Kingdom of Day and Night - The UNTOLD Dubai 2025 Experience at Dubai Parks and Resorts

There are places built for crowds and places built for wonder; Dubai Parks and Resorts is both, and that dual nature is precisely why the second UAE chapter of UNTOLD is unfolding here, across 25

million square feet of staged dreams and engineered delight, from Hollywood mirages to the iconography of a footbal.

l club’s global myth. November 6–9 is stamped upon the calendar, but the actual text of those days will be written in first-person plural-we-not by an audience but by a temporary city of celebrants who will wake in themed hotels, breakfast on promenades, take flight on rides, and then, as sun concedes to neon, walk together into an arena of sound.

The logistical poetry is worth savoring because it is the backbone of experience. The festival + theme park bundles are not an add-on; they are the markup language of the weekend: 4-day general access to the festival, unlimited entry to Motiongate, Real Madrid World, LEGOLAND Dubai, and LEGOLAND Water Park, a schedule that refuses the old binary (day = waiting, night = living) and insists instead upon a continuous present tense of play.

On top of this, accommodations packages-four nights at
Lapita or LEGOLAND Hotel, with GA or VIP access braided in-close the loop, converting distance to
steps and commute to stroll, making sunrise a neighbor rather than a stranger. This matters in Dubai, a
city whose scale can stretch the hours between exit and pillow; here, the pillow is inside the story.

The act of arrival will itself feel like a prologue. Those who came to the debut at Expo City in February
2024 may sense a familiar DNA - UNTOLD’s love of grand stages and choreographed light-but the new
kingdom gives the festival different bones. Riverland’s waterway will mirror lasers; plazas will engulf
mini-stages and pop-up activations; the presence of rides nearby will alter time’s texture, producing
afternoons where laughter and adrenaline are the curtain-raiser for music’s nightly tectonics. The
campaign promises as much, and the venue’s own sales pages do not whisper it-they sing it: unlimited
park access, pricing set plainly, and hotel pairings starting in the AED6,000s, all framed as a seamless

“unlock” of a four-day realm.

And then the people. A Dubai festival is never only a local story; it is a cloud of languages and outfits,
jet lags and reunions, newcomers and those for whom the UNTOLD universe is a badge of identity. In
2024, the record-setting crowd was a signal fire: the UAE will host when invited with imagination and
scale. In 2025, with the multi-park promise declared and early headliners named, the magnetism will
intensify: European winter-escape tacticians, Gulf weekenders, Asian audiophiles splicing Dubai into
broader itineraries, and residents who prefer the thrum of November to any other month. Airlines, hotels,
and venues are practiced in this dance; the city’s machine is oiled for welcome, and the festival’s
partnership ecosystem ensures the message reaches ears as far away as they need to be to make a
decision now.

Nights here will not feel like nights elsewhere. The physics of a theme park injects a certain ceremonial
charge into twilight: lanterns and marquee bulbs, bridges and facades, the surfacing of illusion as a
deliberate aesthetic. Against this, UNTOLD’s mainstage will rise like an altar built on modern myth -
panels and towers, lasers and fountains, pyro sequenced to the logic of drops as story beats. When
Martin Garrix takes command, the architecture will obey; when Armin sculpts a melody into a collective
rite, the lake will carry the chorus; when Steve Aoki detonates glee into ritual, the facades will grin along
with the thousands at rail. A festival is not a sum of songs but a mood that pervades surfaces; here, the
surfaces were built for moods.

The day will have its own sacredness. Not merely as prep, but as a canvas for serendipity. A morning
ride becomes an afternoon memory that bleeds into a late snack that drifts into a pop-up set that
surprises a cluster of wanderers who had no plan beyond walking and seeing what appears. Real Madrid
World will draw fans into a different gospel; LEGOLAND will anchor families who want the music by night
and puzzles of brick and water by day; Motiongate will extract squeals from the unapologetic
thrill-seekers; and Riverland will function as agora, the place to be between places, the place where
friendships begin because the map says nothing about what is said at tables.

The economic and cultural implications are not sidebars but part of the thesis. Dubai’s embrace of
large-scale entertainment accelerates in winter; a November mega-festival set at a multi-park resort
transforms a long weekend into a tourism engine whose ripples are measurable - in occupancy, in dining
revenues, in ride throughput, in airport tallies - and intangible in the way press and social video build new
imaginations of the city for those who have not yet visited. Last year’s attendance record answered
whether the appetite existed; this year’s infrastructural elegance answers whether it can be cultivated
into tradition.

The difference between 2024 and 2025 is not a matter of better or worse; it is a matter of setting and
intention. Expo City bestowed grandeur and clarity - a launch pad that made history in four days. Dubai
Parks and Resorts offers narrative density and daytime dimension, a theatre whose lobbies and corridors
are rides and promenades, whose balconies are hotel terraces, whose stage doors open onto streets tha
t look like sets because they are. The lineup, too, marks the shift: where 2024’s top tier spanned pop, rap
, trance, and K‑pop-adjacent spectacle, 2025’s first declarative names sketch a superstructure of EDM,
trance, and participatory showmanship upon which further layers will be hung in the months ahead. Both
are true to UNTOLD’s identity; they are different because they should be.

As the calendar eats the weeks between now and opening night, the practical advice hidden in the poetry
is simple: choose the bundle that matches the dream. If the idea of a four-day republic of rides and sets
sets the pulse, the festival + theme park ticket is the passport; if the notion of an entire world contained
within walking distance appeals, the accommodation packages at Lapita or LEGOLAND Hotel are the
royal road; if proximity to the rail and premium comforts define an ideal night, VIP is a clear statement of
intent. None of this is mere merchandising; it is the articulation of how different people prefer to live
insidehe same myth.

In the end, the most honest description is the least complicated: a kingdom of day and night, where
rollercoasters lead to chorus, where hotels are not perches but neighborhoods, where bridges carry not
only footsteps but sound. November 6–9 is a fixed point on the map; Dubai Parks and Resorts is the
territory; UNTOLD Dubai 2025 is the name we give to the feeling of walking through that territory with
thousands of others and realizing that someone, somewhere, designed this exact moment so that
wonder would have a place to land.

Written by Vlad Piriu for AgenturppF

The Map of Stars - UNTOLD Dubai 2025’s Music, Its Living Lineup, and the Clean Break from 2024

It is essential, before the orchestra tunes, to clear the stage of ghosts. The 2024 debut at Expo City Dubai

was its own continent - a four-day sweep that featured Ellie Goulding, Armin van Buuren, Tiësto, PSY,
Sebastian Ingrosso, G‑Eazy, Don Diablo, Timmy Trumpet, Major Lazer Sound System, and an army of
refined selectors across main and galaxy stages. That chapter belongs to a different venue, a different month,

a different year. It remains luminous in memory, but it is not this year’s script. The 2025 edition advances
to Dubai Parks and Resorts in November, and with the move comes a palette shift and a lineup written
specifically for this realm.

The dates and landscape first: November 6-9, 2025, the second UAE chapter of the UNTOLD universe, now rooted in a venue where a daytime galaxy of rides, plazas, and themed zones will drape itself across the hours before the night detonates. The 2025 lineup’s first declared constellations speak plainly - Martin Garrix, Armin van Buuren, Steve Aoki - each a cornerstone with a distinct touring life in the present tense, each signaling a narrative for the weekend that folds main-stage euphoria into a matrix of genre tributaries and performance concepts honed on the road.

Martin Garrix arrives as a maximalist architect of festival euphoria, a headliner who has built his name
on stadium-scale melodics, careful world-building in LED environments, and a restless hunger to introduce new material to vast crowds. He is not simply “on the lineup”; he is a signal flare for a specific strain of communal catharsis that UNTOLD deploys as a banner - music that does not so much ask a crowd to move as reorganize the very molecules of air into a collective surge. Pair him with Armin van Buuren and the programming acquires gravitas. Armin carries the mantle of trance general not as an honorific but as a practiced discipline, leading the faithful through temporally precise bridges between nostalgia and newness, always with dramaturgical intention, always with a sense of journey that leaves the clock irrelevant. Steve Aoki completes the triptych, a showman whose kinetic grammar - crowd-communion, playful chaos, and state-of-the-art lighting - turns a set into a participatory ritual, a release that is equal parts anarchic and controlled.

If one is tempted to confuse this with 2024’s headliner pool, the error dissolves under even cursory
inspection. Yes, Armin returns; a festival is a city and cities have recurring heroes. But 2024’s book
included Ellie Goulding’s crystalline pop arcs, PSY’s kinetic charm, Sebastian Ingrosso’s Swedish House
constellation, and G‑Eazy’s swaggering verses - names bound to that February saga at Expo City, not to the.

November tapestry being woven now across Dubai Parks and Resorts. The 2025 lineup speaks a different dialect: the first wave stakes a claim on superstructure - EDM and trance titans and a showman of crowd ritual - onto which the remaining acts will be fastened in subsequent reveals across genres and times of day.

Between these pillars, a more subtle truth emerges: lineups are not static sculptures; they are weather
systems, shaped by touring calendars, album cycles, and the evolving ambitions of artists who must
balance fan service with self-renewal. Garrix’s current live identity leans into a synthesis of canonical
anthems and ID-forward experimentation; Armin’s present arc continues to refine A State of Trance as
an ever-expanding theatre of melody; and Aoki’s embrace of pop-cultural spectacle remains a
high-velocity machine that rewards both longtime fans and first-time witnesses with fresh variations, guests, and visual mischief. Each arrives in Dubai not as a frozen portrait but as a moving target, calibrated by dozens of nights elsewhere to deliver the strongest possible version of themselves here.

The geometry of the weekend becomes visible: on the main arteries, these titans blaze; across the lateral
streets, a cadre of house, techno, and multi-genre adventurers will assert their own banners - and here,
too, one must keep 2024’s geography separate. Last year, the galaxy stage hosted names like Sven Väth, Dubfire, Hot Since 82, and Nicole Moudaber, streamlining a specific underground spine across the
schedule; the main stage nodded to multiplicity, with nights anchored by pop iconography one evening and a trance saga the next. In 2025, the parks’ physical logic will influence the booking’s kinetic flow in ways unique to that terrain: footpaths funneling crowds from rollercoasters to plazas; lagoons reflecting
light arrays; and the psychological effect of starting one’s festival day on a ride called by name instead of a queue called by time. This is music programmed into a theme park’s nervous system - an opportunity for set architecture to converse with the topography of wonder.

The difference between years is also audible in the city’s conversation. In 2024, the vocabulary was debut:

Could Dubai host an event on this scale? Would the crowd arrive? Would the world watch? The record
attendance answer - 185,000 across four days - converted questions into statements, and with conversion came the authority to choose a larger canvas and push further outward into narrative breadth. In 2025, November at Dubai Parks and Resorts is an assertion, not an experiment; the lineup messaging carries the confidence of a city that has claimed its winter festival flag and a promoter that has learned the local tempo.

Beyond the headliners, the aura of “what will be added” is not simply a PR tactic but an honest
description of the seasonal evolution of a modern lineup. First waves plant foundations; second and third
waves complete the superstructure with cross-genre ligaments - Afro-house and amapiano currents flowing alongside melodic techno, regional hip-hop and pop acts complementing global stars, and a dossier of local heroes who can translate the weekend’s vast energies into specifically Emirati modes of celebration.

In 2024, those local and regional accents proved essential to the festival’s flavor, sharpening the sense
that this is not a parachuted import but a dialog with the city. Expect 2025’s reveal cadence to honor that
lesson in the weeks and months between now and gates.

The best lineups do one more thing: they create their own weather inside the head. If one closes the
eyes and runs the weekend’s reel, imagined sequences emerge - the Garrix climax where thousands of
phones rise like a man-made constellation; the Armin passage where melody compresses the chest
until exhale becomes cheer; the Aoki moment when the border between stage and crowd blurs into
giddy ritual. These are not clichés; they’re the reasons people cross oceans with friends, watching the
price ladder and the hotel maps, timing a purchase, sketching a budget into a memory. In 2025, those
reasons are being stitched to a venue where daytime itself is entertainment, and evening is a promise
kept.

To say it plainly, with the clarity demanded of a calendar: 2024 at Expo City Dubai was Chapter One -
its own lineup, its own tone, its own triumphs. 2025 at Dubai Parks and Resorts is Chapter Two,
November 6-9, with Martin Garrix, Armin van Buuren, and Steve Aoki confirmed as the early sentinels
of a weekend that will not look or sound like the debut because it is not meant to; it is meant to feel like
the same story told with more rooms, more bridges, and more sky. The remaining names will come.
The map is already beautiful. And the crowd, city-wide, is learning the path by heart.

Written by Vlad Piriu for AgenturppF

Wiesn Anstich 2025

Der Münchner Oberbürgermeister Dieter Reiter zapft am 20. September 2025 um 12 Uhr das erste Fass im Schottenhamel Festzelt an. Mit den Worten „O`zapft is! Auf eine friedliche Wiesn“ läutet er den offiziellen Beginn des Oktoberfests 2025 ein.

Der größte Star der Welt, Rita Ora, kommen bei Ischgl am 29. November 2025

Am 29. November 2025 zündet Ischgl zum Start in die neue Wintersaison erneut ein spektakuläres Feuerwerk: Beim legendären „Top of the Mountain Opening Concert“ bringt Weltstar Rita Ora mit ihrer unverwechselbaren Power die Tiroler Berge zum Leuchten und sorgt für ein Opening, das unvergesslich bleibt.

Seit drei Jahrzehnten schreibt Ischgl Musikgeschichte: Wo sonst könnten Wintersport und Entertainment so eindrucksvoll verschmelzen, wenn absolute Weltstars alljährlich die Bühne erobern und das Skigebiet in eine glitzernde internationale Musikmetropole verwandeln? Am 29. November 2025 zündet Ischgl zum Start in die neue Wintersaison erneut ein spektakuläres Feuerwerk: Beim legendären „Top of the Mountain Opening Concert“ bringt Weltstar Rita Ora mit ihrer unverwechselbaren Power die Tiroler Berge zum Leuchten und sorgt für ein Opening, das unvergesslich bleibt.