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

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