Alexandra Krstic
Surprise, surprise. I find myself at another festival– who would have thought? Festival season’s done, time to crawl back into our caves (aka offices). Well, no— rather, I am back in Cyprus, in the summer sweet spot. The air is cooler, the skies impossibly blue, and the sea begging you to dive in. And when it couldn’t get any better, Beonix Festival, the shiny new player on the island’s festival scene, came into my life.
Cyprus may not be widely recognized as a techno hub, but it’s brimming with raw, eager talent. Local artists are hungry to make their mark. However they often face familiar obstacles: limited funding, minimal government support, and a shortage of venues.
Despite this, collectives like Honest Electronics and radio shows like Barking Cats and more established festivals such as Fengaros (which has introduced a techno line up in the recent years along with other styles of music), continue to keep the flame alive. Grinding behind the scenes, they push out music from Cyprus that too often flies under the radar.
But here’s the thing that’s gnawing at me—who is this festival really for? Is Beonix Festival a boost the local scene could benefit from, or is it just another venture riding the coattails of the island’s allure, à la Ayia Napa? As I wander through the festival, surrounded by flashing lights and throbbing bass, that question lingers in the air.
Friday Night: off duty
Friday night? Not happening— I’m sidelined with family commitments, and my friend has an early Saturday shift (adults be adulting).
Word on the street about Beonix paints a mixed picture: Fatboy Slim apparently brought chaos to the main stage (although, feeling a bit too dated for some) while Claptone smoothed things out with his signature beats, lifting the crowd’s spirits. The real action, however, seems to be at the Hangar Stage: Teenage Mutants were channeling Meduza vibes, Spartaque cranked up the hard techno, and then steered it into melodic waters.
The afterparty? A bit of a letdown. Kadosh’s Afterlife-inspired sound missed the mark. Apparently it was too slow, too soft, lacking the punch everyone craved. Not quite the start they hoped for— but hey, it’s only Friday.
(Disclaimer: Just the messenger here, not my personal take)
Saturday: Beonix Festival in full swing
Rain. Of course, as we make our way to the festival, it starts to drizzle. I’m immediately convinced I jinxed it with all my boasting about September’s perfect weather. As we approach Limassol, the skyline—a mess of multiplying skyscrapers that give off a full-on dystopian vibe—adds to my mood. But then, as if on cue, the sun breaks through, and things start to look up.
Still, we’re skeptical. Is it going to be too polished? Too commercial? But as soon as we step inside, those worries fade. The location is impressive. Giant hands greet us, quirky graffiti on stacked containers (I learn it was a former Cypriot booze factory), and everything from security to the food is on point—except for one minor foul: no earplugs for sale so our friend stopped from a pharmacy and kindly provided them for us before coming (THANKS).
The main stage is gigantic, with towering screens flashing hypnotic visuals—skulls, trippy patterns, the works—a temple of melodic techno.
The Organic Stage is a standout too, with an installation with the shape of Cyprus itself, with a swaying palm tree in the distance. Even the rooftop has a charm of its own, offering a killer view and a live feed of the DJ below. But musically? We’re still searching for our vibe. We pass by the Organic and Main stages, looking for something that’ll hit the right spot. And then we find it—the Hangar Stage.
The minute we step inside, it’s like a mini-Printworks: dark, loud and raw. Dreus and Rozina are locked in, throwing down beats back-to-back. The crowd? Completely immersed. I manage to break away for a brief chat with ANNĒ, a Greek techno dj and producer whose track ‘Fairy Dust’ has been on constant repeat for me.
Side quest: a brief interview with ANNĒ
As I sit down with ANNĒ (let’s stick with Anne from here on), her excitement is undeniable. Her large, expressive eyes are brimming with passion for techno and a fierce determination to move the crowd. I throw her three questions: 1) What are her expectations for her set? 2) What challenges has she faced as a woman in the electronic music scene? 3) What advice would she give to aspiring artists?
She dives straight in. “Playing at big events like Beonix Festival, I aim to prepare the soil for the DJs after me and create an energetic, uplifting set that gets people dancing,” she says. The conversation quickly shifts to the obstacles she faced entering the male-dominated techno world. “When I started, stereotypes were everywhere. People doubted my skills just because I’m a woman,” she recalls. “But in 2024, we need to abort these outdated ideas. In art and music, gender should be irrelevant. I want my work to speak for itself.” And it absolutely does.
Anne’s philosophy on music production is equally bold. “It’s all about experimentation and finding your own sound. I tell new artists—trust your instincts, take risks. Each of us has something special to offer.” You can feel her passion as she talks about the importance of self-worth. “Never let anyone clip your wings. Dream big, work hard, stay humble, and you can achieve anything. I want to inspire others to break down barriers, just like I’m trying to do.” Her words resonate, and I can confirm she lives up to them. Her set turns out to be uplifting, original, and keeps us wanting more. [And before I move on, a little gift for you, dear readers— ANNĒ’s new EP is dropping soon, and we couldn’t be more hyped! Click here to get a taste and pre-order your copy before it blows up.]
DJ SHDW, vibing with security & PIZZA
Now we back to the dancefloor, with DJ SHDW, whose high-energy set, mixing fast beats across genres, keeps our feet moving non-stop. By this point, we’ve even befriended the security guys—super friendly, and they did a great job keeping the vibe right, making sure people weren’t smoking indoors and reducing the amount of topless men to zero.
After a quick break—pizza from the Modern Kitchen, which, by the way, is my new obsession (10/10 sauce, and the dough is to die for)—I even chat with one of the cooks. I ask how they managed to bring an old-school wood-fire over to the festival, and he laughs, saying, “I had someone bring it for me.” The pizza fuels us, affordable and so damn good.
Then comes the act I’m most curious about—Estella Boersma. Her fierce stage presence takes over, and the Hangar doesn’t let up. The night peaks with her killer closing tracks, with the standout for me being ‘Run’ by Vizionn—a personal favorite that’s been championed by legends like Anetha and VTSS. By midnight, we feel complete. No afters needed for us, but the true warriors push on to the afterparty. They tell me it’s a mix of melodic techno that kept the vibe going, but nothing too memorable.
Sunday funday Beonix Festival version
If you’ve read any of my other festival pieces (looking at you, Paradise City), you know I love a good Sunday party. Early starts, and no Monday scaries in sight. Our Sunday kicks off with coffee, playing mprimpa (cypriot card game), and a solid Cypriot breakfast before diving back into the festival. The Sunday crowd feels like a secret society—everyone soaking up the last drops of the weekend. It’s smaller, more intimate, but we know what’s coming—there are some serious names on the lineup.
Side Quest No. 2: Dreus
I manage to catch up with Dreus, who radiates pure energy and passion for the local techno scene. “Performing at Beonix has been incredible. The lineup, the visuals, the sound—it’s all top-tier. It’s amazing to see how far our local scene has come,” he tells me, eyes sparkling.
Dreus reflects on his b2b with Rozina, noting, “This was our first time playing together as a duo, and it just clicked. Her energy matched mine perfectly, and that synergy created an unforgettable atmosphere.” He’s grateful to be on the line up as “being part of this festival shows that hard work pays off. And it’s thanks to Neophytos Panteli for believing in me.”
We also get real about the Cypriot electronic music scene. “There’s so much passion here. Cypriots are fanatical about music. We have event organizers who are pushing to elevate the scene, even with all the challenges.” Challenges like scarce venues and limited support, but Dreus is optimistic. “We find ways to keep the raves alive. Beonix is a game-changer. It brings international attention and is great for both tourism and giving local DJs recognition.”
Before we wrap, I ask for a name drop of some collectives in the local scene, and Dreus rattles off a list: Delirium Chamber, Boiler House, Indigo Underground, 565r, Cyraveland, Honest Electronics, Synesthesia, Paphos Technoblades, Santa Nosia, Technohabits, Kerveros Records, Nychtovio, Ophan, Lotus Parable—the list goes on.
Back to the Hangar
Big names like Undercatt and Tale Of Us are holding it down on the main and organic stages, but since that’s not really our vibe, we stick to our beloved Hangar. Janis Jelenski’s set is solid, though I have to say, it doesn’t quite hit the same as when I caught him in Brussels at Chateau Modern. Still, it’s a good enough opener.
Maruwa follows, bringing a positive, flowy vibe—she’s all smiles and radiating good energy. Then Odymel steps in, and boom, the room fills up fast. He’s got the perfect balance of commercial hits and underground gems. When his remix of ‘Feel So Close to You Right Now’ drops, the crowd loses it, and my personal summer anthem ‘Gucci’, takes us all on a wild ride.
We’d planned to bail after Odymel—because, you know, work on Monday—but then MRD steps up, and yeah, plans change. He blows the place apart, blending old-school classics with fresh bangers. His choice to play a remix of New Order’s ‘Blue Monday’ is the surprise highlight that has me grinning. But as the night winds down, we say our goodbyes to the security crew, who’ve basically become our festival buddies by now.
On the way out, we pass the Young Artists Stage, and Nunca Para is throwing down a set that’s layered, energetic, and impossible to ignore. It’s one of those rare moments when you don’t want to leave—you just want more.
Looking ahead for Beonix Festival 2025
The festival exceeded every expectation, fresh and experimental, like the Hangar was custom-built for me. And yes, we ate the same pizza again, before finally hitting the road, satisfied but already itching for next year.
Beonix Festival wraps up with a promise for more – early bird tickets for 2025 are already up, and if they top this year, it’s going to be massive. This festival feels like a promising one, and I’m already counting down to next year. Don’t sleep on this one – grab your tickets here.
