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It’s time once again to rewind the clock and fire up your favorite dance memories with Volume 6 of our BackSpin series, spotlighting the electric surge of Electro House and other club-defining hits from the early millennium. This installment zeroes in on 2009–2010—two powerhouse years that marked a massive turning point for electronic dance music and the global club scene.



By this point, the shimmering dominance of the big room anthems helmed by remix legends like Thunderpuss, Hex Hector, and Victor Calderone had begun to fade. Their reign throughout the late '90s and early 2000s had set the standard for peak-hour energy, but by 2009, a new breed of producers began rewriting the rulebook.



The Electro House Revolution



This was the moment when Electro House officially took center stage. David Guetta broke into the U.S. mainstream and never looked back, while the Swedish House Mafia began building their empire brick by brick. Artists like Bimbo Jones, Jody den Broeder, Wideboys, Jump Smokers, Mike Rizzo, and Wawa steadily made names for themselves by turning pop into gold—remixing everything from the obvious club fodder to unexpected chart-toppers. Their influence was unmistakable. If their names were attached to a remix, you knew you were in for something massive.



What made this shift so monumental is that the remixers became just as famous—if not more so—than the original artists. Guetta and Swedish House Mafia didn’t just fill clubs; they packed stadiums and headlined the very festivals that were just beginning to explode in North America. Electronic music wasn’t just for the underground anymore—it was pop.



Commercial Kings of the Club Charts



Yet, while Guetta and SHM were scaling the highest heights, others carved out their own niche—less flashy but no less effective. Remix powerhouses like Cahill, Moto Blanco, and Dave Audé were hitting hard and consistently. Their mixes dominated Billboard's Dance Club charts and brought just the right balance of commercial accessibility and dancefloor credibility.



Moto Blanco leaned heavily into Disco House—reinventing the genre with crisp, soulful vocals over chugging basslines and glittery synths. Meanwhile, Cahill and Dave Audé turned pop tracks into pure club fuel, often elevating songs far beyond their original versions. These guys weren’t interested in the spotlight—they were all about the sound. And club DJs and promoters knew: if you needed a floor-filler, you grabbed a remix from one of them.



Pop Royalty Ascends



This stretch also marked a major shift in pop culture, with a new generation of women dominating both the charts and the dancefloor. Rihanna was rising like a phoenix,