He predicts that music trends in Hong Kong will follow those in the US: "It will not be long before we see a full integration of dance music into leading Hong Kong pop acts."

The impressive line-up is a point of pride for Wang and his team. They claim that none of the headliners has ever appeared in Hong Kong before. They are especially pleased that Alesso will be appearing.

Like many of the big electronic music producers, Alesso, who is only 23, hails from Sweden. Alesso, whose real name is Alessandro Lindblad, will be a familiar presence to most dance music fans. He performed a few dates on Madonna's MDNA tour and has headlined many of the US' largest festivals, including Coachella, Tomorrowland and the Electric Daisy Carnival. He has partnered with or remixed the biggest names in the business, from Avicci to David Guetta and Swedish House Mafia.

Even so, he expressed some concern over the future of dance music in an interview with the dance music website beatportal.com last year.

"I don't know if dance music can get any bigger than it already is in some countries. For example, in the US, it's massive right now." Still, he doesn't think dance music is going away any time soon; he sees a future shaped by increasingly discerning fans who are willing to demand more from their favourite DJs and producers.

Alesso predicts that the days when any kid with a love of house music and some music editing software on his laptop (the way Alesso says he got his start) can build up a large following are a thing of the past.

"In the future it's going to be a much tougher scene. Fans nowadays are becoming more and more picky and educated about this type of music, so I think you will have to fight harder to get through with your music."

There's no doubt that EDM is a hot trend in music at the moment, but the scene still has its fair share of detractors. Critics of EDM say the music represents everything that is wrong with youthful society, noting that like the Twitter-obsessed, reality-television-addicted pubescents it caters to, EDM is lacking in subtlety and substance, and peddles bone-shaking rhythms and sentimentality over emotion and craft.

Simplistic to the point of idiocy, they contend EDM is the soundtrack of bottle service, the musical equivalent of a Jaeger bomb. But the musicians and fans aren't listening; they're too busy waiting for the beat to drop.

Electronic music has been a part of global music since the 1970s. A mainly underground movement of DJs and dedicated fans, electronic music largely remained for the most part in dark, sweaty underground clubs. But in the 2000s, the scene exploded globally.

Electronic music acts such as Daft Punk triumphed at massive outdoor festivals in the US, pushing the envelope in terms of staging and theatricality. The sounds and techniques of the electronic underground began to appear in the production of pop and hip hop hits.

Soon, purveyors of overtly commercial dance music such Skrillex, Deadmau5, Tiesto and Avicci, were climbing the charts and pulling in huge amounts of money - according to , Tiesto made US$32 million in 2013 - playing mega-festivals and enjoying sold-out residencies in Las Vegas, the EDM capital of the moment.

Commercial dance music tends to follow a set series of principles: it adheres to the traditional pop music structure of verse-chorus-verse, uses lots of catchy vocal hooks, and favours big, bright and shiny sounds to keep people's attention. Even at its darkest, it tends to be peppy party music. But EDM is just that: dance music intended to give a powerful physical release over an emotional, intellectual one.

Whether Asian fans will take to the music as much as audiences have in Las Vegas and Stockholm remains to be seen. But DJ Revolution is a start.