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[NOMAD]RaveDAO Marks Jubilant First Year With Lilly Palmer In The Terra Solis Desert

RaveDAO dawns the deserts of Terra Solis Dubai on May 1, 2025. This time, not as a newcomer, but as a movement with momentum. Born in April 2024 as a crypto-conference afterparty, it quickly evolved into a global initiative fusing electronic music, blockchain, and philanthropy. Now, during TOKEN2049 Dubai, the RaveDAO one-year celebration lands at Terra Solis by Tomorrowland, where sonic meets the systemic.
The event is co-presented by RaveDAO and Terra Solis. With staging worthy of Tomorrowland’s legacy and a unique desert venue, this experience reflects the next phase in RaveDAO’s evolution—no longer defined by last year’s Nightopia series, but looking ahead with sharper intent. This isn’t just a celebration. It’s a glimpse of what music culture could be: tech-forward, collaborative, and built with purpose.
Guests who purchase tickets through PLVR will receive an NFT as proof of attendance, marking the intersection of rave energy and blockchain identity. This is where music meets technology. An atmosphere buzzing with Web3 leaders, global creatives, and passionate music lovers ignites conversations that go far beyond the dancefloor.
The Frequency Is Feminine: Decentralizing Sound, Rewiring Power
The night belongs to the music—but the message runs deeper. RaveDAO’s May 1 event doesn’t simply feature women—it centers them. Each artist carries a distinct sonic identity, shaping the night’s energy from open to close with intentionality and force.
The full line-up and set times have been revealed:
9:00 PM – 10:30 PM: Jiayu opens with future-facing rhythms weaving Eastern motifs into experimental sound design. Her set will set the tone for a night where presence and atmosphere matter as much as tempo.
10:30 PM – 12:00 AM: Pretty Pink, Spotify’s Female Electronic Artist of the Year, builds melodic arcs that blend emotional warmth with precise control.
12:00 AM – 1:30 AM: Nifra, celebrated for her Tomorrowland mainstage performance, drives the night into trance-powered momentum with clarity and conviction.
1:30 AM – 3:00 AM: Lilly Palmer drives the event home with raw industrial precision, emotional tension, and her signature blend of mechanical and mystical energy.
Together, they don’t just headline the night—they shift its foundation. Each set reframes what sonic leadership looks like in spaces historically dominated by men. In both Web3 and electronic music, this event signals something more than visibility. It’s a blueprint for cultural production that moves beyond aesthetics. It’s infrastructure—built through rhythm, resonance, and power shared in real time.
Terra Solis by Tomorrowland: A Stage Made for the Future
Set in the sweeping Al Marmoom Desert Conservation Reserve, Terra Solis is Tomorrowland’s open-air gem—a fusion of serenity and scale. The venue’s aesthetic details, stage production, and remote setting create a surreal atmosphere where sound feels sacred.
On May 1, this desert sanctuary becomes RaveDAO’s ultimate expression—a night that blends intention with immersion. There won’t be elaborate installations or flashy distractions. The experience lies in the music, the staging, and the synergy between the crowd and environment. Guests securing access via PLVR will receive an NFT included in their ticket—a digital proof of participation that anchors each attendee in the story of the night. Music meets technology here—not for novelty, but for meaning.
RaveDAO – Purpose Beyond the Dancefloor
RaveDAO has always combined celebration with contribution. Previous events helped fund over 400 cataract surgeries through Nepal’s Tilganga Eye Centre and supported mindfulness education at Seattle’s Nalanda West. For the Terra Solis edition, the next chapter of giving is still unfolding. The team is currently exploring causes centered on women’s empowerment, leadership, and access—extending the message behind the music into actionable change.
What makes RaveDAO’s approach different is its integration. This isn’t philanthropy as branding. It’s infrastructure. By embedding giving into the event’s DNA, RaveDAO transforms raving into ripple effect. At its core, RaveDAO isn’t just organizing another night out. It’s designing a model—one where music, technology, and impact form a living ecosystem.
In the deserts of Terra Solis, RaveDAO and its vision comes alive. Be part of the magic and secure your tickets via PLVR.io.
The post RaveDAO Marks Jubilant First Year With Lilly Palmer In The Terra Solis Desert appeared first on EDMNOMAD.
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[EDMTunes] EDMTunes Chats with Joel Corry at Ultra Music Festival

Miami Music Week serves as the ultimate launchpad for summer music festivals, uniting music lovers who have endured harsh winters or lingering post-holiday blues. On the second day of Ultra, EDMTunes caught up with Joel Corry, an English producer and dedicated fitness enthusiast. Known for his infectious house music and chart-topping hits, Joel exploded onto the scene with his breakout track ‘Sorry’, in 2019. Since then, he has crafted electrifying dance anthems like ‘BED’ with David Guetta, ‘Out and Out’ with Jax Jones & Charli XCX. Join us on an exciting journey as we delve into Joel’s impactful musical journey thus far.
I’m Scott from EDMTunes here with Joel Corry at Ultra Day Two. How does it feel to be here?
Feel’s so good, just came off Main Stage. That was my first solo Main Stage debut set and it was insane. Unbelievable.
Joel, you’ve played at Ultra a few times before, and this is your first time on Mainstage as you mentioned. How does it feel from a smaller stage to the biggest stage?
It’s amazing man. The first time I came here, I actually came with David Guetta. I just jumped up on for one song he premiered our track ‘What Would You Do’ and I got a little taste of it. I was on the Mainstage and at that moment, I said to myself I’ve got to get myself here on my own set one day. And fast forward three years, and it happened. Moments like that stay with you forever and it was definitely a big moment in my life.
Over the years at Miami Music Week, you have played at all different types of venues, pool parties, and now festivals. What have been some of your standout moments over the years here?
When I was 19 years old, I went to the University of Miami for a study abroad program. I spent a year living in Miami for university, and during that time, I had a fake ID that allowed me to get into nightclubs, including Mansion (now M2) and all the clubs on the strip. Miami means a lot to me because that year was a significant period in my life; it was my first time living away from home and my family, having moved from London. I remember hustling to get into those clubs and onto guest lists. Now, when I play my headline sets at venues like LIV, it feels like a full-circle moment for me every time I’m back in Miami.
How has Miami changed since you were here as a study abroad college student to now?
I feel like Miami hasn’t changed that much. It’s good vibes, party central. You can’t not have a good time in Miami. I love coming here and if I ever move to the U.S., Miami is where I am going to live.
So have you seen a sunrise at Space or Factory Town?
I have tickets to Space for the closing party and I go to that every year. All the work is done now, and it’s time to party. I love Space, and I have had some amazing big nights there.
In terms of music, what do you have coming up this year? What are your plans?
I just debuted a new track that I played on the Mainstage called ‘Daydream’, that is coming out this summer. Aside from that, I have big collaborations coming this year with some unbelievable artists. I don’t want to say their names, but watch this space as I have a big year coming up. I am really excited about some of the music coming.
Would you say your sound is staying with what you’re familiar with or would you say Joel Corry’s sound is branching out?
I believe it’s essential to keep evolving because trends and tastes are constantly changing. I was discussing this with someone the other day. When I first started producing music in 2014 and 2015, the sounds I created were quite different from the music I’m known for today. It’s fascinating how every artist experiences this evolution. Over the years, their tastes shift, and the music they release changes as well. As a DJ, it’s crucial to stay updated on current trends. We have the privilege of playing music for dance floors every weekend around the world, allowing us to observe what works and what doesn’t. We can use these insights as inspiration when we’re in the studio.
Two years ago we caught up on Groove Cruise and you played a techno set. Is that something you’d like to explore more?
I am a raver at heart and a huge fan of techno. After this interview, I’ll be heading to the Resistance stage. I also enjoy playing techno in my sets. As you mentioned, you saw me perform a full techno set on Groove Cruise. Whenever I get the opportunity to do extended sets, like the five-hour set I played at Ministry of Sound in London recently, I love to incorporate techno. The last two hours of that set were packed with techno bangers.
For my Mainstage set at Ultra, I wanted to include the records that people know me for, so they can sing along. However, I was thinking about how I can adapt those tracks to bring that energy to the Mainstage. I added some techno drops and made edits to those records specifically for this Ultra set.
What Ultra set are you excited to see on Day Two?
I am excited to catch Anyma back to back Solomon on the Mainstage. Also looking forward to seeing Carl Cox Live on the Resistance stage.
Some people don’t know that you actually started off as a fitness influencer. Then you moved into DJing and put the fitness content to the side for a bit. Now you seem to be merging the two worlds. Tell me your thought process there. Is that something you want to do more of?
Fitness and DJing have been my two biggest passions in life. They started as hobbies, but I eventually turned them into careers. In my early 20s, I took fitness very seriously. I participated in competitions, attended expos, created fitness videos, developed an app, and secured sponsorships. However, as my music career began to take off, I had to prioritize it above everything else. You can’t fully invest in every aspect of life, and music and DJing became my top priority.
Once I started seeing progress in my music career, I committed to it entirely, and fitness transformed back into more of a lifestyle and hobby for me. It’s no longer solely about physical performance; it has become a mental benefit as well. When I go to the gym, I feel great, especially while touring, dealing with jet lag, and the party lifestyle. I want to maintain my fitness by training hard, as it helps me be the best version of myself—not only in fitness but also in my DJing.
Scott: It’s a great example to set for all the artists out there, dealing with burnout. This is the best way to be.
Hope you readers got to know more about Joel Corry. Catch his Ultra set below and let us know what you think.
The post EDMTunes Chats with Joel Corry at Ultra Music Festival appeared first on EDMTunes.
Ravebot
Ravebot

[GrooveCartel] Vassel unveils synth-driven melodic techno ‘Fading Gold’

Vassel‘s “Fading Gold” is a gripping mix of melodic techno and progressive house, where feeling and rhythm come together to make a hypnotic sound journey.
The deep, pulsing bassline of this track draws you in from the very first note. It’s like a steady heartbeat under ethereal sounds that shimmer like faraway stars. The tunes build with a bittersweet beauty that moves between sadness and happiness, like the beauty of its name, gold, which slowly fades into twilight.
The way the track builds with textured pads, haunting voice whispers, and complex arpeggios that spiral into the unknown makes it sound like a movie score. The production has the dark, immersive energy of artists like Anyma and ARTBAT, but Vassel’s signature touch is clear—the way the bassline breathes, the small details in the groove, and the careful balance between deep reflection and dancefloor drive.
Fading Gold does best in the hours between midnight and dawn, when you can get lost in the moment. This is the kind of song that wraps you up on a late-night drive, pumps through a foggy club at 3 AM, or plays in the background while you take a quiet walk in the city at night. It’s not just a song; it’s a feeling trapped in sound. It’s hypnotic, electric, and deeply emotional.

The post Vassel unveils synth-driven melodic techno ‘Fading Gold’ appeared first on The Groove Cartel.
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Miami Music Week 2025: Recap

Miami Music Week 2025 delivered another unforgettable chapter in dance music history, uniting fans and artists from around the globe for a week packed with iconic sets, vibrant parties, and electric energy across Miami’s most legendary venues. Miami Music Week returned in full force this year, bringing with it another unforgettable marathon of electronic music, … Continued
Miami Music Week 2025: Recap
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Liam
Liam

[Electric-Mode] Vallechi’s New Track ‘Go Easy’ Marks a Step Toward Self-Discovery and Connection in Electronic Music

The artist’s latest single, featuring Proxy Fae, is a reflection on gentleness, rhythm, and the transformative power of the dance floor.
This single is a deep, emotive exploration of the balance between self-compassion and the urgency of life, encapsulated within a soundscape that invites listeners to both reflect and move. Available now on Beatport.
Vallechi, an artist known for his ability to merge introspective themes with dance rhythms, has released his latest track, “Go Easy.” This collaboration with the duo Proxy Fae, featuring Nico Eon and Clau the Witch, serves as the first glimpse into Vallechi’s upcoming EP Cherry, scheduled for release in mid-2025.
“Go Easy” carries with it an urgent plea for gentleness amid the relentless pace of modern life. Its lyrics, “Go easy on me, take it slow,” evoke a universal desire for relief and connection. The track blends Vallechi’s distinct club sensibilities with an introspective lyrical narrative, offering both depth and accessibility. At its core, the song is about finding peace within oneself while navigating a world that demands constant action.
The collaboration with Proxy Fae is the next evolution of Vallechi’s ongoing artistic journey. Having worked with Nico Eon in the past, including contributions to Vallechi’s previous work, this partnership has grown into a creative kinship. Proxy Fae’s hauntingly pure vocals, led by Clau the Witch, anchor all the tracks on Cherry, ensuring a cohesive sonic experience throughout the EP. Together, the trio crafts a sound that speaks both to the mind and the body, blending emotional resonance with the driving rhythms of the club. Listen now!

Vallechi’s journey as an artist has always been informed by a desire to shift the narrative around electronic music. He has often pondered a central question: What if clubs became spaces where people could find themselves, rather than lose themselves? This question has influenced much of his creative output, including Go Easy. The track reflects Vallechi’s aspiration to re-enchant the dance floor, transforming it from a place of escape to one of personal transformation and connection.
The creative process behind “Go Easy” was instinctive and fluid, with Vallechi beginning the melody on his mobile phone using the Korg Gadget. From there, the track developed, its rhythm and emotional tone shaped by a need to convey strength and gentleness simultaneously. “The idea was that kindness didn’t need to be soft to be real,” Vallechi explains, adding that “Go Easy” was shaped by a desire to explore how care could manifest through rhythm and motion, not just stillness.
The track also represents Vallechi’s exploration of new textures and musical references. Drawing on influences from UK club culture, ambient sounds, and devotional music, “Go Easy” is more than just a song — it’s an experiment in blending different genres and emotional responses. With contributions from Clau the Witch on vocals and a careful arrangement of synths, basslines, and electronic percussion, the track strikes a balance between vulnerability and the pulse of the club. Vallechi’s use of Ableton Live and Korg Gadget allows for an expansive, yet intimate sound that invites listeners into a deeply personal yet universally relatable space.

“Go Easy” marks an important milestone for Vallechi. It’s a continuation of his exploration of music as a vehicle for self-expression and emotional depth. As he reflects on his work, Vallechi notes, “Music should be a place where we can breathe, where we can be vulnerable without being overwhelmed.” With his latest track, he invites listeners to slow down, take a breath, and embrace the gentleness within — all while celebrating the power of movement and connection.
Looking ahead, Vallechi’s Cherry EP promises to further explore the themes of self-discovery, gentleness, and the transformative power of music. Following “Go Easy,” Vallechi is set to release his next single, “Sometimes,” on April 30, 2025, before unveiling the full EP later that year. With his evolving sound and vision, Vallechi continues to push the boundaries of what electronic music can convey, inviting both the listener and the dancer to experience something more profound on the dance floor.
Vallechi’s “Go Easy” is a testament to the artist’s ability to merge introspection with club energy. It’s a song that speaks to those seeking connection, calm, and a gentle yet rhythm-driven space for self-exploration. As he continues to explore these themes in his upcoming EP, Vallechi’s music remains a reflection of his journey — one where the dance floor becomes a space of personal growth, compassion, and transformation.
 
The post Vallechi’s New Track ‘Go Easy’ Marks a Step Toward Self-Discovery and Connection in Electronic Music appeared first on Electric Mode.
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Ravebot

[Decoded] Marconi Union are back with their twelfth studio album, The Fear of Never Landing

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. 
The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” 
Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album.
Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival.
Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience.
The Fear of Never Landing releases June 6th via Just Music. Pre-order here
TRACKLIST
01 – Through The Heat Waves
02 – Eight Miles High Alone
03 – In Motion 
04 – Inhale 
05 – Crystalline
06 – Exhale 
07 – One More Rush 
08 – Silence Is Gliding 
09 – Cloud Surfing
The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.
Ravebot
Ravebot

[Decoded] Marconi Union are back with their twelfth studio album, The Fear of Never Landing

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. 
The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” 
Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album.
Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival.
Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience.
The Fear of Never Landing releases June 6th via Just Music. Pre-order here
TRACKLIST
01 – Through The Heat Waves
02 – Eight Miles High Alone
03 – In Motion 
04 – Inhale 
05 – Crystalline
06 – Exhale 
07 – One More Rush 
08 – Silence Is Gliding 
09 – Cloud Surfing
The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.
Ravebot
Ravebot

Diddy Demands Access to Raw Footage from Warner Bros. Documentary ‘The Fall of Diddy’

Photo Credit: HBO / Max
Sean ‘Diddy’ Combs’ lawyers have subpoenaed Warner Bros. seeking raw, unedited footage from the HBO docuseries, ‘The Fall of Diddy.’
His lawyers sent the subpoena back in March to Warner Bros. asking for “all recordings, including raw and unedited footage” from the interviews with two accusers who appeared in the series. The docuseries aired on HBO/Max in January. The subpoena also contains a demand for any notes or journals the accusers gave the documentary’s producers and records of financial payments made to the accusers in connection to their involvement with the project.
Warner Bros. is fighting the subpoena in court as Diddy’s trial looms in May. Lawyers for the studio asked a federal judge overseeing the sex-trafficking case to squash the subpoena in court today. A nine-page filing cites “reporter’s privilege” and calls Combs’ efforts an overly broad “fishing expedition.”
“Mr. Combs seeks outtakes from interviews with two persons featured in the docuseries,” Warner Bros. lawyer Thomas B. Sullivan writes to US District Judge Arun Subramanian. “The interview outtakes it seeks are protected by the reporter’s privilege that applies to unpublished newsgathering materials,” the lawyer continues. Mr. Combs has not met, and cannot meet, his burden to overcome that privilege.”
The Warner Bros. filing does not directly name the two accusers whose notes and outtakes Diddy’s lawyers want to see. Instead, the filing describes them as Individual A and Individual B.
“Individual A is Mr. Combs’ former personal chef,” the document reveals. “She is featured in the docuseries speaking about how Mr. Combs treated her when she was employed by him, as well as various rumors she heard about his behavior during her time in his orbit.”
Meanwhile, Individual B is called a “former romantic partner of Mr. Combs.” The lawyer’s petition says she was featured in the docuseries discussing the origins and path of her relationship with him, including one alleged incident of sexual assault.” Warner Bros. lawyers argue that Combs’ “fishing expedition” is an attempt to find something to use against those two accusers should they testify against him at trial.
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Ravebot

Judge Rules in DMX Estate’s Favor in Copyright/IP Ownership Lawsuit

Photo Credit: DMX by Mika Väisänen / CC by 3.0
The DMX Estate secures a victory in an ongoing lawsuit challenging their sole ownership of the late rapper’s copyright and IP rights.
DMX’s estate has secured a major victory in an ongoing lawsuit that challenges the estate’s sole ownership of the late rapper’s copyright, trademark, and other intellectual property rights.
The judge issued a decision and order on Monday (April 7) that rejects the claims by DMX’s ex-wife, Tashera Simmons, that she co-owned his IP rights accrued during their marriage and is entitled to 50% of all revenue generated.
The decision reinforces that the estate, represented by Kurzman Eisenberg Corbin & Lever, LLP and Manatt, Phelps & Phillips, LLP, is the sole owner of all such rights. Tashera Simmons’ rights, therefore, are limited to a portion of record and music publishing royalties generated by musical works that her former husband released during their marriage.
“[The Estate] is the sole owner of all intellectual property rights (including all copyrights and trademark rights) that [DMX] acquired during his marriage to [Simmons], as well as any and all trademarks and intellectual property rights that belonged to [DMX] at the time of his death; except as specifically set forth in five Letters of Direction signed by [DMX],” wrote Judge David F. Everett.
“[Simmons] has no income interest and is not otherwise entitled to any monies of any kind generated by or attributed to services rendered by [DMX], and/or to copyrights and trademark rights […] acquired during his marriage to Plaintiff.”
DMX, real name Earl Simmons, who began rapping in the early 1990s, passed away on April 9, 2021, at only 50 years old. His influence on hip-hop is undisputed; his aggressive style and violent lyricism helped popularize the horrorcore genre.
Throughout his career, he won an American Music Award, a Billboard Music Award, and was nominated for six Grammy Awards. DMX was the first artist to have their first five albums consecutively debut atop the Billboard 200. By 2021, he had sold over 75 million records worldwide.
His international hit, “X Gon’ Give It to Ya,” released in 2002, saw a resurgence in popularity in 2016 when it was featured in the Marvel film Deadpool and its trailers. DMX’s eighth and posthumous studio album, Exodus, was released a month after his passing, on May 28, 2021.
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Ravebot

[Decoded] Waverley Council wants New Year’s Eve festival to return to Bondi Beach

There was a time when Bondi Beach didn’t just have a lacklustre shimmer under fireworks on New Year’s Eve, it raved into the future. From the turn-of-the-millennium madness of NYE 1999/2000 to the epic Shore Thing era featuring The Chemical Brothers, Fatboy Slim, and Skrillex, Bondi wasn’t just a postcard, it was an epicentre of global club culture. Now, after more than a decade of silence, it may finally return to the most iconic beach in the world.
Waverley Council has officially opened expressions of interest to bring back a New Year’s Eve festival on Bondi Beach, reigniting hopes that Shore Thing, the legendary party that ended in 2014, might be reborn for a new generation of ravers, music lovers, and sun-soaked dreamers.
Australia has thrown some wild parties, but NYE 1999/2000 on Bondi Beach is still spoken about with reverence. That night, more than 20,000 revellers danced through the new millennium under a technicolour sky, powered by an all-star electronic lineup. It was a defining moment in Australian dance culture, placing Bondi firmly on the international map.
Throughout the 2000s and early 2010s, Shore Thing brought dance music royalty to Sydney’s most iconic beach. The Chemical Brothers, Snoop Dogg, Fatboy Slim, Calvin Harris, and Skrillex all lit up the sand, backed by massive production and a crowd that knew how to party. It wasn’t just a beach event, it was an annual pilgrimage for lovers of electronic music from across Australia and the globe.
Fast forward to 2025, and Sydney’s nightlife is still recovering from a tough decade of lockouts, red tape, and COVID-related shutdowns. But the desire to bring back Bondi’s beach festival is about more than nostalgia—it’s about reigniting Sydney’s soul.
“Sydney needs to come alive again,” says Damion Pell, Editor of Decoded Magazine. “We need to remove restrictions, embrace our culture, and become a truly international city once again. Reviving Bondi Beach on New Year’s Eve is a powerful statement—it’s not just about the music, it’s about reclaiming our identity as a city that celebrates life after dark.”
Waverley Councillor Michelle Stephenson, who attended Shore Thing herself in the 2000s, agrees. “Live music is one of the key factors we want to utilise to bring energy back to Bondi. Post-COVID, locals were feeling a lack of connection to the community and each other. This is how we bring that back.”
The council has already re-engaged Fuzzy Events, the producers behind Field Day and past Shore Thing editions, to take over Bondi’s Mardi Gras beach party, signalling a potential return of serious festival expertise to the shoreline.
And the industry is watching. Olly Arkins, Managing Director of the Australian Festival Association, recently addressed the council in support of the plan. “Events like this create unforgettable experiences for audiences and provide huge cultural cache for our city. Having an event on Bondi Beach during New Year’s Eve… I can’t think of anything more Sydney than that.”
It’s not just about international acts either. Arkins stresses that a new NYE festival would be a golden stage for emerging Aussie artists. “Festivals are one of the few opportunities for up-and-coming local artists to get in front of large audiences. A 15,000-strong crowd on Bondi Beach? That’s career-changing.”
Cr Stephenson already has her dream lineup. “Homegrown heroes like Dom Dolla and Fisher would absolutely destroy that stage, but artists like John Summit, Barry Can’t Swim, Vintage Culture, and Peggy Gou would take it to the next level. The list is endless.”
She’s not wrong. Bondi deserves a lineup that reflects the city’s status as a global capital of culture, music, and sunshine. And with Sydney already hosting Field Day on January 1, the idea of a NYE blowout on the beach followed by a recovery party in the Domain sounds like a dream double-header.
While Australia’s festival circuit has taken a beating—Splendour, Groovin the Moo, and even Bluesfest facing cancellations or scaling back—Bondi Beach is uniquely poised to revive not just a party, but a cultural movement. As we approach 2025’s NYE, one thing is clear: Sydney is ready for its moment. It has been waiting. And if Bondi Beach is anything like it used to be, when that needle drops again, it’s going to echo across the world.
Decoded Magazine will keep you updated on the progress of Bondi’s NYE resurrection. Summer in Sydney might just be about to get legendary again.

The post Waverley Council wants New Year’s Eve festival to return to Bondi Beach appeared first on Decoded Magazine.
Ravebot
Ravebot

[Decoded] Waverley Council wants New Year’s Eve festival to return to Bondi Beach

There was a time when Bondi Beach didn’t just have a lacklustre shimmer under fireworks on New Year’s Eve, it raved into the future. From the turn-of-the-millennium madness of NYE 1999/2000 to the epic Shore Thing era featuring The Chemical Brothers, Fatboy Slim, and Skrillex, Bondi wasn’t just a postcard, it was an epicentre of global club culture. Now, after more than a decade of silence, it may finally return to the most iconic beach in the world.
Waverley Council has officially opened expressions of interest to bring back a New Year’s Eve festival on Bondi Beach, reigniting hopes that Shore Thing, the legendary party that ended in 2014, might be reborn for a new generation of ravers, music lovers, and sun-soaked dreamers.
Australia has thrown some wild parties, but NYE 1999/2000 on Bondi Beach is still spoken about with reverence. That night, more than 20,000 revellers danced through the new millennium under a technicolour sky, powered by an all-star electronic lineup. It was a defining moment in Australian dance culture, placing Bondi firmly on the international map.
Throughout the 2000s and early 2010s, Shore Thing brought dance music royalty to Sydney’s most iconic beach. The Chemical Brothers, Snoop Dogg, Fatboy Slim, Calvin Harris, and Skrillex all lit up the sand, backed by massive production and a crowd that knew how to party. It wasn’t just a beach event, it was an annual pilgrimage for lovers of electronic music from across Australia and the globe.
Fast forward to 2025, and Sydney’s nightlife is still recovering from a tough decade of lockouts, red tape, and COVID-related shutdowns. But the desire to bring back Bondi’s beach festival is about more than nostalgia—it’s about reigniting Sydney’s soul.
“Sydney needs to come alive again,” says Damion Pell, Editor of Decoded Magazine. “We need to remove restrictions, embrace our culture, and become a truly international city once again. Reviving Bondi Beach on New Year’s Eve is a powerful statement—it’s not just about the music, it’s about reclaiming our identity as a city that celebrates life after dark.”
Waverley Councillor Michelle Stephenson, who attended Shore Thing herself in the 2000s, agrees. “Live music is one of the key factors we want to utilise to bring energy back to Bondi. Post-COVID, locals were feeling a lack of connection to the community and each other. This is how we bring that back.”
The council has already re-engaged Fuzzy Events, the producers behind Field Day and past Shore Thing editions, to take over Bondi’s Mardi Gras beach party, signalling a potential return of serious festival expertise to the shoreline.
And the industry is watching. Olly Arkins, Managing Director of the Australian Festival Association, recently addressed the council in support of the plan. “Events like this create unforgettable experiences for audiences and provide huge cultural cache for our city. Having an event on Bondi Beach during New Year’s Eve… I can’t think of anything more Sydney than that.”
It’s not just about international acts either. Arkins stresses that a new NYE festival would be a golden stage for emerging Aussie artists. “Festivals are one of the few opportunities for up-and-coming local artists to get in front of large audiences. A 15,000-strong crowd on Bondi Beach? That’s career-changing.”
Cr Stephenson already has her dream lineup. “Homegrown heroes like Dom Dolla and Fisher would absolutely destroy that stage, but artists like John Summit, Barry Can’t Swim, Vintage Culture, and Peggy Gou would take it to the next level. The list is endless.”
She’s not wrong. Bondi deserves a lineup that reflects the city’s status as a global capital of culture, music, and sunshine. And with Sydney already hosting Field Day on January 1, the idea of a NYE blowout on the beach followed by a recovery party in the Domain sounds like a dream double-header.
While Australia’s festival circuit has taken a beating—Splendour, Groovin the Moo, and even Bluesfest facing cancellations or scaling back—Bondi Beach is uniquely poised to revive not just a party, but a cultural movement. As we approach 2025’s NYE, one thing is clear: Sydney is ready for its moment. It has been waiting. And if Bondi Beach is anything like it used to be, when that needle drops again, it’s going to echo across the world.
Decoded Magazine will keep you updated on the progress of Bondi’s NYE resurrection. Summer in Sydney might just be about to get legendary again.

The post Waverley Council wants New Year’s Eve festival to return to Bondi Beach appeared first on Decoded Magazine.
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[Decoded] “Tron: Ares” Trailer drops – A futuristic fever dream fueled by Nine Inch Nails

The grid is back online.
Disney has just released the trailer for Tron: Ares, and the synth-heavy, neon-drenched world of Tron is pulsing with new life. Slated for release in October 2025, the third installment in the cult sci-fi saga looks every bit the cybernetic fever dream fans have been waiting for—and this time, the soundtrack torch has passed from Daft Punk to industrial-electronic titans Nine Inch Nails.
For a generation raised on synthesisers, cyberspace, and futurism, the Tron franchise has long held a special place in the heart of the electronic music community. From the 1982 original, which saw Wendy Carlos pioneering electronic film scoring, to 2010’s Tron: Legacy with Daft Punk’s legendary score becoming a defining moment for cinematic electronica, Tron has always been as much about the sound as it is about the spectacle.
In Tron: Ares, director Joachim Rønning (known for Pirates of the Caribbean: Dead Men Tell No Tales and Maleficent: Mistress of Evil) steps into the digital world for the first time, bringing a bold visual flair and blockbuster polish. But it’s the addition of Nine Inch Nails’ Trent Reznor and Atticus Ross, the Oscar-winning duo behind The Social Network and Watchmen soundtracks, that is creating serious buzz among audiophiles and ravers alike. Their gritty, atmospheric textures promise to take the Tron sound in a darker, more industrial direction, blending analog angst with digital chaos.
While Daft Punk’s score for Legacy was pristine and cinematic, Reznor and Ross are likely to inject Ares with a grittier, more visceral sound. Think jagged synths, metallic drones, and epic basslines something that resonates with a post-cyberpunk, post-pandemic world where the boundaries between tech and humanity are blurrier than ever.
Jared Leto steps into the titular role of Ares, a mysterious program sent from the digital world into our reality, marking the first time the Grid spills fully into the human realm. Leto, no stranger to transformative sci-fi roles, promises a performance that blurs the line between messiah and machine.
Alongside Leto is a fresh cast that includes Greta Lee (Past Lives, Russian Doll), Jodie Turner-Smith, and Evan Peters (American Horror Story, Dahmer), bringing edgy performances to match the film’s renegade digital aesthetic. Rumors also swirl about appearances from Legacy alumni Garrett Hedlund and Olivia Wilde, but nothing has been confirmed.
Tron: Legacy wasn’t just a movie; it was a movement. Daft Punk’s soundtrack was adopted as gospel by electronic artists and DJs, with tracks like “Derezzed” and “End of Line” still appearing in techno and house sets 15 years later. It redefined what a sci-fi film could sound like, setting a new benchmark for how electronic music could drive a narrative. The visuals were equally influential. The glowing suits, stark vector grids, and immersive lightcycle sequences became instant iconography, not just for cinema but for rave culture, festival stage design, and even fashion.
With Tron: Ares, Disney appears to be doubling down on what made the series such a cult classic: cutting-edge visual effects, philosophical undertones about AI and digital identity, and a soundtrack that refuses to play it safe. For the electronic music community, it’s more than a movie, it’s a sonic event.
As Tron: Ares prepares for its October debut, the hype is tangible, not just among Disney fans, but across underground dance floors, synthwave forums, and digital art collectives worldwide. This isn’t just another sequel. It’s a return to the grid, rebooted for a new era where technology and sound are one.
From Daft Punk’s immaculate score to the raw intensity of Nine Inch Nails, Tron continues to be the intersection where cinema, electronica, and digital counterculture converge. Buckle in. The future’s coming, again.
Follow Decoded Magazine for more deep dives into where music meets culture, and the beats beyond the mainstream.
The post “Tron: Ares” Trailer drops – A futuristic fever dream fueled by Nine Inch Nails appeared first on Decoded Magazine.
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Reintroduced TICKET Act Moves Closer to Passage With House Committee Approval

The reintroduced TICKET Act is riding a fresh wave of congressional support. Photo Credit: Claudio Schwarz
Riding a new wave of bipartisan support, the Transparency in Charges for Key Events Ticketing Act (TICKET Act) is one step closer to becoming law.
Lawmakers made this latest round of approval official during a House Energy and Commerce committee markup today. Nearly all the involved representatives voted in favor of the reintroduced TICKET Act, which is also picking up steam in the Senate.
(As part of the same four-hour hearing, the House committee considered 25 other bills, among them the American Music Tourism Act.)
And for those who’ve followed the legislation’s years-running journey, that probably won’t come as a surprise. Before being booted from a spending bill late last year, the TICKET Act passed overwhelmingly in the House.
“We have worked a long time on this legislation – it’s been a couple of years,” Representative Jan Schakowsky summed up during today’s hearing. “And we should not have any problems with this right now. Because we know that this legislation has passed the House of Representatives pretty much unanimously. And we have had sponsors across the aisle at all times.”
Most notably, the TICKET Act would mandate all-in pricing, thereby compelling ticket marketplaces to display fee-inclusive costs at the outset.
Outside the halls of Congress, several players have endorsed this key provision (and the bill itself). Chief among the all-in advocates is Ticketmaster parent Live Nation; some evidence suggests that the market-leading promoter will benefit from the measure.
In any event, the concise TICKET Act would further ban speculative ticket listings, referring to those advertising passes that the sellers don’t actually possess. But possible workarounds seem straightforward enough here.
Provided the appropriate listings are labeled accordingly, ticket marketplaces could still allow the sale of services to obtain as-yet-unsecured passes, the TICKET Act text shows. Stated differently, it doesn’t appear that the legislation will outlaw speculative tickets altogether.
Another section of the bill describes bolstered ticket-refund requirements for postponed or canceled happenings, and the TICKET Act calls for an FTC report on the little-enforced BOTS Act.
(President Trump’s March 31st executive order instructs the FTC to “rigorously enforce” the BOTS Act. Separately, the MAIN Event Ticketing Act was reintroduced towards 2025’s beginning and, in short, would heighten the BOTS Act’s enforcement power.)
In a statement shared with DMN, the National Consumers League applauded the TICKET Act as “the solution that millions of fans have been seeking.”
“This bill is the solution that millions of fans have been seeking to finally get rid of hidden junk fees, crack down on predatory ticket resale practices, and guarantee refunds in the event of event postponements and cancellations,” VP of public policy, telecommunications, and fraud John Breyault said in part.
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Extended TikTok Forced-Sale Deadline Draws Congressional Pushback: ‘A Clear Violation of the Law’

A federal lawmaker is criticizing the latest TikTok sale deadline extension. Photo Credit: Solen Feyissa
Is the latest extension to the TikTok forced-sale deadline “a clear violation of the law”? At least one member of Congress believes so, and he’s expressing “deep reservations” as a result.
Senator Mark Warner (D-VA) just recently voiced that pushback in an open letter to President Trump, who last week extended the cutoff for ByteDance to divest from TikTok in the U.S.
Prior to this extension (which is the second overall), evidence pointed to an imminent deal for TikTok in the States, we covered in detail. But just before the transaction’s anticipated announcement – and following the White House’s tariffs rollout – China pulled back from the agreement.
Now, against the backdrop of intensifying trade and tariff negotiations, it remains to be seen how the marathon TikTok episode will conclude. Ahead of the grand finale, however, Senator Warner is taking aim at the deadline extension and the reported sale terms for TikTok U.S.
On the former front, the senator reiterated “that the law passed by Congress” – it’s been almost one year since then-President Biden signed the Protecting Americans from Foreign Adversary Controlled Applications Act – “only allowed for a single extension of no more than 90 days.”
“This second delay, announced April 4, 2025,” Senator Warner proceeded, “is a clear violation of the law while also continuing to leave Americans vulnerable to malign influence operations conducted by an adversary country.”
Building on the position, the senator called out the divestiture’s reported particulars – including a non-controlling stake in TikTok U.S. for ByteDance when all is said and done.
(The “reported” descriptor is important; concrete specifics haven’t been directly confirmed in this area. The senator in his letter cited terms highlighted in “news reports.”)
“A successful and comprehensive divestiture will require any successor to scrupulously prevent influence or access by ByteDance or other entities under the jurisdiction of the People’s Republic of China,” the lawmaker wrote. “The deal being discussed undermines confidence that the divested app can be trusted to protect national security and ensure compliance with the law.”
Time will tell exactly what the criticism (coming only from the senator, with no co-signers on the letter) means for TikTok’s possible U.S. sale.
Most immediately here, from the perspective of support among younger voters, logic and evidence suggest that aggressively advocating for TikTok’s stateside shutdown is ill-advised.
Thus, it’s unclear whether the pushback will pick up steam and fuel a broader campaign against the extension. But if so inclined, the senator and others could perhaps increase the pressure on Google and Apple, which are still carrying TikTok in their respective app stores and could technically face massive fines under the language of the forced-sale law.
Regardless, amid reportedly devolving U.S.-China trade talks, it’s also possible that the well-defined TikTok deal (which would require Beijing’s approval) won’t wrap at all. On the other hand, should the long-discussed divestiture come to fruition, it’s safe to say the platform’s executive team will look different under the new owners.
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