Lost Frequencies

A SoundCloud remix and the chart that followed

Félix De Laet was born in Brussels on 30 November 1993 and was barely out of his teens when he began posting edits under the name Lost Frequencies. The one that mattered was a remix of 'Are You with Me', a country song by the American singer Easton Corbin. He stripped it to a guitar figure over a slow house pulse, put it on SoundCloud, and was picked up and signed off the back of it. It went to number one on Belgium's Ultratop chart on 15 November 2014 and worked its way across Europe and Australia through 2015, topping the charts in eighteen countries. It also made him the first Belgian artist to reach number one on the British singles chart.

That record set both the template and the problem. The sound it established — deep and tropical house with a folk instrument somewhere near the front, and almost always a guest vocal — is the one he has worked ever since, and the thing critics have pushed back on. He built his own imprint, Found Frequencies, in partnership with Armada Music, which gave him a home for the club-facing material while the pop singles went out through the majors.

Three albums, and a catalogue that belongs to its singers

The first album, 'Less Is More', arrived in 2016 and was shortlisted for IMPALA's Album of the Year; the same year brought Echo awards in Germany. 'Alive and Feeling Fine' followed in 2019. Neither made much dent as an album, which was already the pattern: the singles travelled and the long-players did not.

'All Stand Together', the third, came out on 11 November 2023 through Lost & Cie, Epic Amsterdam and Sony Music Belgium — twelve tracks, thirty-five minutes and forty-two seconds, with guest slots for Zak Abel, Tom Gregory, Bastille and Netsky. It was assembled from singles released over two and a half years: 'Where Are You Now' with Calum Scott in July 2021, 'Questions' with James Arthur in June 2022, 'Back to You' with Elley Duhé and X Ambassadors in December 2022, 'The Feeling' in June 2023, 'Dive' with Tom Gregory in September 2023, and 'Head Down' with Bastille that December.

The asymmetry between the parts and the whole is stark. The album peaked at 19 on the UK Dance Albums chart, 26 in Flanders and 29 in Switzerland, and earned gold certification in Canada and double platinum in Hungary and Poland. 'Where Are You Now' on its own reached number three in the UK, number one in Ireland and number five in Germany, passed 1.7 billion streams, and brought a BRIT Award nomination in 2023. De Laet is a singles artist whose albums are containers, and the records that carry his name furthest are the ones somebody else sings.

A deliberately slower 2025

He finished 2025 at No. 19 in DJ Mag's Top 100 DJs, one place up on his 2024 position and two short of the No. 17 peak he hit in 2018 — stable rather than climbing, in a poll where stability at that altitude is the harder trick. Speaking to the poll he framed the year around balance between work and everything else, and described the aim as pushing at the edges of the music while staying inside his own world.

The touring went wide: North America, the Far East, Lebanon and Morocco. The releases moved sideways rather than forwards — 'Sweet Disposition (a moment, a love)', 'Listen To Me', 'Dance In The Sunlight' and its deluxe edit, and 'Summer Skies' with Argy and rhys from the sticks. That last one is the interesting one, because Argy pulls towards the slower, darker melodic house that has taken over the big European rooms, and it is the clearest signal yet of where De Laet would like the sound to sit.

The other thing 2025 produced was a show. On 21 March he premiered a new solo production at the Roundhouse in Camden to a sold-out room of 3,000, with a new stage design and visuals built for the run. It was the first time the touring set had been treated as a piece of staging rather than a DJ booth with screens behind it.

2026: singles, no album

This year has produced three singles and no announced fourth album: 'So Much Beauty (Around Us)', 'Live It All', and 'Paraiso', which landed on 4 September 2026 and is the most recent release under the name. There has been no album campaign attached to any of them, which fits an artist whose last record was a singles compilation in all but name.

Two of the year's releases are recordings of sets rather than studio work — the Tomorrowland Winter mainstage mix from Alpe d'Huez on 25 March 2026, and the Tomorrowland Belgium Weekend 2 mainstage mix from 26 July. Releasing the festival sets commercially is a fair indication of where the centre of gravity now is. On the promotional numbers circulated in October 2025 he was at 22.5 million monthly Spotify listeners and more than 20 billion career streams.

The diary

Ibiza took five dates across the 2026 season, and the split between them says something about his standing. Three were at Pacha on Sonny Fodera's night — 1 June, 13 July and 14 September, on a 23:00 to 06:00 billing — and two were daytime-into-evening slots at Ushuaïa, on Martin Garrix's opening party on 2 July and on David Guetta's F*** Me I'm Famous on 3 August. He is a name that sells those rooms out without being the name on the poster.

The rest of the year is scattered: Quito on 29 August, the Glücksgefühle festival at Hockenheim in the first week of September, Duplex in Prague on 12 September. Ahead lie Bohemia at Five Palm Jumeirah in Dubai on 3 October, Exposition Park in Los Angeles on 23 October, LIV in Miami Beach on 31 October, and — already on sale a long way out — the Arena in Pula, Croatia on 13 August 2027. He has headlined Tomorrowland, Coachella, Lollapalooza and Creamfields.

The headline room

The solo show that began at the Roundhouse went back to Britain in January 2026, with Albert Hall in Manchester on the 23rd and O2 Academy Brixton on the 24th, promoted by Labyrinth Events. Both are rooms in the two-to-five-thousand range — a deliberate step down in scale from the festival stages, and a bet that the production reads better in a hall than on a field.

De Laet's own line on the UK run was about the crowd rather than the show: that the connection with British audiences is unusual, that the energy is there every time, and that Albert Hall and Brixton would be among the larger moments of the tour. No published press reviews of either night have surfaced, which is itself typical — the touring end of this career is covered by ticketing and trade sites rather than by critics.