André Tanneberger, better known worldwide by his stage name ATB, is a German DJ and record producer born on February 26, 1973, in Freiberg, in what was then East Germany, who has spent more than three decades at the center of European trance and dance music, according to Wikipedia’s entry on ATB. He began recording and performing years before his best-known work under the ATB name, building a career that runs from small regional dance-pop releases in the early 1990s through to arena-scale festival headline slots decades later. This profile covers Tanneberger’s income and reputation built specifically through his ATB persona and adjacent production and touring work, which forms the entirety of his public music career.

Tanneberger’s professional recording career started in February 1993 with the dance project Sequential One, known as SQ-1, whose debut single “Let Me Hear You” gave him his first credited release, according to Wikipedia’s biography of ATB. Sequential One expanded into a full band lineup and released two albums, Dance in 1995 and a follow-up, Energy, distributed across the Netherlands, Austria, Switzerland and Hungary, before the project dissolved in 1999 as members departed. Rather than treating that dissolution as a setback, Tanneberger used it as the transition point into a solo identity, carrying the production skills and club-circuit relationships he had built with Sequential One directly into what became the ATB project.

In 1998, Tanneberger launched his solo ATB project and released “9 PM (Till I Come)” as its first single, a track built around a synthesized slide-guitar riff that became his signature sound and, according to Wikipedia’s chart history for “9 PM (Till I Come)”, became the first trance record to reach number one on the UK Singles Chart, where it debuted at the top spot in June 1999 and held it for two weeks. The single also topped the Irish Singles Chart for four consecutive weeks and finished as the United Kingdom’s fifth-best-selling single of 1999 overall, an unusually large mainstream breakout for a trance record in a chart era dominated by pop and R&B. That single breakthrough established Tanneberger as a commercial force rather than a regional club producer, and it remains the reference point against which the rest of his catalog is measured.

“9 PM (Till I Come)” went on to be certified double Platinum in the UK on sales of more than 890,000 copies, alongside Platinum certification in Australia for 70,000 units and in Sweden for 30,000 units, and Gold certification in New Zealand and Norway, according to Wikipedia’s certification data for the single. Tanneberger built on that breakout with a genuinely prolific album career, releasing ten studio albums under the ATB name between 1999 and 2017, including Movin’ Melodies, a project he wrote, produced, arranged and engineered entirely himself and which was certified Silver in the UK for 60,000 shipments, according to Wikipedia’s entry on Movin’ Melodies. His second album, Two Worlds, released in November 2000 as an ambitious two-disc concept record split between uptempo and ambient material, featured guest collaborators including Heather Nova and Roberta Carter Harrison of Wild Strawberries and charted across Germany, the UK independent chart and both the US Heatseekers and Independent Albums charts, according to Wikipedia’s entry on Two Worlds.

Tanneberger’s standing among his peers and in the trade press has been formally measured for years by DJ Magazine’s global rankings, where ATB placed number 11 in both 2009 and 2010 and number 15 in 2011, and he was separately named the world’s number one DJ by The DJ List in 2011, according to Wikipedia’s biography of ATB. TheRichest’s profile of Tanneberger describes “9pm (Till I Come)” as “widely recognized as the first Trance #1,” a framing that captures why his recognition has outlasted a single hit single, according to TheRichest’s profile of Andre Tanneberger. Unlike many one-off dance-chart entries of the same era, ATB’s continued album output and rankings placement through the following decade kept him inside the genre’s recognized upper tier well past his breakout year.

Unlike touring pop or hip-hop acts with extensive consumer brand portfolios, Tanneberger’s public sponsorship footprint is not well documented in available reporting. His own official site lists his current music output and streaming partners including Spotify, Apple Music and Amazon Music, and his social channels, but no dedicated equipment, apparel or beverage endorsement deal, according to his official ATB website. His clearest commercial “endorsement” relationship is structural rather than promotional: his decades-long label partnership with Kontor Records, and later Positiva Records within Universal Music Group for the 2021 “Your Love (9PM)” remake, functions as his primary ongoing commercial backing rather than a separate sponsorship arrangement. That is consistent with much of the trance scene of his generation, where festival booking fees and label advances, not brand campaigns, have historically been the main revenue channel for touring producers of his era.

For nearly the entirety of his recording career, Tanneberger’s commercial infrastructure has run through Kontor Records, the Hamburg label founded in 1996 by Jens Thele that built its business on, in Thele’s words, “long-term artist relationships and development, always looking to create album projects,” and whose roster alongside ATB includes Tiësto, Armin van Buuren and Scooter, according to Wikipedia’s entry on Kontor Records. That relationship gave Tanneberger a stable, majority-owned label home, Kontor is 66.79% owned by Edel SE & Co. KGaA, rather than the shifting one-off distribution deals many electronic producers rely on, while the 2021 “Your Love (9PM)” remake with Topic and A7S instead moved through Positiva Records within Universal Music Group, according to Wikipedia’s biography of ATB. Tanneberger has also kept releasing new original singles well into the 2020s, including tracks such as “Believe In Love,” “Future City” and “That Feeling” distributed through Universal Music Group and the Dreamstate/Selected imprint, according to his own official ATB website, evidence of an active, ongoing release business rather than a legacy artist coasting on catalog royalties. Beyond label relationships, he has run ATB in Concert as his own self-branded touring format, keeping the series largely in Eastern Europe before expanding it to United States dates in Los Angeles, San Francisco, Chicago and New York City, a self-produced show format rather than a standard promoter support slot.

There is no reliable public record of Tanneberger’s personal residence, real estate holdings or other major physical assets. Neither the celebrity financial profiles that estimate his overall net worth nor his own biography break out property ownership, and no credible outlet appears to have reported on a home purchase, sale or address associated with him, according to Celebrity Net Worth’s profile of Andre Tanneberger. That is a meaningful gap compared with the level of property reporting available for many mainstream touring artists, and it should be read as an absence of documentation rather than evidence about the actual scale of his holdings.