Yet for all the greatness found tucked away in these smaller stages, here’s the rub for the festival that originated in Belgium 10 years ago and, unfortunately, reflects a prevailing trend in electronic music: the main stage at TomorrowWorld 2014 was primarily a tragic example of pure laziness in EDM.

With the masses drinking the overhyped EDM Kool-Aid and spending copious amounts of cash getting wasted and searching everywhere for “molly” (because numerous tracks tell us that’s cool), no one seems to care that they are now part of this great big marketing machine. As demonstrated at the other stages, there’s a whole plethora of amazing music out there; you just have to scratch the surface and find it on your own.

If people are going to travel across the country to the middle of nowhere in Georgia, headliners shouldn’t play tracks the DJ right before them played. Is it too hard to show up an hour early to check in and do a little research?

DJ sets used to be about breaking records and educating the audience, not regurgitating the same thing over and over again. Festivals were a breeding ground to introduce the crowd to a series of never-before-heard beats, while throwing in the classics to hold it together, sometimes with a sweet new take on the familiar. Today, we hear the same remixes of the same songs repeatedly, not so different from a programmed pop radio playlist. Sure, it’s easy, comfortable, and a great way for DJs to collect a massive paycheck, but something has to change.

Take Morgan Page’s set, for example. I used to be a fan, I had “The Longest Road” in heavy rotation. I don’t mean to single Page out; what I’m about to say can be applied to almost any DJ/producer that now has their face pasted up on billboards. At this point, the majority of seasoned clubbers get that DJs in the major metropolitan megaclubs have to cheese it up for the bottle buyers (because they’re the ones bringing in upwards of six figures a night), but this is a festival. A main stage headliner can pretty much do whatever they want, and the kids with their cell phones held high will eat it up. They could probably play some Bach with a bass line, and people would go crazy (I’d prefer that, actually). So why did Page bang out just another predictable build-and-drop set at 4 in the afternoon? If his name weren’t on the big screen, I wouldn’t have believed he was the one I was hearing. He used to make beautiful tracks; I just about lost it when he threw in some trap and formulaic remixes of his classics. Mr. Page, I feel like I don’t know you anymore.