Twelve tracks. Two records. Four sides of vinyl that turn a decade of Tomorrowland’s biggest anthems into something you can actually hold.

Vinyl One

Side A opens with “Reload,” the Sebastian Ingrosso, Tommy Trash, and John Martin classic rebuilt around a full string section instead of a synth stab. Then “All That Matters,” Kölsch’s cut with Troels Abrahamsen’s vocal and the ARTBAT touch woven through it. “Grey” closes the side, Kölsch again, no features this time, just the orchestra leaning into his own catalog.

Flip it. Side B. “Universal Nation,” Push’s trance cornerstone, gets the kind of treatment that makes a two decade old record sound like it was written for a hundred piece ensemble. “Ringo” follows, Joris Voorn’s contribution. Then “When Love Takes Over” closes things out, David Guetta and Kelly Rowland, one of the biggest crossover pop moments dance music ever produced, now running through strings and brass instead of a drop.

Vinyl Two

Record two starts heavier. Side C: “Insomnia.” Faithless. Arguably the most recognizable electronic anthem that exists, period, and the orchestra doesn’t try to reinvent it, just lets it breathe at a different scale. “Shivers” follows, Armin van Buuren’s entry. “Mammoth” closes the side, Dimitri Vegas & Like Mike with MOGUAI, a track that’s basically synonymous with mainstage pyro, reworked into something that would sound just as at home in a concert hall.

Side D. “Years,” Alesso and Matthew Koma. “In My Mind,” the Ivan Gough, Feenixpawl, Georgi Kay, and Axwell collaboration, one of the more emotionally loaded reworks on the whole record. And closing the set, closing the album, closing the entire project: “Don’t You Worry Child,” Swedish House Mafia and John Martin, maybe the single most tattooed lyric in festival history, now with an actual orchestra behind it instead of an acapella and a build.

The Orchestra Behind It

Kevin Houben conducts. Fifty musicians, give or take, strings and brass and percussion arranged by Marcel Kaper and Hugo Tromp. The digital version of Orchestral Selection I landed back on April 3, the physical vinyl and CD pressing followed at the end of August, timed almost perfectly with a summer that saw Symphony of Unity’s live show, Horizon, debut across both Tomorrowland weekends on the Freedom Stage.

Verona Is Next

Then Verona. September 25, Arena di Verona, a two thousand year old Roman amphitheater hosting fifty musicians reworking Swedish House Mafia and Faithless under the stars. Tickets are already down to their last allotment. A Roman arena built before electricity existed, staging a genre that couldn’t exist without it. That contrast is the whole pitch.