更注重打动人心的bassline和高潮中的电音中板，同时也成为现代trance恪守的公式，移去了催眠的、重复的、模拟和声的合成模式(anthemic analog synth patterns鬼晓得啥东西)，以及宽厚的衬底。流行元素和和声陪衬使其变得更加普遍。作品延续包含递增量（也就是progressive的结构 （话外音：所以progressive trance被译为激进trance不妥 应该是渐强或者渐进式铺垫的trance为好，其实这点因该在听的时候最易被发现）），有些时候可能会被创作三次。
Though progressive house led the increasingly mainstream-sounding house from the charts back to the dance floors, the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound, since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJs (Oakenfold, Tong, Sasha) and spotlighted in the main rooms of Britain's largest clubs (Gatecrasher, Cream, Ministry of Sound, Home). Though progressive trance producers rarely focused on much more than getting their singles on Tong's radio show or Sasha's latest mix album, a few acts (most notably, Paul Van Dyk and Hybrid) soon began translating the sound into the full-length realm.