I finally made it to DGTL this year, and I get it now.
The vibe, the detail, the energy – DGTL really is one of a kind. For someone who lives in Amsterdam and has danced through a fair share of warehouse raves and open-air festivals, DGTL felt like the perfect mix of everything I love about this city: creative, conscious, and just a little bit weird (in the best way).
DGTL has been around since 2012, and it’s grown into a festival with deep global roots.
What started here in Amsterdam now stretches all the way to Barcelona, Madrid, São Paulo, Santiago, and even Bengaluru. Still, there’s something about the home edition at the NDSM Dockyards that hits differently. The old shipyard with its massive crane, rusted containers, and waterfront views gives the whole thing an edge. It’s rough, has an underground feeling to it, but somehow stays warm and inviting.
Here music, art and responsibility are all coming together without trying too hard. Every stage had its own identity, like tiny worlds tucked into the docklands. The Modular Stage felt like the dark heart of the festival, and that’s where Brutalismus 3000 completely tore it down. The Berlin duo’s set was pure energy: screeching sounds, Hardstyle-BPM, bouncy-chaotic – and absolutely unforgettable. People around me were screaming along the edgy lyrics, laughing, jumping up and down, like there’s no tomorrow! (Which.. there was, and I definitely felt my legs on day 3!)
Over at the Current Stage, Malugi had such a draw that the crowd got way too big to be safe, and one side had to be cleared before his set could start. It felt like a mass migration for a bit, but was handled smoothly. Meanwhile, the AMP and Frequency stages kept it groovier, lighter, while Generator offered that deep, dark, four-to-the-floor energy with acts like Funk Tribu – my second favorite of the weekend!
One of the best surprises was the Submarine Stage.
Yes, it’s exactly what it sounds like – inside an actual old submarine. The artists playing there are part of DGTL’s own label, and they created this super intimate vibe. Phones were supposed to be stickered at the entrance to keep things offline (not everyone got the memo, but still). It felt like a little bubble of pure music enjoyment. Just you, the DJ, and 30 or so people dancing like no one’s watching.
Art played a major role.
The Tower of Dreams installation, built from a crane in collaboration with Bud, wasn’t just an another stage to explore – it was participatory. People had submitted their own stage designs, and the best concepts got featured. It felt like the whole festival was inviting you to be part of it, not just watch it.
And then there’s the sustainability side of DGTL, which really does deserve its own spotlight. Everything here is built around five main pillars: Energy, Resources, Water, Mobility, and Plant-Based Food. That’s not just buzzwords – it’s actually how they run the place. They tested hydrogen batteries, flew artists in on Sustainable Aviation Fuel, had an onsite Resource Hub for recycling in real-time, served only vegan food, and encouraged everyone to come by bike or public transport.
The organisation is also working with ABN AMRO on projects around social impact. That includes the DGTL Academy, which launched this year to help break down the barriers women face when trying to get into the music and art world. It’s mentorship, networking, workshops – all aimed at giving real access to people who often get shut out.
By Sunday night, after one more dance and a final round of vegan food, I sat at the edge of the pier looking out over the IJ river, just letting it all sink in. My legs were wrecked, my ears still buzzing, but the heart was full. DGTL combines so much in one project, that experiencing it all come together makes me curious about what the future of this event holds – I’ll be back to keep you informed!
2026 Tickets are available now!
All images were provided by the organization.
Written by Anna Prassl
