's what we search for during every night out, festival weekend and SoundCloud deep dive. IRL and URL we're looking for the moments when our culture truly enriches our soul.

So what made the Mixmag staff glad to be alive in 2016? A mixture of musical experiences and scene shifts, as well as the unbridled joy of Skepta's mum. Scroll down for the most personal of picks.

And here's 11 times dance music broke our hearts in '16

In terms of natural beauty, Iceland is by far the most breathtaking place I’ve visited. It’s not an overly bright and colourful country; even in summer it’s cast in a soft wintery hue with a landscape covered in charcoal soil. But it still manages to be dazzling, punctuated by jagged igneous rocks that are an awe-inspiring reminder of volcanic power. Icelanders told me of the intrinsic connection they have with the land, and this was apparent when I travelled to Taktfakt festival on Lake Kleifarvatn last June for a 12-hour techno rave. The bar was a net, keeping drinks chilled in the icy water; the dancefloor was a cave, with the music inside dark and uncompromising to match. As the party drew to a close in the early hours, the sun still hanging in the sky in the unending twilight of Icelandic summer, a camp fire was lit at the centre of the beach and dancers huddled round it for warmth and company, blissfully enjoying the soundtrack of rolling techno everybody was there to hear. That soul-sustaining feeling of oneness that dance music strives for was achieved. Patrick Hinton, Digital Staff Writer

Thousands of people pass through the hallowed doors of Space Ibiza each summer, but it's not often that one can say they've dined on the Terrace with founder Pepe Rosello and friends of the club like Pete Tong, Carl Cox, Nicole Moudaber and Erick Morillo. That's exactly the scenario I found myself in during the celebratory opening week in late May, as we gathered in honour of Pepe Rosello, who took control of Space Ibiza and shaped the iconic club into the 27-year long legend its has become. "You know, a flight attendant once told me that the most common reason for missed flights in Ibiza is because of late nights at Space," Pete Tong laughed, embracing Carl Cox while paying homage to Rosello, a cheerful elderly man dressed sharply, clutching a glass award engraved 'IMS Legends Award'. "And I don't doubt it at all." The night continued on with stories not meant to be shared beyond the four walls of the Terrace, much laughter and emotional speeches exchanged between Carl and Pepe, a man Coxy called a part of "his own family" and who he credited much of the success of his own career to. Space Ibiza's doors may have come to a final close in 2016, but the lasting impact and unforgettable memories will forever remain. Valerie Lee, US Digital Editor

Every single time I've been to Berghain it's been a pretty holy experience. It’s my favourite club in the world so naturally I was brimming with joy when I was able to take my younger brother there for his debut session. He couldn’t believe his eyes when he first walked up the stairs into the main room. The sound and scale knocked him for six so I took him straight upstairs to Panorama Bar so he could get accustomed to the environment first. After a Watermelon Man and some Apollonia action, it was back down to Berghain to witness Len Faki in action. This is where my brother leapt into action. I'll never forget the happiness on his face at the freeness in the club and the sheer velocity of Faki’s techno. He called me over and shouted in my ear: “Can I take my top off, everyone else has?" I paused, felt a warm fuzzy feeling and said, “You can do whatever you want here”. He’d succeeded in batting away any inhibitions and he gave himself to Berghain. I felt like I’d succeeded as an older brother. Together we left the club seven hours later absolutely beaming. A family that raves together, stays together. Funster, Deputy Digital Editor

This year saw vigorous conversations about female, minority and LGBT representation: The Black Madonna led by example with outspoken insight and a no-shit-taken attitude, gender fluid icon Mykki Blanco returned to the limelight after announcing he was HIV positive, proclaiming the illness would not bring down his character or craft and Black Coffee became the first South African artist to win a BET Award and proved his international recognition headlining shows in North America, Europe and Asia. These are just a few examples.

Networks and publications across the board took hold of the dialogue, publishing content highlighting marginalized artists, driving their exposure and celebrating the “other body”. Consequently, as a group effort between producers, fans and media heads, we’ve guided dance music back towards the road of inclusivity and the all encompassing foundation of love. Sydney Jow, US Digital Content Editor

Amsterdam came through for clubland in 2016. During ADE week, two new clubs opened for business and both of them are fucking brilliant. Claire took over the old Studio 80 and although the latter was an integral part of the city’s heritage, the new operators, who also run Disco Dolly, did a fantastic job of re-imagining the space. Amazonian decor, indoor water fountains and beautiful wooden floors transport dancers to an artistic paradise and the music is quality house and disco. Across the river, an underground (yes, literally underground) club called Shelter launched into action and provided another stellar club helmed by the finest in house and techno. As you enter the venue via a hatch in the floor, the one-room club is a vast, chrome palace with a Funktion One system fitted to blow your socks off. Rewind back to the start of the year and De School, a dance music playground from the people behind Trouw, opened its doors. It's truly carried on Trouw's legend and is an oasis of club fun. Three amazing clubs in one year. Here’s to the Dutch capital. Funster, Deputy Digital Editor

Novelist does not like David Cameron. As cheeky as the grime MC comes across online and in person, he's shown serious menace when it comes to the former UK Prime Minister. First he produced the devilish 'David Cameron Riddim' instrumental and quickly followed with 'Street Politician', sampling the politician's admission that "keeping people safe is the first duty of the government". 'Tax The MPs' later arrived with Nov declaring Cameron as a "liar" after the PM admitted financially benefitting from his dad's offshore trust in Panama. Just before that, Nov decided to express his detest on quite the stage: his Mixmag Live party to celebrate his cover of the March issue of the magazine. "FUCK DAVID CAMERON, FUCK DAVID CAMERON," he chanted at The 100 Club, coaxing a sweaty, revved-up crowd of youngsters to do exactly the same. Let's face it, they're three words that've been on the mind of those with a hate for austerity, especially young people, of similar age to Nov, living in London. It's the type of war cry you'd expect to hear on an anti-austerity protest, but Nov didn't need any placards or a street to march down to pull it off. Three months later, he did it all again at Glastonbury after Cameron announced he'd be stepping down as PM after the referendum result. But let's not get started on that shit show. Dave Turner, Digital News Editor

2016 might not have been the first year that campouts and micro festivals popped up around the west coast of the USA, but it was the year that proved the scene is thriving. From a numbers perspective, there were more sell-outs and overall increased attendance at fests like CRSSD San Diego, Symbiosis, Desert Hearts, What The Festival and Dirtybird Campout. And who were these new attendees? They're kids from the Coachella crowd or young festival newbies, likely spending their college graduation money traveling the circuit. Lucky for them, that circuit lasted the whole year. As for memorable festival sets go, Seth Troxler's seamless all-vinyl set in a little shack by the water at Symbiosis proved that wonderful boutique festivals really are thriving. Carré Orenstein, Partnerships Manager

Mixmag Live landed in North America for the very first time this year. The ticketed event celebrating each month’s cover star has become a Mixmag trademark, taking place in the UK since 2012. Mixmag Live’s US debut aligned perfectly with our one-year anniversary in New York, and brought PLAYdifferently’s MODEL 1 Ambassadors Julia Govor, Louie Vega, Richie Hawtin and Matador to the stage.

It only seemed fitting to host the milestone party at the epicenter of the city's underground scene: Brooklyn’s Output. The industrial club space, inspired by Berghain, brings consistently outstanding artist bookings and a Funktion One system so tremendous, so crisp and textural, that it's won Output the unofficial title of the best venue in New York.

The night took place on a dark and dreary Tuesday, but despite the dull, stormy weather and weekday scheduling, Output was packed to capacity past any recent Friday or Saturday by the ripe hour of 9pm. The sets were absolutely astounding and perfectly showcased the MODEL 1’s profound abilities, with every artist bringing their A-game for the landmark event. Sydney Jow, US Digital Content Editor

Each year the world gets a little smaller with improvements in technology bringing the global community closer together. But Australia's still a bloody long flight away from international dance music hubs in Europe and the US. Larry Heard made us feel the love, though, when he made his very first trip down under for Melbourne and Sydney live shows and talks in September. Red Bull Weekender brought the Chicago house master to Carriageworks to close the continent-hopping event series’ Sydney debut. In Melbourne, monocles were tossed aside for Adidas sneakers and tees at the city's town hall for a rare night with Mr Fingers and Gaussian Curve. 'On My Way' pulled the huge auditorium into a warm, intimate embrace for one of the bigger pure all smiles dancefloor moments I experienced this year. Scott Carbines, Australian Digital Content Editor

Was there a more tender moment in 2016 than Skepta's mum dancing on stage at the Mercury Prize award ceremony? Possibly, but those five minutes, during which the grime artist picked up one of most prestigious accolades in music while surrounded by his friends and family, touched my heart the most. The industry is powered by great individuals, many of who you'll see on their own on magazine covers and live streams, but behind all of them is the kind of support network that huddled round the Tottenham boy that night in September. "They made us," he said of his and his friends' parents. "They gave us the voice in our head, to keep us in line, to keep us in check." It was momentous for grime, for UK music, but most importantly, for the two generations hyping Skeppy during his acceptance speech. His mum looked near overwhelmed with pride as she was thrust under the spotlight stage left of her son. Rarely do you see that vital familial link in public. The next day photos of her pouring red wine over the entourage – including Kano and his mum – surfaced online and repeat views of the video above see her in the midst of the ruckus seconds after Jarvis Cocker announced the winner. Shutdown indeed. Seb Wheeler, Head Of Digital

I still get butterflies when I think about first stepping foot inside The Temple. I've entered plenty of clubs since June, but none have given me an instant feeling of "OMG, WTF is this place?" like here. It wasn't easy to get in on Sunday night. It took the charm of a Scouse pal to get us to the front of the queue, up the stairs and inside the venue. Once there, the look myself and fellow Glasto reviewer Funster gave each other is one I'll never forget. Never before I have stepped inside what is, essentially, a mini amphitheatre and witnessed every single step occupied by ravers dancing in sheer delight. The fact Midland, during a back-to-back with Palms Trax, played Mixmag's track of the year, 'Final Credits', only added to the joy, but the real moment of magic was down to Job Jobse and Ben UFO's set. Nearing the end at 4.55am, the night sky had turned to daylight, but the mud-soaked wellies were still moving, the strobes still flashing, the rainbow projections still circling around the arena. In comes Armand Van Helden's 'I Want Your Soul', the whole crew reciting the lyrics and collective smiles engulfing faces. A grin that stayed on mine through the ordeal of getting home on no sleep. And one that reappears every time I watch the video of 'I Want Your Soul' getting played. Dave Turner, Digital News Editor

It’s pretty hard to get an "electronic" live show right. The actual premise of a live show isn’t too challenging but so often we’re subjected to an artist with a laptop and an MPC and the word live is slapped next to their name on the flyer. When in New York, I attended the RBMA Festival to see Anohni’s debut live performance of her album ‘Hopelessness’. Anticipation was high as the album was so damn good. The themes were tough and unflinching and the production, courtesy of Oneohtrix Point Never and Hudson Mohawke, was some of the most imaginative and sparkling of the year. Taking place at Park Avenue Armoury, the engulfing space was filled with a huge screen projecting faces of all ages, races, genders and looks. Anohni stood in front of the screen in a cloak masking her body and face. It was striking, it was stark and it was visually astonishing. An abundance of style matched by pitch perfect vocals in a majestic space. Even the 20-minute film of Naomi Campbell standing and dancing to no music was a completely compelling start to the performance. If anyone wants to know how a live show should be done, go and see Anohni, she’s set the bar high. Funster, Deputy Digital Editor