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Framework Welcomes Innervisions in a Rare, Mesmerizing West Coast Celebration

Framework will celebrate two decades of one of electronic music’s most visionary collectives this fall. They will present Innervisions’ 20-Year Anniversary at The Dock at The Historic Sears Building on Saturday, September 13, 2025, in downtown Los Angeles. It marks only the second-ever full Innervisions label event in LA — a rare moment for underground music fans on the West Coast.
Leading the night are Âme (DJ) and Dixon, co-founders of Innervisions and two of the most influential tastemakers of the 21st century. Joining them are frequent label collaborator Jimi Jules, Brooklyn’s rising experimental force Julya Karma, and genre-defying Portuguese producer Trikk.
Though this is the first official collaboration between Framework and Innervisions, the connection runs deep. Framework has hosted Âme across some of their most iconic stages. This includes Paradise in the Park at Pershing Square (2021), The Shrine with Black Coffee (2021). As well as a b2b with Trikk at Sound Nightclub (2024). Dixon has been a fixture at events like Coachella’s Yuma Tent (2022), Framework In The Desert (2022), and multiple editions of 7 Days of Framework at both Sound and Zenyara, including his standout b2b with Jimi Jules in 2025. Jules has also delivered solo sets at Sound (2023) and returned to Zenyara in 2025, cementing his presence within both the label and the Framework fold.
Framework Innervisions Heads to The Dock at The Historic Sears Building
The venue, The Dock at The Historic Sears Building, adds a layer of excitement to the notable event. This iconic nine-story Art Deco landmark was reactivated in 2024 and quickly earned buzz after a sold-out Dom Dolla event. Its unique industrial structure and downtown location create an atmospheric setting for a night steeped in legacy and forward-thinking sound. The space blends historic architecture with raw, warehouse-style openness — ideal for the immersive, multi-sensory experiences Innervisions is known for curating.
Founded in Berlin in 2005, Innervisions shaped the deeper, more emotional spectrum of house and techno. With landmark releases like “Rej” by Âme and music from artists like Henrik Schwarz, Frankey & Sandrino, and Agoria, the label pushed genre boundaries and built a fiercely loyal global community. Their “Muting the Noise” platform helped revolutionize artist-first distribution and vinyl culture, setting new standards for independent electronic labels.
The anniversary show joins a stacked Framework summer lineup, featuring:
Mathame: NEO (June 20) Purple Disco Machine (June 28) Chris Stussy (July 19–20) Hot Since 82 (Open to Close) (July 26) Flight Facilities (DJ Set) (August 9) Pre-sale began Thursday, June 19 at 10am PT with General on-sale follows at 12pm PT.
The post Framework Welcomes Innervisions in a Rare, Mesmerizing West Coast Celebration appeared first on EDMNOMAD.
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Listen to “Somebody Watching Me” by Robert DeLong Feat DEANE

The new Robert DeLong track “Somebody Watching Me” is absolutely captivating! It’s a testament to this genre-defying artist’s unwavering commitment to pushing the boundaries of electronica and tech. Fifteen years after his groundbreaking debut with “Global Concepts,” DeLong continues to set the standard in his field. In an exciting move, he recently released the deluxe edition of his 2024 album “PLAYLIST of DOOM,” almost entirely crafted in the freedom of his home studio—free from label pressures, A&R restrictions, and outside producers. This deluxe edition, “PLAYLIST of DOOM: After DARK,” chiefly reveals DeLong at his most authentic and adventurous, showcasing a rawness and creativity that feels truly groundbreaking.
This is not to suggest that Robert DeLong creates in isolation from his influences and inspirations. On the contrary, his artistic vision is driven by a relentless pursuit of creativity in every aspect of life. Furthermore, as an artist with a proven track record of longevity, he confidently ventures into experimental realms without hesitation. Collaborating with frequent partner DEANE on “Somebody Watching Me” allows DeLong to boldly traverse the landscape of pop legends, crafting a soundscape that feels equally familiar and strikingly authentic.
Speaking on “Somebody Watching Me“…
Robert’s creative streak extends far beyond music; he masterfully navigates the world of visual art also. Likewise, his fusion of contemporary methods with classic techniques creates a rich tapestry of imagery that evokes the nostalgia of the 80s. The result overall, is an engaging visual experience that captivates the viewer and transports them to a different era.
Robert DeLong’s music showcases his dynamic evolution, effortlessly blending electronic, indie, and pop elements. His ability to shapeshift across genres keeps him from settling in one place, making him a compelling force in today’s vibrant music landscape, rich with diverse sub-genres. Above all, this fearless experimentation is key to his continued success in the ever-evolving scene.
“PLAYLIST of DOOM: after DARK” is out now, HERE.
Connect with Robert DeLong
Facebook: https://www.facebook.com/DeLongMusic/
X: https://x.com/DeLongMusic
Instagram:https://www.instagram.com/robertdelong/

Connect with DEANE
Facebook:  https://www.facebook.com/itsdeane
X:  https://x.com/deaneuniverse
Instagram:  https://www.instagram.com/edand/
The post Listen to “Somebody Watching Me” by Robert DeLong Feat DEANE appeared first on EQ Music Blog.
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James Arthur Signs Global Publishing Deal with BMG

Photo Credit: Ed Cooke
BMG announces signing UK singer-songwriter James Arthur to an exclusive publishing agreement, including his recently released PISCES.
BMG has announced signing an exclusive publishing agreement with contemporary UK singer-songwriter James Arthur. Arthur has built a reputation as a powerful storyteller, blending emotion with genre-spanning songwriting, and now boasts over 38 million monthly listeners on Spotify.
The new deal includes his most personal and ambitious project to date, the recently released PISCES. Building on his November 2024 single, “ADHD,” the album showcases a more experimental sound while remaining true to his signature emotional depth.
“James Arthur is an exceptional talent whose songwriting resonates deeply with audiences worldwide,” said Lisa Cullington, Vice President, Creative, Publishing, BMG. “We’re thrilled to be working closely together on James’ creative journey moving forward and we are very proud to welcome him to the BMG roster.”
“I’m delighted to be joining BMG and look forward to working with Lisa Cullington and all the team,” said Arthur.
The deal marks another significant signing for BMG in the UK, which continues to expand its roster of distinctive and globally recognized talent. These include names like Mick Jagger, Keith Richards, Lenny Kravitz, George Ezra, CMAT, and Kamille.
Founded in 2008, BMG aimed to reimagine the relationship between music companies, songwriters, and artists by offering fairer contracts, greater creative freedom, and transparency in royalties and licensing. Now the fourth-largest music company in the world, BMG combines human creativity with the latest technology to connect music with global audiences.
With 20 offices across 13 key markets, BMG represents more than three million songs and recordings, including some of the most recognizable catalogs and works from leading artists and songwriters. These include The Rolling Stones, Tina Turner, George Harrison, and Blondie.
BMG is wholly owned and privately held by the international media, services, and educational company, Bertelsmann. Their other content businesses include entertainment company RTL Group and the trade publisher Penguin Random House.
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South Korean Government Drops the Hammer on Top K-Pop Agencies Following Subcontractor Abuses

Photo Credit: Korea Fair Trade Commission by Minseong Kim / CC by 4.0
South Korea’s Fair Trade Commission reaches an agreement with major K-pop agencies over subcontractor violations.
Today, the Korean Fair Trade Commission (KFTC) has announced the finalization and implementation of a consent decree with five major entertainment companies—Hybe, SM Entertainment, YG Entertainment, JYP Entertainment, and Starship Entertainment—over their violations of the country’s subcontracting act.
The investigation began in July 2023, and found that these companies failed to issue written contracts in advance or issued them late for services like album, merch, and video content production, as well as performance-related work.
To resolve the matter, the five companies applied for a consent decree between April and May 2024, proposing self-correction measures. The KFTC accepted the initiation of the consent decree process on December 2, 2024. Following a period of public comment between February 4 to March 21 this year, the final consent decree was approved on June 9.
Key provisions of the consent decree include:
Improving Transaction Practices:
Developing and distributing standard and provisional contract templates Introducing electronic contract systems and improving internal contract management systems Publishing subcontracting transaction guidelines on their websites and providing them to subcontractors Preventing Recurrence:
Providing mandatory subcontracting law education for employees Supporting Subcontractors:
Contributing a total of 1 billion KRW ($736 million)—200 million KRW ($147 million) per company—to support subcontractors, including providing safety equipment, filming equipment, health check-up subsidies, and legal/accounting consulting. The KFTC believes this consent decree will help establish fair and “win-win” subcontracting practices in the entertainment industry. It also believes this will protect small and medium-sized enterprises that often face unstable transaction relationships due to the fluid nature of the industry.
Notably, this is the first application of the consent decree system in the manufacturing and service subcontracting sectors since its introduction to the South Korean subcontracting act in July 2022. The trade agency says it will continue to monitor the entertainment companies’ compliance with the decree.
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Event Review: Saturday Social x Decoded Magazine Boat Party

It all kicked off, as these things often do, at the bar. Not on the Gold Coast, but at Sydney Airport, where the Decoded Magazine crew assembled with espresso martinis in hand and mischief in mind. Spirits were high. The plan? A wild 24-hour detour north to celebrate 11 years of Decoded in proper underground style, on a boat, at golden hour, with a driving soundtrack and a few dozen of the friendliest dancefloor heads you could hope to meet.
Fast forward a few hours, and the scene couldn’t have been more perfect. Glassy, still waters. No breeze. Not even a ripple. The Gold Coast skyline sat quietly in the background, while the sun melted into the hinterlands like a postcard from another planet. We boarded, drinks were in hand, and within moments, the decks began to hum.
Saturday Social, for those unfamiliar, is a boutique party series run by local legend Graham Dunn. Known for its discerning bookings and tight-knit crowd, it’s built a loyal following off the back of proper tunes and zero pretension. Pair that with Decoded Magazine’s decade-plus commitment to quality electronic music, and you’ve got a recipe for something a bit special.
The vibe? Intimate, effortlessly warm, and disarmingly friendly. This wasn’t a big-name headline grabber or influencer showcase. It was a family affair. Strangers felt like old friends, the drinks flowed freely, and the dancefloor buzzed with a sense of genuine community. It’s rare to find that sweet spot between low-key and unforgettable, but this was exactly that.
Giggs & Krafta opened with a beautifully paced blend of deep, melodic house and progressive textures, setting the tone with real finesse. Their selections shimmered in the dying light, each track given room to breathe and build as the boat drifted toward twilight. A perfect warm-up for what came next.
Enter Damion Pell, Decoded’s Editor and no stranger to the booth. With a nod to London’s underground, his set flexed across genres while staying firmly rooted in groove. He kicked off with a breaks-heavy intro of ID – ID, moved confidently into a rework of The Chemical Brothers’ Out of Control, and then delivered Aubrey Fry’s emotive Now! 1987 to a knowing crowd reaction. By the time Oxia’s Domino dropped, we were locked in. It was the kind of set that didn’t need to shout. It just flowed, with class, control, and decades of experience behind it.
Closing duties went to the man himself, Graham Dunn, whose set stitched together the final hours with warm, uplifting progressive house, sending us out on a high. Hands in the air, hugs on the deck, eyes on the horizon. This was a masterclass in pacing and vibe, equal parts celebration and comedown, all in the same breath.
And then, suddenly, it was over.
Well, almost. The afterparty happened. The kind of afterparty that doesn’t get written about. The kind that ends with barefoot walks along the beach at sunrise, takeaway coffees, and the occasional “did that actually happen?” nod exchanged over bleary eyes.
In the end, the Saturday Social x Decoded boat party wasn’t about big names or big numbers. It was about connection, between friends, music, and the place we call home. A perfect way to mark 11 years of Decoded Magazine, and a timely reminder that some of the best parties don’t need hype.
We’ll be back.
The post Event Review: Saturday Social x Decoded Magazine Boat Party appeared first on Decoded Magazine.
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Songwriters Guild of America and Society of Composers & Lyricists File Brief in High-Stakes Copyright Termination Case

New Orleans’ John Minor Wisdom U.S. Courthouse. Photo Credit: Bobak Ha’Eri
Do U.S. copyright terminations extend to international markets? The Society of Composers & Lyricists and the Songwriters Guild of America believe so, and they’re weighing in on a high-stakes case revolving around the important question.
The mentioned organizations (and a few others operating outside the music space) explained their position in an amicus brief supporting “Double Shot (Of My Baby’s Love)” songwriter Cyril Vetter.
Back in February, Vetter scored a massive legal win when a federal court ruled that he could reclaim the rights to the noted 1963 work in all territories. As many know, Section 203 of the Copyright Act is said to enable rights-transfer terminations on non-work-for-hire creations 35 years after the fact.
Consequently, a number of legacy acts – most recently Salt-n-Pepa – have moved to capitalize with related notices and assume ownership of their IP. Especially in an industry where the hits of yesteryear remain commercially prominent, labels and publishers aren’t wild about copyright terminations, to put it mildly.
And the February ruling kicked things up a notch by determining that stateside copyright terminations extend not just to the U.S., of course, but to rights assigned globally. Unsurprisingly, the company (Resnik Music Group) on the opposite side of the far-reaching ruling promptly appealed.
Enter the initially highlighted comments from the Society of Composers & Lyricists and the Songwriters Guild of America, which are of the belief that the worldwide-termination “interpretation protects authors.”
“Granting authors the broadest possible termination right, unlimited in geographical scope, is consistent with the Constitution, the statutory text of sections 203 and 304, and the intent of the Framers and of Congress,” they wrote.
In support of the stance – which covers several angles across 25 detailed pages – the organizations pointed first to lawmakers’ original intent.
“If Congress intended to limit reversion to exploitation in the United States,” they indicated, “surely Congress would have said so explicitly as it did when it excluded derivative works and works made for hire. But Congress did not do so.”
Furthermore, confining terminations to the States would create “a loophole large enough to drive a truck through,” per the entities, referring to “copies legally manufactured abroad and imported into the United States to compete with those authorized by the author.”
That, the Songwriters Guild of America and others penned, “would eviscerate the terminating author’s exclusive domestic rights.” Moreover, as the nonprofits see things, “savvy publishers” would easily exploit the loophole by importing lawful international exploitations into the States.
“Now the American market – meant to belong exclusively to the author who exercises their termination right – becomes a free-for-all of competing grey market import copies,” they spelled out.
Lastly, while non-exploitation isn’t too much of a factor in the music world, affirming the prior ruling on international recaptures would allow “an author to take back rights from a publisher who, though having received them, has chosen not to exploit them, leaving the work to languish,” the filing parties communicated.
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Bobby Sherman, Teen Heartthrob of the Late ‘60s and Early ‘70s, Passes Away at 81

Photo Credit: ABC Television, 1971
Bobby Sherman, a teen idol of the late ‘60s and early ‘70s who also rose to fame as a TV actor, has passed away at age 81.
Bobby Sherman’s slew of hit songs in the late 1960s and early 1970s left teens swooning as an early king of pop. His rise to fame saw him star on the TV sitcom “Here Come the Brides.” Sherman passed away on June 24 at his Los Angeles home. He was 81.
His death was confirmed by his son, Tyler Sherman, though a cause of death was not disclosed. However, Sherman’s wife, Brigitte Poublon, shared on Facebook back in March that he had been diagnosed with Stage 4 cancer. The specific type of cancer was not revealed.
From 1968 to 1970, Sherman co-starred as Jeremy Bolt on the TV sitcom “Here Come the Brides,” a Western set in Seattle during the logging boom. The plot involved logging executives deciding to recruit marriageable women to help stave off loneliness among the town’s lumberjacks.
But his work in television led to an even more successful career in music, beginning with a stream of hits in 1969, including “Little Woman,” “La La La (If I Had You),” “Easy Come, Easy Go,” “Julie, Do Ya Love Me,” and “Cried Like a Baby.” These catchy pop hits led to his nickname of Bubblegum Bobby—a reference to the bubblegum pop genre that was in full swing.
At the peak of his career, Sherman’s face was everywhere—on posters, T-shirts, cereal boxes, lunchboxes, and everything in between. His fans were so intensely eager that after one musical performance, Sherman told The Los Angeles Times that he rode away in a hearse while fans trailed a decoy limousine.
The son of a milkman, Sherman grew up in Hollywood and had been trying (without success) to break into show business. At 21, a date invited him to a cast party for then-soon-to-be-released 1965 biblical epic, “The Greatest Story Ever Told.” Hosted by actor Sal Mineo at his beach house, the gathering drew many of Hollywood’s elite—and entertainment provided by members of Sherman’s old high school band. As they needed a singer, Sherman ended up joining them on stage for a number.
That impromptu performance caught the attention of stars Natalie Wood and Jane Fonda, who, alongside Mineo, approached him at the end of the song. One of them remarked, “You’re very good. Who’s handling you?” Sherman, who had no management and lacked experience, did not understand the question.
Soon after, he received a phone call from an agent, and became a house singer on the variety show, “Shindig!,” and began making guest appearances on other programs, like as “The Monkees,” and an episode of “The Partridge Family.”
His time in television was relatively short-lived, but Sherman revealed that he was not entirely sorry to pivot away from the screen. Indeed, the rapid ascent of his fame as a pop star left him feeling relieved when it finally began to wane. He told The Washington Post that he had started to see his career as “a conglomerate of fast-thinking and wheeler-dealer kinds of people,” who capitalized on the excitement of his teen fans.
After marrying and having two children, Sherman pivoted professionally yet again, devoting his career to emergency medicine. His interest in the field was piqued after taking a Red Cross class to learn how to help his sons if they became injured. Sherman received his certification as an EMT and delivered at least five babies, in addition to other work as a medic. This included instructing police academy trainees at the Los Angeles Police Department in first aid and CPR.
His last onstage act took place in the ‘90s, when he joined Peter Noone (Herman’s Hermits) and Davy Jones (The Monkees) on a nostalgic “Teen Idols” tour.
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Majed's Worst DJ Debut Nightmare Turned Into a Career-Launching Festival Breakout

Majed's transition from social media star to festival DJ began with a USB drive that decided to quit the moment he took the stage, proving that sometimes your worst nightmare becomes your origin story.
With 14 million followers across TikTok and Instagram, the popular content creator is now pursuing a career as a DJ and electronic music producer. His pivot reads like a particularly anxiety-inducing episode of The Bear, complete with technical disasters and existential dread.
After weeks preparing for his first-ever festival performance, a DJ set at ILLfest in Austin, the "Live Music Capital of the World," a USB malfunction transformed his carefully curated set into confetti—not the fun kind. The situation recalls every nightmare scenario where technology betrays you at the worst possible instant.
"All I wanted was to literally get up, go back to my hotel room, crawl into a hole and never do this ever again," Majed said of the moment he realized both his USB and backup drive were corrupted. "It was actually traumatizing. It was really bad."
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Majed, however, managed to flip the script of this DJ disaster story, a tale as old as time. While he mentally composed his retirement speech, festival-goers flocked to his stage in droves.
Using whatever random tracks that happened to remain on his thumb drive, Majed winged it and ultimately drew the stage's biggest crowd of the weekend, his publicity team tells us. ILLfest's organizers took notice, extending a mainstage invitation for next year. 
He's proof that sometimes our best performances emerge from our worst fears. There's something poetic about succeeding precisely when you're convinced you've failed spectacularly.
We caught up with Majed about his experience at ILLfest and his foray into the electronic music scene.
EDM.com: Your journey from learning to DJ to playing a festival stage is remarkably fast. What’s been the hardest part of the pivot?
Majed: Honestly? Learning to trust myself. I built this massive world online where I control everything—angles, cuts, captions. But standing in front of real people, it’s raw. There’s no “retry.” That shift from curating moments to living them live… it broke my brain at first. But it also reminded me I’m a performer, not just a creator.
EDM.com: Many content creators and influencers who transition to music hit a credibility wall. What's the specific moment you realized you'd broken through from "TikTok guy making music" to "artist who happens to use TikTok"?
Majed: It was after my first remix dropped. A bunch of DJs started hitting me up asking for stems—real DJs, not TikTokers. I saw videos of people playing my song in different countries, and none of them tagged me for clout—they were just playing it because they liked the track. That’s when I knew: I wasn’t just being watched. I was being heard.
EDM.com: The music industry is increasingly fragmented, with artists needing to be creators, marketers and performers all at once. How do you prioritize these roles, and what’s one unexpected skill from your content creation days that’s given you an edge as a DJ and producer?
Majed: I’m a story architect. Whether it’s a video or a set, I know how to build tension, when to drop, how to leave people wanting more. TikTok taught me that—you have seconds to earn someone’s trust. I use that instinct now to structure sets, to design music that moves. I don’t separate the roles anymore. Everything’s the stor —I’m just switching mediums.
EDM.com: You've mastered TikTok's feedback loops, but now that you're creating original music, how do you balance what you know will perform well on social media versus what you actually want to say as an artist?
Majed: It’s a war. Some days I want to scream into the void and make nine-minute emotional opuses with zero drums. Other days, I’m like, “Yo… this drop would smack on Reels.” The balance comes from asking one question: Does this feel like me, or just the algorithm version of me? If the answer is “just the algorithm,” I either push it or pivot.
EDM.com: Take us through your mind ahead of ILLfest, your first-ever festival set.
Majed: I thought no one would come. I kept saying that to myself. I even texted my team like, “Let’s just be ready for an empty field.” That fear wasn’t about numbers—it was about being seen for me, not the edited version. But I showed up anyway. The USB crashed. The set glitched. And somehow, it became the most powerful hour of my life.
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EDM.com: You’ve been open about your fears of bombing at ILLfest, yet you drew the biggest crowd at your stage. How has that emotional rollercoaster shaped your confidence as a performer, and what’s one vulnerability you’re still grappling with as you prepare for next year’s mainstage?
Majed: That night rewired something in me. I didn’t win because the set was flawless—I won because I stayed. I kept going. I smiled through the pain. That showed me I have presence, not just followers. But I still struggle with believing I “deserve” the big moments. That little voice saying, “You’re just the guy who reacts to stuff.” I’m working on silencing it.
EDM.com: Thinking back on your experience at ILLfest, what did you learn about the differences between crafting a story online versus curating an arc for a live crowd?
Majed: Online, the story is built in cuts—it's hyper-fast, attention-hacking, twist-ending energy. Live is slower. It’s breath and pacing and silence. I learned you can’t just go viral on stage—you have to connect. It’s not about being “louder”—it’s about being more human. That’s been the biggest lesson: connection always wins.
EDM.com: As you move into this new era, how do you define success for yourself beyond streams and festival bookings? Is there a specific artistic or personal milestone you’re chasing that might surprise your fans?
Majed: I want to build a world where every misfit feels like they belong. Sonically, visually, emotionally. I want to create a show where you walk in and say, “I didn’t know electronic music could feel like this.” Success isn’t numbers. It’s resonance. If one kid cries in the crowd because they finally feel understood, that’s everything.
Follow Majed:
Instagram: instagram.com/theonlymajed
TikTok: tiktok.com/@theonlymajed
Spotify: tinyurl.com/4t52bvs9
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French President Calls For The “French Touch” To Be Recognized By UNESCO

French president Emmanuel Macron has voiced his support for French house music to be recognized by UNESCO as an Intangible Cultural Heritage.
Speaking to France’s Radio FG in a prerecorded interview aired yesterday for the country’s Fête de la Musique celebration,  Macron compared the cultural influence of the “French touch,” the popular term coined for the style of disco-influenced filter house and electro pioneered by artists like Daft Punk, Justice, DJ Mehdi, Cassius, David Guetta, and more, to that of Berlin techno, which was honored on UNESCO’s Intangible Cultural Heritage list in 2023.
“We’re going to do that too,” Macron told Radio FG’s Antoine Baduel, per Resident Advisor. “I love Germany, you know how pro-European I am, but we don’t need any lessons.”
Though he went on to incorrectly call France “the inventors of electro,” Macron underscored his point further: “We have this French touch, these artists, so yes.” 
Addressing the rise of AI music later in the interview, he also emphasized the need for copyright protections, transparency, and a focus on using AI as a tool to support human artists.
Read a recap of Emmanuel Macron’s interview with Radio FG here.
Featured image courtesy: Sony Music Entertainment.
The post French President Calls For The “French Touch” To Be Recognized By UNESCO appeared first on EDM Maniac.
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400+ Call for Firefly Festival’s Return to the East Coast

Photo Credit: Firefly Festival
More than 400 people have signed a petition calling for AEG to bring back the Firefly Music Festival to the woodlands of Dover, Delaware.
Over 400 fans have signed a new petition on change.org, calling on AEG to bring back the Firefly Music Festival to the woodlands of Dover, Delaware. According to signees, the once beloved gathering stood out for its heart and community in a saturated market—qualities they feel are increasingly lacking as other festivals become more commercial.
“The festival scene has changed. Events feel corporate, chaotic, and driven more by profit than passion. We’ve watched too many festivals lose their integrity, becoming less about music and more about money,” writes petition organizer Brittney Taylor.
“But if you’ve ever been to Firefly, you know it wasn’t just another music festival. It was our home. A sanctuary of sound, friendship, and memory. A weekend in the Woodlands spent with our favorite artists, surrounded by magic, love, and people who gave that energy right back.”
Petition signers are urging AEG to revive the festival for 2026 as a thoughtful rebirth that honors the soul of what made the original festival special. The festival was last held in 2022.
“The timing couldn’t be more perfect,” the petition continues. “Live Nation has lost the trust of many fans. Their profit-first approach is showing, and we’re yearning for something real. Something with soul. Something that connects people to each other and to the music.”
“Bringing Firefly back would give AEG the chance to revive everything that made the festival scene meaningful in the first place. It would restore an experience that prioritized people over margins, and connection over clout,” writes Taylor. “Firefly wasn’t just a name on the lineup. It was a feeling.”
The petition comes amid the broader conversation, in America and abroad, over the corporatization of live music and the longing for a return to more meaningful cultural spaces. It’s a trend that’s been increasing over the last few years, and especially noticeable during the summer, which should be an exciting time for festivalgoers.
Even before the summer officially began this year, over 40 live music festivals had already been cancelled. And now, summer festivals like Chicago’s Pitchfork Music Festival, Atlanta’s Music Midtown, and Kickoff Jam in Florida have all been cancelled in the last couple years. Festivals like Firefly Music Festival and Jay-Z’s Made in America also haven’t returned since 2022.
Music festivals were once on the cusp of cultural changes, major events where the music felt fresh and the vibes were unique. But between declining ticket sales and broader cancellations, it paints a picture of a struggling festival industry—even while other areas of live music continue to thrive.
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Deadrocks XI: Zeds Dead Returns To Denver Next Week For Another Epic Fourth Of July Takeover

Zeds Dead fans are brimming with excitement this week as we approach what many of us consider our “Super Bowl,” also known as Deadrocks week. The annual Fourth of July takeover will return to Denver next week, starting with Deadrocks (July 2nd & 3rd) and ending with the Deadbeats Backyard Jamboree (July 4th), and the Deadrocks Hangover (July 4th). After an iconic Deadrocks X last year, which saw the debut of many fan-favorite tracks now played out on their RSIH tour, Deadrocks XI will be another event for the books.
Deadrocks XI
The legendary duo will first head to the iconic Red Rocks Amphitheater for the main event: Deadrocks XI. The two-night extravaganza will feature earth-shattering bass, mind-bending visuals, and an unforgettable experience on Wednesday, July 2nd, and Thursday, July 3rd, 2025.
The lineup for each night is curated with an impressive roster of talent from Zeds Dead’s Deadbeats label and beyond, closing with a unique two-hour set each night from the boys themselves. Fans can expect a fresh array of tunes from Zeds Dead’s newly released album, Return to the Spectrum of Intergalactic Happiness, alongside a slew of brand new IDs and heart-melting classics, ensuring a little something for everyone.
Deadbeats Backyard Jamboree
The festivities don’t end at Red Rocks. Zeds Dead will once again host their annual Deadbeats Backyard Jamboree on July 4th at Civic Center Park. Now in its fifth year, the Backyard Jamboree has grown from a fan appreciation BBQ into a 10,000-person, community-focused music festival. Blending all-day performances, local vendors, and classic lawn games, it’s become a defining feature of Deadbeats’ Colorado calendar – welcoming fans of all ages to celebrate with food, fun, and unmatched vibes in the heart of the city. 
This year’s Jamboree features a powerhouse roster of fan-favorites and rising talent, including Ravenscoon, Cool Customer, Villager, Nikita, The Wicked, Skellytn, Don Jamal, Noises, Soki, Keenan Mathias, and Papajay.
Event Highlights:
Live music all day (curated by Zeds Dead and Deadbeats) Deadbeats’ legendary hot dog eating contest — one of the largest west of the Mississippi Backyard activities: dunk tanks, 3-legged races, donut-on-a-string, inflatable games, and more Vendor village featuring food trucks, crafts, and local creators Family-friendly environment with games and installations Interactive brand activations and community engagement zones Deadrocks Hangover
And for the die-hard fans, insert Deadrocks Hangover, the final event in the three-day celebration, taking place after the Jamboree on July 4th at Mission Ballroom. For those who don’t know, the Hangover sets are where the boys get experimental: expect deep cuts, the nastiest of wubs, and surprise guests.
Deadrocks XI is shaping up to be another monumental event for Zeds Dead in the midst of a monumental year. With an incredible lineup and the stunning backdrop of Red Rocks and Civic Center Park, this is one event you won’t want to miss!
For more information for all three events and to purchase tickets, head on over to the Deadrocks site here. Deadrocks and the Hangover are currently sold out, but tickets for the Jamboree are still available.
The post Deadrocks XI: Zeds Dead Returns To Denver Next Week For Another Epic Fourth Of July Takeover appeared first on EDMTunes.
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Google Keeps Messing Up Its AI Commercials in Hilarious Ways, This Time Featuring James Blunt

Google’s James Blunt commercial uses the wrong song
Google is batting below the Mendoza line for its AI commercials—this time at the expense of James Blunt. Last year’s Olympics AI written fan letter got pulled, will the same thing happen to this ‘Just Ask Google’ commercial?
Google is pushing its Google Gemini AI service hard, showcasing how the service can supposedly make every day tasks easier. This particular commercial focuses on a young man named Ted, who was born in 1998—the same year as the first Google search. One of Ted’s first searches as a teen was for a ‘James Blunt music video’ while the James Blunt song “You’re Beautiful” plays in the background.
As the commercial fast-forwards to Ted being 26, he’s using Google Gemini to search various aspects of his life, like fixing a broken grill or finding entertainment in town. Ted asks the AI to find him “something cool happening in the city that still gets him home at a reasonable time.” Google’s AI returns the result, a James Blunt Anniversary Tour concert playing in Chicago. The only problem?
The next scene shows Ted seemingly attending the concert Google found for him, with the Tal Bachman song “She’s So High” playing as the backing track. Whoops. I’m not sure how this got past Google’s quality control checks—because obviously the company had to license both James Blunt’s “You’re Beautiful” and Tal Bachman’s “She’s So High” to feature them in the commercial. At no point in the creative process did anyone stop to say hey, why are we featuring a song from someone entirely different? Wasn’t this commercial supposed to be about how Ted’s love for James Blunt helped him find love?

Most people who see the commercial are also confused, especially if they grew up in the era when the Tal Bachman song was popular (1999) enough to play on the radio day after day. “‘She’s So High’ isn’t a James Blunt song,” reads one comment. “If only we had the technology to fact check things like this…” Indeed.
James Blunt does have a similar song titled “High” that appeared on the same album as “You’re Beautiful”—in fact both were released as singles when the album Back to Bedlam dropped in 2004. So the entire time this ad was being story boarded at Google, no one thought to check that both songs featured in it were from the same artist featured prominently in the commercial. One can’t help but wonder how James Blunt feels about the mistake—one that seems reminiscent of the early days of Napster and its penchant for mislabeled songs.
A common misconception from that era was that Bob Seger sings the song “Drift Away” due to mislabeling and inaccurate metadata. He doesn’t. That song belongs to Dobie Gray. Yet here we are in 2025, with Google’s Gemini mucking it up worse than illegally downloaded tracks from the early days of the internet.
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Leaks Reveal Spotify Will Roll Out Lossless Audio Feature Soon

After years of promising to bring higher-quality audio to its platform, Spotify is finally starting to make progress on completing that promise.
Spicetify is a third-party customization tool for Spotify. Its developers have revealed the mention of “lossless” audio functionality within Spotify’s latest software update. It’s showing new user interface elements that suggest the current development of lossless audio.
We are told the lossless feature will support audio quality up to 24-bit/44.1KHz (FLAC + Widevine) that can be played across connected devices without wiring. Apple Music and Amazon Music have already launched their higher-quality audio options in 2021 at no additional cost to their streamers. However, Spotify CEO Daniel Ek confirmed that Spotify will roll out a new, pricier “Super-Premium” tier as part of its efforts to differentiate its paid subscription plans.
He continued: “The plan here is to offer a much better version of Spotify. Something like $5 above the current Premium tier… sort of a deluxe version of Spotify that has all of the benefits that the normal Spotify version has, but a lot more control, a lot higher quality across the board, and some other things that I’m not ready to talk about just yet”.
This screenshot from Spicetify’s X shows “lossless” appearing as a streaming quality option in Spotify’s settings menu.
[H/T] Music Business Worldwide
The post Leaks Reveal Spotify Will Roll Out Lossless Audio Feature Soon appeared first on EDMTunes.
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Fat Joe v. Dixon Legal Showdown Intensifies With New Dismissal Pushes — Roc Nation Says It ‘Has Nothing to Do With Any of This’

Fat Joe, whose legal battle with his former hype man is getting even uglier. Photo Credit: Timothy M. Moore
Two complaints and all manner of serious allegations later, the Fat Joe v. Terrance Dixon legal battle – now featuring a pair of dismissal pushes– is getting even uglier.
Those motions to dismiss – one spearheaded by Roc Nation, the other by individuals including Fat Joe’s former hype man – just recently surfaced. As some know, the convoluted showdown consists of two separate actions, the first submitted by Fat Joe (real name Joseph Cartagena) in late April.
Naming as defendants the aforementioned hype man (Terrance Dixon, aka TA), attorney Tyrone Blackburn, and Blackburn’s law firm, Fat Joe’s defamation suit centers on allegedly false statements made by Dixon.
The way Roc Nation-managed Fat Joe tells the story, Dixon became disgruntled after their 13-year professional relationship “amicably” ended. Then, he (TA/Dixon) allegedly levied a multitude of false allegations (concerning “vile sexual misconduct, pedophilia, statutory rape, violence and stealing”) against Fat Joe on social media as part of a “campaign of harassment and extortion.”
Far from prompting a retreat, Fat Joe’s claims elicited a firmly worded response from the aforesaid Blackburn, who doubled down on his client’s position and promised to litigate against the plaintiff rapper.
Right on cue, a more than 150-page follow-up action arrived last week. We broke down the standalone $20 million lawsuit – filed by TA/Dixon against not only Fat Joe, but Roc Nation and several others – in detail then.
In a nutshell, the no-holds-barred complaint elaborates upon TA’s shocking allegations. (Fat Joe attorney Joe Tacopina quickly fired back, criticizing the “blatant act of retaliation” as “a desperate attempt to deflect attention from the civil suit we filed first.”)
Now, things are heating up – this time with the initially highlighted dismissal efforts. First, Roc Nation says it has “nothing” at all to do with TA’s “incoherent yet scandalous accusations” against Fat Joe.
“Roc Nation, however, has nothing to do with any of this. Nothing,” the text reads. “Nowhere does Plaintiff allege anything that plausibly suggests that anyone from Roc Nation knew about, assisted, suspected, or otherwise was complicit in any alleged misconduct by Mr. Cartagena or anyone else.”
Not stopping there, the dismissal motion calls out Blackburn’s purported “reputation for filing meritless, kitchen-sink complaints bloated with demonstrably false, inflammatory allegations, baseless claims, and irrelevant defendants in the hope of creating bad press to leverage outsized settlements.”
Shifting to Fat Joe’s case against TA and Blackburn, the suit “is nothing more than a constitutionally impermissible effort to silence criticism through aggressive and meritless litigation,” according to the defendants’ dismissal motion.
Furthermore, the court should toss the action because the central defamation claims have “not alleged any facts showing actual malice,” while TA/Dixon, as demonstrated by his own complaint, has “a genuine, subjectively honest belief in the truth of his assertions.”
“In sum,” TA’s dismissal motion drives home, “this Complaint is an archetype of the kind of case that warrants dismissal at the threshold. It is legally insufficient in multiple independent respects and appears to be fueled by ulterior motives rather than a genuine belief in a viable claim.”
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Kompany Announces Largest Headlining North American “Nemesis” Tour to Date

After getting his Instagram hacked over the weekend, Kompany was able to recover it and announce some massive news alongside it. Kyle Hagberg aka Kompany has announced his Nemesis North American tour this fall which is his biggest headlining tour to date! The LA based bass music producer is hitting the road with a formidable lineup of special guests and support acts all across the states. On top of a stacked lineup of artists, Kompany will be debuting his groundbreaking, custom-built Echo Chamber stage alongside insane production and lasers galore.
Kompany will be joined by special guests Calcium, Smoakland, and Space Wizard on select dates, ensuring each stop is packed with high-octane energy. The tour boasts an extensive roster of support from some of the most exciting names in bass music, including Automhate, Mad Dubz, Prosecute, Ophion, Usabflow, Hamro, Alien Fafax, Jiquil, and Neotek.
The “Nemesis Tour” is set to kick off on September 5th in Santa Ana, CA, at The Observatory. From there, Kompany will traverse the continent, hitting major cities like Jacksonville, Boston, New York, Atlanta, Toronto, and Chicago just to name a few.
Tour Dates:
September 5: The Observatory – Santa Ana, CA
September 6: The Observatory – Santa Ana, CA
October 9: Daada Live – Jacksonville, FL
October 10: The Ritz Ybor – Tampa, FL
October 11: Royale – Boston, MA
October 18: Liquid – Madison, WI
November 7: Cargo – Reno, NV
November 8: Senator Theatre – Chico, CA
November 14: The Ave Live – Philadelphia, PA
November 15: Believe Music Hall – Atlanta, GA
November 21: 45 East – Portland, OR
December 5: Noir – Toronto, ON
December 6: Brooklyn Steel – Brooklyn, NY
December 12: Celine – Orlando, FL
December 13: Concord Music Hall – Chicago, IL
December 19: Bloom – San Diego, CA
December 20: The Republik – Honolulu, HI
The post Kompany Announces Largest Headlining North American “Nemesis” Tour to Date appeared first on EDMTunes.
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LSDREAM and CloZee Captured Beautiful Snapshots in Time on LSZEE Tour

Memories are fleeting, as are live performances, but a feeling can last forever. LSDREAM and CloZee conjured more than enough to share when they took over Seattle's WAMU Theater June 13-14, the penultimate stop on their one-time-only LSZEE tour.
To call LSZEE greater than the sum of its parts discredits their individual excellence. Still, they’ve created something most partnerships dream of.
It doesn’t sound like pandering when LSDREAM and CloZee reference each other as "best friends." Their chemistry onstage and over wax is palpable. It’s organic chemistry that you can’t teach or synthesize. You either have it or don’t, and LSZEE is subatomically made of it.
Tyler Hill
LSZEE debuted last year, releasing their self-titled debut album and headlining two nights at Colorado’s historic Red Rocks Amphitheatre. A repeat of their Red Rocks performance, one of EDM.com’s top live performances of 2024, would have sufficed. But LSZEE, abundant with creativity, delivered sweeping new sets.
CloZee's stage presence is more playful in LSDREAM's company. The latter's energy is even more infectious with the former in the cockpit. This was best illustrated when a long-haired silhouette started dancing on the decks.
I informed my friend that it wasn’t Zingara, who performed the night before, but LSDREAM in a pink wig. CloZee was equally alluring in a short, curly hairpiece channeling Napoleon Dynamite. It was unadulterated fun, just as live music should be.
The 40-minute LSZEE: ENIGMA MIXTAPE dropped just in time for our road trip to Seattle. It felt like a love letter to the LSZEE journey–bursting with new ideas and bold flips that later came alive on the stage. “WILDSTYLE,” “ETERNAL NOW (LSZEE flip)” and “COYOTE” were among the imaginative tracks reverberating through the crowd.
Consecutive shows gave the DJs ample room to pull from their diverse discographies, from popular LSZEE songs like “French Dream,” “Destiny” and “Nighthawk” to classics like “Color of Your Soul.” Each song was thoughtfully synchronized with a colorful array of lasers, lights and psychedelic video effects, eliciting both enthusiasm and euphoria.
"Euphoric" precisely describes watching LSZEE in the company of loved ones. But their transportive sound couldn’t completely wall off the outside world. Nor should it have.
Tyler Hill
Tyler Hill
Love as a principle permeated throughout the show. I nearly missed the duo's “Overthinker” drop while acknowledging LSDREAM’s request to hug the person next to me. Scroll through social media, and you’ll find that same commanding love radiates through the shows’ other performers.
LSZEE travelled with a talented supporting brigade. Zingara was a standout act at Shambhala and Bass Canyon last year, making her continued growth even more impressive. Her stage presence is infectious, and she’s tirelessly expanded her repertoire with new tracks and flips. And you can’t talk stage presence without naming Wreckno, who flexed every creative muscle imaginable, rapping and DJing in perfect harmony while mixing in diverse subgenres to engage the crowd.
Texas-based producer and guitarist Vincent Antone was the weekend’s biggest surprise. He shredded the electric guitar like a rock star, beautifully melding it throughout his funky bass set. Furthermore, anyone who plays Evalution’s remix of Wolfmother's “Joker and the Thief” surely has good taste.
Tyler Hill
LSZEE has previously announced this would be their only tour, though they have several one-off festival performances booked. Life is finite, and selfishly, it’s something I hope to experience again.
For now, the curtain has closed after LSDREAM and CloZee concluded their 15-city tour with four dates at Denver's storied Mission Ballroom from June 19-22.
If they truly tie the knot on touring together, those in The Mile High City witnessed something special.
Follow CloZee:
X: x.com/clozeemusic
Instagram: instagram.com/clozeemusic
TikTok: tiktok.com/@clozeeofficial
Facebook: facebook.com/clozee
Spotify: spoti.fi/2AvsgHa
Follow LSDREAM:
X: x.com/lsdream
Instagram: instagram.com/lsdream
TikTik: tiktok.com/@lsdream
Facebook: facebook.com/lsdreammusic
Spotify: spoti.fi/3mpNB7m
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Maroon 5 Returns with New Studio Album & Announces US Arena Tour

Photo Credit: Live Nation
Maroon 5 announce their highly anticipated new album, release a new single, and set out for a national U.S. arena tour this fall.
On Monday, Maroon 5 announced their much anticipated eighth studio album, Love is Like, out August 15 from Interscope. To celebrate, the band has released a new single, “All Night,” and an accompanying video to drop on June 27.
In addition to their new album and single, Maroon 5 have also announced a national U.S. arena tour that kicks off this fall. The 23-date Live Nation run will visit major markets coast-to-coast, including a hometown show at Los Angeles’ Kia Forum and a stop at New York City’s Madison Square Garden. The tour concludes on November 25 in Detroit. Claire Rosinkranz will provide support on all tour dates.
Tickets will be available starting with a Fan Club pre-sale on Wednesday, June 25 at 10am local time. Additional pre-sales will continue throughout the week before the general on sale on Friday, June 27 at 10am local time.
Maroon 5 recently previewed their new album with the single “Priceless,” a collaboration with Blackpink’s Lisa, which shot to the Top 15 at Pop Radio following its release. The accompanying video, directed by Aerin Moreno (Tate McRae, Tyla), was shot in downtown Los Angeles on 35mm film. Moreno will also direct the upcoming video for “All Night,” debuting this Friday.
“I feel like we’ve gone back to what we used to do, which is to not pay attention to where we fit and producing the music organically,” said singer Adam Levine. “This is kind of how we stuck out in the beginning when we first started our career.”
Love is Like marks a return to form for the group and their first LP since 2021’s JORDI. To herald the new album’s release, Maroon 5 is set to perform live from Rockefeller Plaza as part of the Citi Concert Series on TODAY on Friday, August 1. The band is also set to perform at iHeart’s Las Vegas Music Festival on September 19.
Maroon 5 2025 Tour Dates
July
11 | En-Joie Golf Club — Endicott, NY (previously announced) October
06 | PHX Arena — Phoenix, AZ 08 | Acrisure Arena — Palm Springs, CA 10 | Kia Forum — Los Angeles, CA 17 | Golden 1 Center — Sacramento, CA 18 | Chase Center — San Francisco, CA 21 | Climate Pledge Arena — Seattle, WA 23 | Moda Center — Portland, OR 25 | Delta Center — Salt Lake City, UT 28 | Pinnacle Bank Arena — Lincoln, NE 29 | Xcel Energy Center — St. Paul, MN November
02 | Bridgestone Arena — Nashville, TN 04 | Moody Center — Austin, TX 05 | Toyota Center — Houston, TX 07 | American Airlines Center — Dallas, TX 09 | Simmons Bank Arena — North Little Rock, AR 11 | State Farm Arena — Atlanta, GA 13 | United Center — Chicago, IL 14 | PPG Paints Arena — Pittsburgh, PA 16 | CFG Bank Arena — Baltimore, MD 19 | Madison Square Garden — New York, NY 22 | TD Garden — Boston, MA 24 | Rocket Arena — Cleveland, OH 25 | Little Caesars Arena — Detroit, MI View the full article
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Creamfields Announces its Largest Version To Date in Asia’=

For the very first time, the globally renowned Creamfields music festival is making its way to the city of Bangkok, Thailand! Set to be held at Muang Thong Thani on the 13th and 14th of December 2025, this monumental event will be the largest version of the festival ever held in Asia. Over a two-day weekend, Creamfields Asia is expected to entertain an enthusiastic crowd of 50,000 music lovers from across the APAC region.
Originating in the UK and celebrated worldwide as the leading music festival series, Creamfields landed in Hong Kong back in 2017 to celebrate the festival’s 20th year anniversary. Featuring a star-studded lineup, it forever changed the local dance music landscape. Now, in partnership with Live Nation Electronic Asia, Live Nation Tero, UTA Venture, and Nation Group, Creamfields is ready to bring the biggest version of the festival in Asia to Bangkok, Thailand.
When discussing his experience organising Creamfields in Asia for the past years, Live Nation Electronic Asia’s Managing Director Jim Wong comments excitedly —
Over the years, Creamfields has continued to invite legendary DJs to its stages across Asia, delivering unforgettable nights of music and energy. This year, Creamfields Asia is going to raise the bar even higher, with an expanded setup of four different stages and a lineup that will leave fans amazed. Get ready for the ultimate music experience — bigger, louder, and more electrifying than ever! 
For more details, please follow Creamfields Asia Facebook, Creamfields Asia Instagram, Live Nation Electronic Asia Official Website, Live Nation Electronic Asia Facebook and Live Nation Electronic Asia Instagram.
CREAMFIELDS ASIA 2025 
Date: 13th December 2025 and 14th December 2025Venue: Muang Thong Thani, Bangkok (IMPACT Exhibition and Convention Center)Blind Sale Tickets: General Admission: 4,600 THB* (+ Ticketing Fee) Age limit: 18+ *Prices will increase at every stageVIP: 9,900 THB* (+ Ticketing Fee) Age limit: 18+Blind Sale Dates: 5th– 7thJulyBooking Website: www.creamfieldsasia.com (stay tuned for the launch) About Creamfields
Creamfields is the world’s leading dance music festival series, as well as the biggest in the UK featuring DJ performances and live acts. Since its inception in 1998, Creamfields has scooped many awards along the way, including Best Dance Event several years running in the UK Festival Awards and winning the prestigious Music Week Award for Festival Of The Year. It has been held in many countries all around the world, including Europe, South America, North America, Middle East and Oceania. Over the past years, Creamfields attracts more than 3 millions of partygoers worldwide with record breaking numbers, selling out months in advance.
2017 was the 20th anniversary of Creamfields, it was the first time in Asia in order to celebrate the event. Hong Kong was the first stop held on 15th and 16th December and became the largest two-day indoor dance music festival in local history. After that, Creamfields landed in Taipei, China and Myanmar, and successfully held in the region. Creamfields’ line-up has always been a fusion of world-class artists featuring different styles. The heavyweights who participated in the Asia tour last year include Martin Garrix, Tiësto, DJ Marshmello, Above & Beyond, KSHMR, W&W, and many more.
The post Creamfields Announces its Largest Version To Date in Asia’= appeared first on EDMTunes.
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Bonnaroo Offers Revised Refunds After Backlash

Hey there, rave fam! You may have heard about the unfortunate cancellation of Bonnaroo 2025 on June 13th due to severe weather conditions. It was a heavy blow, especially after the epic performances by Luke Combs, Dom Dolla, Insane Clown Posse, and Rebecca Black on the opening day. However, in a world where nature is the ultimate party crasher, these things can happen. But what came next stirred up a real storm in the Bonnaroo community.
Initially, Bonnaroo organizers made a call to offer a 75% refund to all ticket buyers, which caused an uproar among attendees. Understandably so, because who wants to lose a quarter of their investment to something they had no control over? The backlash was fierce and swift, prompting the organizers to rethink their decision.
On June 20, in a move that shows they’re indeed listening to their audience, Bonnaroo organizers announced via social media that they’re reversing their initial decision. They confirmed that all ticket buyers would now get a full 100% refund. A sigh of relief echoed through the EDM community, but let’s dive deeper into what led to this decision and what it means for the future of Bonnaroo.
From 75% to 100%: The Revised Refund Policy
The Initial Backlash
When the news of the 75% refund first broke, it was met with immediate criticism. Fans were quick to express their dissatisfaction, flooding social media platforms with their grievances. Many argued that it was unfair to hold attendees financially accountable for the weather-related cancellation, while others pointed out that other festivals offered full refunds under similar circumstances.
The EDM community is a passionate bunch, and the outcry was loud enough to reach the ears of the Bonnaroo organizers. To their credit, they didn’t ignore the discontent simmering among the festival-goers. Instead, they took the criticism on board, reassessed their initial decision, and took steps to rectify the situation.
On June 20, a week after the ill-fated cancellation, Bonnaroo organizers shared a new post on their social media platforms. It was the announcement that everyone had been waiting for: the refund policy had been revised, and all ticket buyers would now receive a 100% refund.
The Revised Policy and Its Implications
What does this policy revision mean, aside from the obvious financial relief for the attendees? For starters, it signifies that the Bonnaroo organizers are responsive to their audience’s needs and concerns. They showed they could listen, learn, and adjust their policies when necessary, which is a big win for the fans.
More importantly, the revised refund policy sets a precedent for future Bonnaroo festivals and other similar events. It shows that organizers should not only care about the safety of their attendees but also their financial wellbeing. Fans have made it clear that they expect full refunds if they can’t attend the festival due to circumstances beyond their control.
The revision also serves as a reminder to the organizers to have a solid contingency plan in place. This can help mitigate the financial impact of unforeseen circumstances like severe weather conditions and ensure that attendees are not left out of pocket because of nature’s unpredictability.
The Future of Bonnaroo
Looking Ahead: What’s Next for Bonnaroo?
While the 2025 edition of Bonnaroo may have been a washout, the festival is far from over. The organizers noted in their announcement that they’re already looking ahead to future dates for the Manchester, Tennesee -based event. So, despite the setback, the spirit of Bonnaroo is alive and well.
But what about the headliners who were scheduled to perform on the canceled days, including Tyler, The Creator, Olivia Rodrigo, and Hozier? Will they be part of the future lineups? That’s something we’ll all be eagerly waiting to find out.
As for now, we can take comfort in the fact that Bonnaroo organizers have our backs when it comes to refund policies. Here’s to hoping that future editions of the festival will be free from weather disruptions and full of epic performances, magical experiences, and unforgettable memories. After all, that’s what Bonnaroo is all about!
The post Bonnaroo Offers Revised Refunds After Backlash appeared first on EDMTunes.
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New Apple Music Features in iOS 26—Radio Widget, AutoMix, Playlist Folder & More

Photo Credit: JoshuMarlss288 / reddit
Apple’s latest iOS 26 beta released yesterday, bringing several new features to Apple Music that have long been requested by users.
Apple says these new enhancements are designed to make music discovery, listening, and management of music more intuitive and enjoyable. It leverages both AI-driven innovation and offers some user-friendly design updates to keep things tidy in the app.
The standout new feature of iOS 26 is AutoMix, an AI-powered tool that dynamically blends songs together—much like a DJ during a live set. Unlike the traditional crossfade, which simply overlaps two tracks, AutoMix intelligently selects transition points and styles, creating a seamless and continuous listening experience.
Apple Music now allows users to pin their favorite songs, albums, or playlists to the top of their library for easy access. Have a playlist you always listen to while exercising in the morning? This feature is killer. The organizational upgrade helps streamline navigation to playlists frequently accessed—especially for users with extensive music collections. A new pinned widget for the Home Screen makes this content available at a glance and with just a single tap.
In other organizational features, iOS 26 brings the ability to create folders for playlists. Users can group playlists by mood, genre, or occasion—further organizing their massive playlist collection and reducing clutter.
As Digital Music News previously reported, Apple Music will offer lyrics translation for supported songs, displaying translations between each time-synced lyric line. This is especially useful for users who enjoy listening to music in many languages, whether you’re a K-pop stan or a Francophile. This feature can also help users learn to pronounce song lyrics correctly, enhancing the listening and learning experience.
The latest beta also introduces three new widgets for Apple Music. The previously mentioned Poins widget and a newly introduced Live radio widget. The Pins widget displays up to six pinned selections, while Live Radio widget offers one-tap access to Apple Music’s six 24/7 radio stations including Apple Music 1, Hits, Country, Música Uno, Club, and Chill.
If you’re not keen on installing a beta version of iOS 26 on your every day device, you can expect to see these new features sometime this fall.
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Insomniac Drops Full Lineup For EDC Orlando 2025

Insomniac has shared the full lineup for EDC Orlando 2025.
Expected to attract over 300,000 ravers, the annual East Coast iteration of the festival giant’s famous Electric Daisy Carnival (EDC) is back at Tinker Field in Orlando, Florida, for its 14th edition this November 7-9.
Over 100 of the industry’s top electronic artists are set to throw down across five stages, marked by anticipated appearances from staple EDM titans like Armin van Buuren, Zedd, Gryffin, DJ Snake, Tiësto, and Porter Robinson (DJ set), the latter two of whom are slated to play at sunset.
Massive dubstep names include Subtronics, Excision, Tape B, Virtual Riot, VOYD, Caspa, and Wooli, melodic favorites Seven Lions and Kai Wachi, and wobbly bass technicians like ALLEYCVT, Gorilla T, and YDG. DJ Snake will also showcase his bass-led project, The Outlaw.
Top-notch techno will come from Charlotte de Witte, Sara Landry, Eli Brown, Nico Moreno, a special acid set from hard techno duo 999999999, and a Drumcode takeover from Adam Beyer, while fans can catch house heaters from Chris Lake, Cloonee, Dom Dolla, Gorgon City, and James Hype, among many others.
Additional highlights include high-octane drum & bass courtesy of Chase & Status, Sub Focus, Wilkinson, and Rudimental, as well as revered house and techno pairings such as Adam Beyer B2B Layton Giordani, Ben Sterling B3B Beltran B3B ChaseWest, Green Velvet B2B ALOK, and Prospa B2B KETTAMA.
Lineups for official afterparties, held at Orlando venues Celine and Elixir, will be announced at a later date. Check out the full EDC Orlando lineup below.
Tickets for EDC Orlando 2025 will go back on sale this Thursday, June 26, at 12PM ET. For more information or to make your purchase, visit edcorlando.com.

Featured image courtesy: Insomniac Events.
The post Insomniac Drops Full Lineup For EDC Orlando 2025 appeared first on EDM Maniac.
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Insomniac Drops Full Lineup For EDC Orlando 2025

Insomniac has shared the full lineup for EDC Orlando 2025.
Expected to attract over 300,000 ravers, the annual East Coast iteration of the festival giant’s famous Electric Daisy Carnival (EDC) is back at Tinker Field in Orlando, Florida, for its 14th edition this November 7-9.
Over 100 of the industry’s top electronic artists are set to throw down across five stages, marked by anticipated appearances from staple EDM titans like Armin van Buuren, Zedd, Gryffin, DJ Snake, Tiësto, and Porter Robinson (DJ set), the latter two of whom are slated to play at sunset.
Massive dubstep names include Subtronics, Excision, Tape B, Virtual Riot, VOYD, Caspa, and Wooli, melodic favorites Seven Lions and Kai Wachi, and wobbly bass technicians like ALLEYCVT, Gorilla T, and YDG. DJ Snake will also showcase his bass-led project, The Outlaw.
Top-notch techno will come from Charlotte de Witte, Sara Landry, Eli Brown, Nico Moreno, a special acid set from hard techno duo 999999999, and a Drumcode takeover from Adam Beyer, while fans can catch house heaters from Chris Lake, Cloonee, Dom Dolla, Gorgon City, and James Hype, among many others.
Additional highlights include high-octane drum & bass courtesy of Chase & Status, Sub Focus, Wilkinson, and Rudimental, as well as revered house and techno pairings such as Adam Beyer B2B Layton Giordani, Ben Sterling B3B Beltran B3B ChaseWest, Green Velvet B2B ALOK, and Prospa B2B KETTAMA.
Lineups for official afterparties, held at Orlando venues Celine and Elixir, will be announced at a later date. Check out the full EDC Orlando lineup below.
Tickets for EDC Orlando 2025 will go back on sale this Thursday, June 26, at 12PM ET. For more information or to make your purchase, visit edcorlando.com.

Featured image courtesy: Insomniac Events.
The post Insomniac Drops Full Lineup For EDC Orlando 2025 appeared first on EDM Maniac.
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GForce’s first original instrument, Halogen FM, offers a shortcut to FM synthesis proficiency

Since the days of the iconic Yamaha DX7, frequency modulation synthesis – or FM synthesis – has been a major part of electronic music production. But while FM synthesis is not the easiest discipline to master, GForce has designed its first original instrument, Halogen FM, to be a shortcut to FM proficiency.
“We built [Halogen FM] to remove the barriers that have kept so many from exploring the raw, expressive power of FM,” GForce writes in the product description. “Instead of diving into confusing algorithms or endless parameters, Halogen invites you to discover sound through play. It’s a generative instrument that responds to instinct, not instruction – giving you evolving textures, organic tones, and sonic surprises without requiring deep synth knowledge.”
READ MORE: Meet the Solid State Logic Oracle – a revolutionary new analogue console with instant recall and reset capabilities

The central function of Halogen FM is the Halogen Spark core, which generates new patches at the touch of a button. Instead of using a complex modular rig, plugging dozens of cables into different inputs and outputs then turning all the knobs and hoping for the best, the generative tool creates the sonic foundation. Then the user can adjust the different elements from there with controls for timbre, envelope generators for OPR 1 and 2, modulation, and FX macro.
Once a user is happy with the overall patch, they can specifically randomise each of the macro controls and operators as well to continue exploring without altering the entire soundscape. Halogen FM also comes preloaded with 320 patches made by professional sound designers, a.k.a. people who already understand FM synthesis, so users can start from a less random place to see how different controls affect the sounds.
Halogen FM is available to purchase now for £33, 50% off the list price of £66.
Learn more at GForce.
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Meet the Solid State Logic Oracle – a revolutionary new analogue console with instant recall and reset capabilities

Solid State Logic has unveiled the Oracle, a new console which offers SSL’s signature analogue sound, but with groundbreaking and revolutionary instant recall and reset capabilities.
While SSL’s SL 4000E console – launched in 1979 – introduced total recall, allowing engineers to save the settings of the console on a floppy disk, they still had to manually adjust all the parameters to match the saved settings of a previous session.
READ MORE: MusicTech’s favourite studio gear of 2025 — so far
But the Oracle – dubbed a “future analogue console” – is able to instantly recall settings from previous sessions with no manual input required, no doubt bringing huge time-saving benefits to engineers.
“Oracle fulfils the dreams of producers, engineers, and studio owners around the world: a true professional solution, delivered with SSL quality, reliability, and support,” SSL says.
The new recall capabilities come courtesy of SSL’s new ActiveAnalogue technology, which combines the classic sound of SSL’s analogue processing and summing with ultra-precise adjustment and an active recallable control system.
As the brand explains, the ability to instantly switch between mixing or tracking setups – “in less time than it takes the artist to switch tracks” – will “significantly increase the potential throughput of any studio facility, while delivering the authentic analogue tone that artists and producers crave”. And the Oracle offers all of this in a compact AWS-size footprint, too.
Elsewhere, engineers can choose between 24 or 48 mono line-in channel setups, and other features include four stereo mix busses, 16 track busses, 10 aux busses and 16 stereo ‘Flex’ groups.
The Oracle also features next-gen PureDrive mic pres with ‘Drive’ control, SSL’s “legendary” four-band parametric EQ with switchable E/G Series curves, integrated THE BUS+ and dynamic EQ compressors, flexible channel architecture, small and large fader paths with assignable EQ and insert points and flexible monitoring options.
There’s also VU or plasma-style metering with dynamic ‘Detail View’, as well as advanced DAW control with SSL 360 integration.
“The Oracle is capable of producing the beautifully precise sounds of SuperAnalogue audio, to a palette of driven analogue tones, and everything in between,” SSL explains. “From an SSL legacy perspective, Oracle embodies the DNA of the classic E, G, and J/K consoles, while taking SSL’s sonic signature into the future.”
MusicTech has been on location at Bath’s Real World Studio to see the Oracle in the flesh. We’ll be bringing you our thoughts very shortly…
Learn more about the Oracle at Solid State Logic.
The post Meet the Solid State Logic Oracle – a revolutionary new analogue console with instant recall and reset capabilities appeared first on MusicTech.
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President Emmanuel Macron Supports Recognition of French House Music as Cultural Heritage

If Daft Punk’s helmets ever end up under museum glass beside a Monet painting, you’ll know Emmanuel Macron's cultural campaign has hit its mark.
The French President has announced his intentions to nominate French touch, the influential sub-genre of house music born in 1990s Paris, for recognition on UNESCO's Intangible Cultural Heritage list.
Speaking on the French station Radio FG during the recent Fête de la Musique festival, Macron praised the genre's international influence and called for its formal preservation. He cited Germany’s similar move in 2023 to place Berlin techno on its national intangible cultural heritage registry as precedent. 
"We are inventors of electro. We have that French Touch," Macron said, per The Telegraph.
Roughly a decade after Berlin’s rise, French touch found its pulse in the hands of artists like Daft Punk, whose filtered disco and vocoded magic forever redefined electronic music culture. Since that time, France has produced several iconic figures of the broader movement including Justice, David Guetta, Bob Sinclar and Lauren Garnier.
Macron's call to preserve French house as cultural heritage reads as part of a broader defense of human creativity, arriving at a moment when the global music industry is grappling with the impact of artificial intelligence. "AI mustn't replace human intelligence," he warned during the interview, adding that it "mustn't trivialize creativity."
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