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UNTOLD Festival Adds ARTBAT, Topic, Tujamo, And More For 10th Anniversary

UNTOLD Festival celebrates 10 years of the magical universe of music, love, and friendship this summer. Each festival day promises a different journey, from the euphoria of top DJs’ sets to the emotion of live shows by the world’s biggest artists. Romania’s treasure festival, one of the largest in the world, will open its gates from August 7 – 10, in the heart of Transylvania, in the warm city of Cluj-Napoca. 
This year, UNTOLD Festival hosts seven stages, multiple music spots, unique activities, and games throughout 235,000 square meters. 200 artists and over 400,000 fans from all over the world are joining the 4 days and nights of the magical realm. 
The first day of the festival, Thursday, August 7, brings artists from electronic and pop music to the mainstage: Don Diablo Exclusive Set, Tiësto Extended Set, Topic, Tujamo, Rag’n’Bone Man, and Irina Rimes. The Galaxy stage, UNTOLD’s house and techno home, will host Black Coffee, Nusha, Arapu B2B Priku, and more. The Daydreaming stage welcomes Ben Böhmer, Parra for Cuva, Marten Lou, Armen Miran, and others on the festival’s first day. 
The second day of the festival locks in Armin van Buuren with a unique show, DJ Bliss, and a surprise act on the mainstage. The live act of the night is Post Malone, one of the most influential figures in contemporary music and a global superstar, who will perform in Romania for the very first time at UNTOLD’s anniversary edition. Dom Dolla and ARTBAT will smash the Galaxy stage, while the Daydreaming stage will vibe with Sébastien Léger, Mano Le Tough, Rampue Live, Caleesi & Kreis, and others.  
Saturday booms with Metro Boomin on the mainstage. The mastermind behind the sound of hip-hop and trap in the past decade will deliver an exclusive performance, marking his only festival show in Europe this year at UNTOLD X. The festival’s third day features DJs and producers from various genres: Alok, Alan Walker, Steve Angello, and Hugel on the mainstage. The Galaxy stage will showcase Green Velvet, Sara Bluma, as well as a unique set from A:RPI:R and other local DJs and producers. The Daydreaming stage will enjoy the likes of Jan Blomqvist, Röyksopp, Hraach Live, and more.
The last day and night of the festival will be celebrated in style with Anyma, Martin Garrix with UNTOLD Special Show, Fisher, Becky Hill, Cancelled Show (Kris Fade’s concept), INNA, and other local acts on the mainstage. UNTOLD X has Adriatique on the Galaxy stage and the legend Marco Carola, Mahony, and Sit. The Daydreaming stage will feature Shimza, Pachanga Boys, Bob Moses, Anthony Middleton (Audiofly), PAAX, and more.
From August 7 to 10, UNTOLD opens daily at 4 PM and closes after sunrise, at 7-8 AM. Tickets are available on untold.com, including backstage access and tours to the festival. Fans who want to discover UNTOLD differently can choose the Discovery Tour, a captivating 60-minute journey behind the scenes of the festival, and the Insider Tour, an extended 100-minute experience to discover special areas of the festival grounds.
 

The post UNTOLD Festival Adds ARTBAT, Topic, Tujamo, And More For 10th Anniversary appeared first on EDM House Network.
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New Heat, Same Fire: June’s Freshest Drops for the Dance-floor

As summer ramps up, so does the release schedule—and June comes in swinging. From energy driven main stage tracks to intimate, vocal-driven gems, this month’s new music delivers a diverse range of sounds destined for late-night sets, sunrise afters, and everything in between. Whether you’re a house head, techno purist, or melodic explorer, there’s something here to elevate your playlist. Let’s dive into the new music releases essential lighting up June 2025.
Elena Rose, Sistek & Mazzarri – Sintigo
Elena Rose teams up with DJ/producer Sistek and Mazzarri on Sintigo, a breezy, feel-good anthem arriving just in time for summer. Driven by infectious house rhythms and Elena’s unmistakable vocal charisma, the track blends sun-kissed grooves with vibrant lyricism—perfectly crafted to make bodies move on the dance floors and an exciting edition to playlists.
Stream here
Kilder – Dusk Till Dawn
Amsterdam-based producer Kilder returns with Dusk Till Dawn, a high-impact single that blends the raw energy of rave and techno with melodic house and UKG elements. The track captures the emotional shift from daily routine to night-time freedom—a sonic journey from monotony to movement. With an accompanying cinematic music video and an EP of the same name on the way, Dusk Till Dawn sets the stage for Kilder’s breakout summer. 
Stream here
DJ Hydra – Moyo Wa Upendo EP
Rising Afro House talent DJ Hydra delivers a powerful two-track statement with Moyo Wa Upendo. Leading with the title track—Swahili for “heart of love”— Hydra blends emotive Swahili vocals, textured electronic elements, and Afrocentric rhythms into a poignant, culture-rich anthem. The B-side, Like House, shifts gears with raw percussion and high-energy dancefloor spirit. Together, the tracks showcase DJ Hydra’s deep-rooted musical identity and forward-thinking sound, setting the tone for his debut single Bamidele.
Stream here
HI-LO – United In Trance
HI-LO returns with his first solo release of 2025, United In Trance, a euphoric techno-trance fusion out via HILOMATIK. Debuted at Ultra and backed by artists like Armin van Buuren and Afrojack, the track channels peak-time energy with powerful grooves and uplifting trance melodies. Inspired by the convergence of his HI-LO and Oliver Heldens projects, the new music single coming out June 2025 perfectly captures a unifying sound built for both underground techno sets and mainstage moments.
Stream here
Antdot & Bantu – Too Late
Antdot and Bantu unite on Too Late, a deeply emotional Afro House anthem that fuses regional roots with global energy. Blending solemn vocals, tribal chants, melancholic piano chords, and syncopated rhythms, the track explores heartbreak through a soulful, rhythmic lens. With its organic collaboration and cross-continental synergy, Too Late stands as a showcase of Afro House’s emotional and cultural depth.
Stream here
Grigoré & Serve Cold x Jaguar Jaguar – Dancing
Just in time for summer, Dancing lands on Defected Records. It brings together rising melodic house talents Grigoré and Serve Cold with Belgian band Jaguar Jaguar. The result is a dreamy, sun-soaked anthem blending soulful vocals, deep synths, and polished production. Balancing feel-good grooves with emotional depth, Dancing channels the spirit of open-air sets and golden-hour dance floors. This is an essential new music addition to June 2025 festival soundtrack.
Stream here
June 2025’s new music lineup proves that the season’s energy is in full swing. From Afro House to trance, melodic house to festival anthems, this month’s selections showcase the global dance scene at its most vibrant and emotionally resonant. Whether you’re curating a set or refreshing your personal playlist, these tracks offer something for every listener ready to dance, feel, and move through summer. Stay tuned— July’s heat is just around the corner.

The post New Heat, Same Fire: June’s Freshest Drops for the Dance-floor appeared first on EDMNOMAD.
View the full article
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Vintage Culture Reimagines Von Dutch for the Rave Generation

The next evolution of Von Dutch doesn’t come from a boardroom—it comes from the booth. Vintage Culture, the Brazilian DJ-producer who’s built his career on genre-defying sets and emotional dance floor moments, is now the creative force behind Von Dutch Loves’ first artist-designed collection. The capsule drops June 15 on VonDutchLoves.com, bringing the iconic brand’s rebellious DNA into the hands—and onto the bodies—of the rave generation.
Carrying Von Dutch Into the Next Cultural Wave
This isn’t a celebrity endorsement. It’s is an artist using fashion to say something louder than words. Vintage Culture didn’t just lend his name—he designed the entire capsule himself, drawing from his global tours, underground roots, and the raw, unfiltered energy of nightlife. “Von Dutch Loves and I share the same passion for pushing boundaries and celebrating individuality,” he says. “It’s the perfect match and something I am immensely proud to finally release into the world.”
Every piece in the collection reflects that mission. The line pairs distressed textures, oversized silhouettes, and hand-scrawled details with Y2K cues and festival energy. These are clothes for the afterparty, not the showroom.
Von Dutch has always been known for its rebellious streak. It’s Vintage Culture’s credibility and vision that make this next move stick. In an era where brand collabs often feel hollow, this one hits different. It’s led by someone who actually lives the scene. “The collection draws on a sense of nostalgic energy, reimagined through an edgier lens to create something truly unique,” Vintage Culture explains. “This has been a long time in the making, and to finally see it come to life is incredibly exciting.”
For Von Dutch Loves, this moment isn’t just a launch. It’s a transfer of cultural capital—from fashion to music, and back again. The brand isn’t leading the movement. It’s smart enough to follow the artist who is.
A Global Sound. A Wearable Identity.
The capsule is for both men and women, offering a range of styles that go from bold to understated but never lose their emotional charge. From statement trucker hats to elevated basics, the collection is built to match the movement of people who don’t just attend shows—they live for them.
These aren’t pieces to pose in. They’re for sweating, dancing, and disappearing into the moment. The artist designed them to feel like the scene he comes from—raw, open, expressive. Von Dutch Loves has made it clear: this is just the start. The brand plans a series of artist-led collaborations, global activations, and festival partnerships throughout the year. But what makes this first drop so potent is the decision to lead with a creator, not a campaign. “This collaboration with Vintage Culture captures exactly what Von Dutch Loves was created for,” says Jack Cheika, CEO of WSG Brands. “Together, we’re not just launching a collection—we’re shaping a movement that bridges music and style in a powerful new way.”
The rave economy continues to grow. The brands that will last are the ones that understand who’s really driving culture. And in this case, it’s a DJ turning fashion into fuel.
Where to Buy the Vintage Culture x Von Dutch Drop
The Vintage Culture x Von Dutch Loves capsule collection drops June 15 on www.vondutchloves.com and will roll out to select Von Dutch retail locations worldwide. Fans can sign up now for early access, exclusive content, and future event ticket drops. This isn’t just merch—it’s a message. And it starts with the artist.
The post Vintage Culture Reimagines Von Dutch for the Rave Generation appeared first on EDMNOMAD.
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10 Artists You Cannot Miss at Escapade Music Festival 2025

Escapade Music Festival 2025 is set to light up Ottawa from June 20–22 at the RA Centre Grounds, celebrating its 15th anniversary with a stellar lineup of electronic music artists . Here are ten must-see acts that promise unforgettable performances:
1. HNTR
Toronto’s HNTR is a Juno Award-winning producer and the force behind the No Neon brand, known for its dark, melodic techno and house events. His recent track “Victory” showcases his signature style, blending atmospheric elements with driving beats. HNTR’s sets are a journey through deep, pulsating rhythms that captivate the dance floor.


 
2. The Chainsmokers
The Chainsmokers, an American DJ and production duo, have consistently delivered chart-topping hits that blend pop sensibilities with electronic beats. Their collaboration with Kim Petras on “Don’t Lie” continues this trend, offering infectious melodies and danceable rhythms. Known for their high-energy performances, they bring a dynamic presence to any festival stage.


 
3. Rose Motion
Rose Motion is the electric fusion of sexy tech house and emotional melodic bangers. This Aussie-Canadian couple brings main character energy, with sets that feel like sunrise beach raves colliding with chaotic 3AM warehouse magic. Their euphoric performances are leaving a mark across Canada — unforgettable, unmissable.


 
4. Subtronics
One of the leading taste makers of the global dubstep scene, known for his innovative sound design, mind bending remixes and high-octane performances. His track “Oblivion” exemplifies his ability to blend heavy bass with intricate rhythms. Subtronics’ sets are a rollercoaster of energy, making him a must-see act for bass enthusiasts.


5. DJ Snake
French DJ and producer DJ Snake has a knack for creating global hits that blend various genres, including EDM, hip-hop, and Latin music. His recent release “Paradise” featuring Bipolar Sunshine showcases his ability to craft infectious melodies with broad appeal. DJ Snake’s performances are known for their high energy and crowd engagement.


 
6. SHEVA
A rising star in Toronto’s underground, SHEVA blends Trance, Techno, Future Rave, and House into hypnotic, high-energy DJ sets. Her sound reflects a cultural journey across France, Canada, Portugal, and Brazil — as well as her early roots as a dancer. With deep insight from working behind the scenes for global artists, she’s one to watch.
https://edmhousenetwork.com/wp-content/uploads/2025/06/snapins-ai_3561340665876528307.mp4  

7. Excision
Excision is a titan of bass music, known for his earth-shaking drops, futuristic visuals, and fully immersive live shows. He’s built an empire around heavy dubstep and relentless sound design, drawing massive crowds to festivals like Lost Lands and Bass Canyon. Expect cinematic intros, brutal breakdowns, and the kind of raw power that turns a crowd into a mosh pit.


 
8. Disclosure
UK duo Disclosure (brothers Guy and Howard Lawrence) helped usher in a new era of electronic music by fusing deep house, UK garage, and soulful pop into one infectious package. Their breakout album Settle earned Grammy nominations and reshaped the sound of global dance floors, with hits like “Latch” and “White Noise.” Known for their tight production, genre-fluid sets, and live instrumentation, Disclosure always delivers a dynamic and dance-heavy experience that blends underground energy with mainstream polish.


 
9. MORTEN
Danish DJ and producer MORTEN has kept his incredibly innovative and trademarked sound ringing through platforms across the globe. As the co-founder of ‘Future Rave’, and following his immense hits the last couple of years, MORTEN has created magical tracks in collaboration with David Guetta and many more of dance music’s most celebrated taste makers.

 

10. Azzecca
Azzecca is one of Chicago’s most exciting underground exports, making waves globally with a sound that blurs the lines between dark melodic house, techno, and progressive. She’s become a staple on tastemaker labels and lineups, with her music championed by the likes of John Summit and Gorgon City — offering the kind of immersive, emotional energy that sticks with you long after the lights go up.


 
 
 
 
 
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Festival Report Card: Lightning In A Bottle 2025

Lightning in a Bottle (LIB) is billed as “a place where the ordinary fades and the extraordinary takes its place.” This year, that sentiment felt more true than ever. From May 21-25, the shores of Buena Vista Lake—near Bakersfield, California—once again became a vivid portal of creativity, connection, and self-discovery. Attendees packed their bags, ready to shed the outside world and immerse themselves in something far more expansive.
Widely recognized as one of the foremost transformational music festivals in the United States, Lightning in a Bottle offers a genre-defying sonic journey—from staples like house, techno, and dubstep to niche sounds like synth-pop, neo-soul trap, and Celtic electronica. But music is just the tip of the iceberg. With its lineup of mind-expanding workshops and thought-provoking talks, LIB continues to redefine what it means for an electronic music festival to serve as a true home for its community.
As musical art cars cruised through a waterfront venue, brought to life by live painters and artists, EDM Maniac was on the ground at the Do LaB’s signature event to deliver our Festival Report Card—breaking down all the key moments, highlights, and immersive experiences below.
Production: ★★★★☆
LIB puts its distinct spin on traditional production, challenging conventions and expanding the possibilities of what music and lights can evoke. Though stage designs remain intentionally minimal, lacking the intense laser blasts of many large-scale festivals, LIB makes its mark through other creative and unexpected production elements.
Among Lightning in a Bottle’s most delightful and buzzed-about features are its art cars. These whimsical, roaming installations are far from your average festival set-up; they’re fully drivable sculptures decked out in elaborate designs, each one more surreal than the last.
Throughout the weekend, they cruise through the grounds, soundtracked by buoyant DJ sets that transform impromptu dance parties into unforgettable moments of magic. One moment you’re dancing behind a giant banana on wheels, the next you’re tailing a neon mosquito or grooving alongside a technicolor sneaker large enough to fit a small house. The art cars invite festivalgoers into a world where creativity knows no limits—and where play is not only encouraged, it’s essential.
Nearly as integral as the music itself, Lightning in a Bottle curates a vibrant ecosystem of workshops, interactive talks, wellness offerings, and quirky activities that channel the joy of play. Designed to nourish the spirit and awaken the inner child, these experiences transform the festival into something akin to an adult summer camp—equal parts soul-reviving and imagination-sparking.
Over at the Grand Artique, a Western-themed enclave straight out of another era, attendees can catch whimsical baseball games or witness the theatrical spectacle of the “Grand Bid.” Meanwhile, the Cauldron tent channels witchy, mystical energy with meditation sessions, talks on astrology and relationships, interactive “Villains & Vixens” kink workshops, and deep dives into tarot.
Unlike many festivals with such offerings limited to sleepy morning slots, LIB weaves its workshop programming throughout the day, from the first light of sunrise to the final spark of sunset, making the journey of self-discovery just as integral as the dancefloor.
Vibes: ★★★★☆
LIB’s sense of community echoes Burning Man’s spirit, but with a gentler, more accessible edge. Radical sharing, kindness, and co-creation aren’t just encouraged—they’re expected. Whether you’re lending a hand to set up someone’s camp or vibing with a crowd that genuinely feels the music, the festival fosters a rare kind of collective magic. Even artists thought it.
In a social media post, John Summit wrote that he was “feeling inspired af” after his performance at LIB. He described it as a “true community-driven” festival and shouted out crowds that were “next fucking level.. no phones, straight vibes… ”
With an all-age policy, tykes as young as two years old were seen running around the festival, embodying the festival’s deep commitment to family-friendly values. A standout moment came during the early hours of Saturday morning at Grand Artique, when Red Giant Project closed their set at 3:00 AM with a special guest: one bandmate’s 14-year-old daughter, who has grown up alongside the festival and took the stage to sing, marking nearly ten years of her own LIB journey.
Because Lightning in a Bottle demands thoughtful preparation and commitment, it naturally attracts a more seasoned and intentional crowd—those who seek a transformative experience rather than a fleeting weekend escape. Camping for up to five days in a remote desert setting is no small feat, and attendees arrive ready for the challenge, fully invested in the journey ahead. First-time campers are a rare sight here; the prevailing vibe is one of familiarity and tradition, with many having navigated festivals like LIB for years, returning time and again to be near its otherworldly aura.
Best said: at LIB, the music moves you—but the people keep you coming back.
Venue: ★★★☆☆
This year’s Lightning in a Bottle tested attendees with brutal conditions—California’s fields baked in mid-to-high 90s heat, relentless sun, and pervasive dust kicked up by every shuffle and gust of wind. While the sun beat down, attendees found plenty of shaded retreats and refreshing misters to cool off.
Though the terrain was a mix of mulch, patchy grass, and concrete, thoughtful upgrades, like turf carpeting over rougher patches, created inviting spots to relax and recharge, these improvements were warmly welcomed, offering a comfortable refuge that enhanced the overall experience and kept the festival’s vibrant energy alive from dawn till dusk.
The VIP experience at Lightning in a Bottle impressed on every level, from prime viewing areas to thoughtful perks. VIP guests enjoyed exclusive vantage points, luxurious, flushable bathrooms with air-conditioning, and backstage lounges with ample comfortable seating. Additional conveniences included complimentary electronic charging stations, curated food and beverage options, and rare opportunities to join performances from side-stage spots at iconic stages like Woogie and Lightning.
General admission didn’t fall short either, boasting widespread charging stations, massive trampoline structures perfect for lounging and socializing, and interactive art installations that invited attendees to climb, explore, and rearrange, turning the festival grounds into a living, evolving canvas.
With daily attendance ranging from 15,000 to 20,000, Lightning in a Bottle may be modest in size compared to its grand reputation within the festival community. Refreshingly, this smaller population translates to shorter-than-average wait times at festival entrances, bathroom lines, and food queues, meaning you spend more time dancing and less time waiting in line.
Music: ★★★★☆
Hosted by the visionary Do LaB collective, surprise guest appearances have become a hallmark of Lightning in a Bottle. With a track record of historic, unplanned visits from Skrillex and RÜFÜS DU SOL, it’s hard to believe those acts could be beat, yet LIB consistently rises to the challenge. Friday evening was dazzled with a surprise sunset DJ set from Monolink and a Blacklizt techno set from ZHU. Sunday night was brought to a massive close by SUBJOHNICS (Subtronics B2B John Summit) for an unforgettable end to the weekend.
The lineup blended surprise sets with highly anticipated performances from artists like Khruangbin, Tape B, Hamdi, Jade Cicada, Magdalena Bay, O’SNAP, Jamie xx, and many more, demonstrating that Lightning in a Bottle not only embraces the full spectrum of electronic music but also celebrates the seamless fusion of genres beyond it. Adding to the festival’s dynamic energy, Brownies & Lemonade delivered a standout All Stars set featuring ROSSY, Chad Kenney, and a brand-new bass-boosted set from Whethan.
The music throughout the weekend was impeccable, delivering solid, high-quality sets that matched the caliber of other premier U.S. festivals. The overall experience was notably smooth, with impressively minimal set conflicts allowing attendees to savor a broader range of performances without difficult choices.
Food And Beverage: ★★★☆☆
LIB offered plentiful food, snacks, and drink options, thoughtfully catering to all dietary preferences with a wide array of vegetarian, vegan, gluten-free, and nonalcoholic options. From açaí bowls, sushi hand-rolls, and lavender matcha to naan tacos, double-stacked cheeseburgers, and marinated tofu burritos, the festival’s food landscape ensured there was something to satisfy every palate.
Pricing at Lightning in a Bottle generally aligned with typical festival standards, though some simpler options felt steep—pizza ranged from $11 to $17, while quesadillas edged toward a surprising $30. However, Savvy attendees uncovered a valid workaround via the festival’s app. Its Eat & Drink section lists all food vendors. It reveals that many offered individual menu items at significantly lower prices than the full plates showcased on the boards, such as a $7 chicken skewer versus a full chicken platter that costs nearly three times as much. This insider tip helped festivalgoers stretch their budgets without sacrificing flavor.
Overall: ★★★★☆
Lightning in a Bottle is nothing short of a profound transformational journey that demands intention and preparation from its attendees. If you come expecting solely a nonstop party weekend, be warned: you’ll likely be overwhelmed by the elements and risk disrupting those around you.
LIB is a sanctuary for those ready to shed their everyday burdens, step through the portal, and fully immerse themselves in a world of open minds and hearts. Music pulses at its core and extends well into the morning. Still, the festival’s true magic lies in the rich tapestry of experiences waiting to be uncovered: art, workshops, and unexpected moments of connection. For those willing to surrender and explore, LIB offers a weekend that resonates far beyond the dancefloor.
The post Festival Report Card: Lightning In A Bottle 2025 appeared first on EDM Maniac.
View the full article
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Festival Report Card: Lightning In A Bottle 2025

Lightning in a Bottle (LIB) is billed as “a place where the ordinary fades and the extraordinary takes its place.” This year, that sentiment felt more true than ever. From May 21-25, the shores of Buena Vista Lake—near Bakersfield, California—once again became a vivid portal of creativity, connection, and self-discovery. Attendees packed their bags, ready to shed the outside world and immerse themselves in something far more expansive.
Widely recognized as one of the foremost transformational music festivals in the United States, Lightning in a Bottle offers a genre-defying sonic journey—from staples like house, techno, and dubstep to niche sounds like synth-pop, neo-soul trap, and Celtic electronica. But music is just the tip of the iceberg. With its lineup of mind-expanding workshops and thought-provoking talks, LIB continues to redefine what it means for an electronic music festival to serve as a true home for its community.
As musical art cars cruised through a waterfront venue, brought to life by live painters and artists, EDM Maniac was on the ground at the Do LaB’s signature event to deliver our Festival Report Card—breaking down all the key moments, highlights, and immersive experiences below.
Production: ★★★★☆
LIB puts its distinct spin on traditional production, challenging conventions and expanding the possibilities of what music and lights can evoke. Though stage designs remain intentionally minimal, lacking the intense laser blasts of many large-scale festivals, LIB makes its mark through other creative and unexpected production elements.
Among Lightning in a Bottle’s most delightful and buzzed-about features are its art cars. These whimsical, roaming installations are far from your average festival set-up; they’re fully drivable sculptures decked out in elaborate designs, each one more surreal than the last.
Throughout the weekend, they cruise through the grounds, soundtracked by buoyant DJ sets that transform impromptu dance parties into unforgettable moments of magic. One moment you’re dancing behind a giant banana on wheels, the next you’re tailing a neon mosquito or grooving alongside a technicolor sneaker large enough to fit a small house. The art cars invite festivalgoers into a world where creativity knows no limits—and where play is not only encouraged, it’s essential.
Nearly as integral as the music itself, Lightning in a Bottle curates a vibrant ecosystem of workshops, interactive talks, wellness offerings, and quirky activities that channel the joy of play. Designed to nourish the spirit and awaken the inner child, these experiences transform the festival into something akin to an adult summer camp—equal parts soul-reviving and imagination-sparking.
Over at the Grand Artique, a Western-themed enclave straight out of another era, attendees can catch whimsical baseball games or witness the theatrical spectacle of the “Grand Bid.” Meanwhile, the Cauldron tent channels witchy, mystical energy with meditation sessions, talks on astrology and relationships, interactive “Villains & Vixens” kink workshops, and deep dives into tarot.
Unlike many festivals with such offerings limited to sleepy morning slots, LIB weaves its workshop programming throughout the day, from the first light of sunrise to the final spark of sunset, making the journey of self-discovery just as integral as the dancefloor.
Vibes: ★★★★☆
LIB’s sense of community echoes Burning Man’s spirit, but with a gentler, more accessible edge. Radical sharing, kindness, and co-creation aren’t just encouraged—they’re expected. Whether you’re lending a hand to set up someone’s camp or vibing with a crowd that genuinely feels the music, the festival fosters a rare kind of collective magic. Even artists thought it.
In a social media post, John Summit wrote that he was “feeling inspired af” after his performance at LIB. He described it as a “true community-driven” festival and shouted out crowds that were “next fucking level.. no phones, straight vibes… ”
With an all-age policy, tykes as young as two years old were seen running around the festival, embodying the festival’s deep commitment to family-friendly values. A standout moment came during the early hours of Saturday morning at Grand Artique, when Red Giant Project closed their set at 3:00 AM with a special guest: one bandmate’s 14-year-old daughter, who has grown up alongside the festival and took the stage to sing, marking nearly ten years of her own LIB journey.
Because Lightning in a Bottle demands thoughtful preparation and commitment, it naturally attracts a more seasoned and intentional crowd—those who seek a transformative experience rather than a fleeting weekend escape. Camping for up to five days in a remote desert setting is no small feat, and attendees arrive ready for the challenge, fully invested in the journey ahead. First-time campers are a rare sight here; the prevailing vibe is one of familiarity and tradition, with many having navigated festivals like LIB for years, returning time and again to be near its otherworldly aura.
Best said: at LIB, the music moves you—but the people keep you coming back.
Venue: ★★★☆☆
This year’s Lightning in a Bottle tested attendees with brutal conditions—California’s fields baked in mid-to-high 90s heat, relentless sun, and pervasive dust kicked up by every shuffle and gust of wind. While the sun beat down, attendees found plenty of shaded retreats and refreshing misters to cool off.
Though the terrain was a mix of mulch, patchy grass, and concrete, thoughtful upgrades, like turf carpeting over rougher patches, created inviting spots to relax and recharge, these improvements were warmly welcomed, offering a comfortable refuge that enhanced the overall experience and kept the festival’s vibrant energy alive from dawn till dusk.
The VIP experience at Lightning in a Bottle impressed on every level, from prime viewing areas to thoughtful perks. VIP guests enjoyed exclusive vantage points, luxurious, flushable bathrooms with air-conditioning, and backstage lounges with ample comfortable seating. Additional conveniences included complimentary electronic charging stations, curated food and beverage options, and rare opportunities to join performances from side-stage spots at iconic stages like Woogie and Lightning.
General admission didn’t fall short either, boasting widespread charging stations, massive trampoline structures perfect for lounging and socializing, and interactive art installations that invited attendees to climb, explore, and rearrange, turning the festival grounds into a living, evolving canvas.
With daily attendance ranging from 15,000 to 20,000, Lightning in a Bottle may be modest in size compared to its grand reputation within the festival community. Refreshingly, this smaller population translates to shorter-than-average wait times at festival entrances, bathroom lines, and food queues, meaning you spend more time dancing and less time waiting in line.
Music: ★★★★☆
Hosted by the visionary Do LaB collective, surprise guest appearances have become a hallmark of Lightning in a Bottle. With a track record of historic, unplanned visits from Skrillex and RÜFÜS DU SOL, it’s hard to believe those acts could be beat, yet LIB consistently rises to the challenge. Friday evening was dazzled with a surprise sunset DJ set from Monolink and a Blacklizt techno set from ZHU. Sunday night was brought to a massive close by SUBJOHNICS (Subtronics B2B John Summit) for an unforgettable end to the weekend.
The lineup blended surprise sets with highly anticipated performances from artists like Khruangbin, Tape B, Hamdi, Jade Cicada, Magdalena Bay, O’SNAP, Jamie xx, and many more, demonstrating that Lightning in a Bottle not only embraces the full spectrum of electronic music but also celebrates the seamless fusion of genres beyond it. Adding to the festival’s dynamic energy, Brownies & Lemonade delivered a standout All Stars set featuring ROSSY, Chad Kenney, and a brand-new bass-boosted set from Whethan.
The music throughout the weekend was impeccable, delivering solid, high-quality sets that matched the caliber of other premier U.S. festivals. The overall experience was notably smooth, with impressively minimal set conflicts allowing attendees to savor a broader range of performances without difficult choices.
Food And Beverage: ★★★☆☆
LIB offered plentiful food, snacks, and drink options, thoughtfully catering to all dietary preferences with a wide array of vegetarian, vegan, gluten-free, and nonalcoholic options. From açaí bowls, sushi hand-rolls, and lavender matcha to naan tacos, double-stacked cheeseburgers, and marinated tofu burritos, the festival’s food landscape ensured there was something to satisfy every palate.
Pricing at Lightning in a Bottle generally aligned with typical festival standards, though some simpler options felt steep—pizza ranged from $11 to $17, while quesadillas edged toward a surprising $30. However, Savvy attendees uncovered a valid workaround via the festival’s app. Its Eat & Drink section lists all food vendors. It reveals that many offered individual menu items at significantly lower prices than the full plates showcased on the boards, such as a $7 chicken skewer versus a full chicken platter that costs nearly three times as much. This insider tip helped festivalgoers stretch their budgets without sacrificing flavor.
Overall: ★★★★☆
Lightning in a Bottle is nothing short of a profound transformational journey that demands intention and preparation from its attendees. If you come expecting solely a nonstop party weekend, be warned: you’ll likely be overwhelmed by the elements and risk disrupting those around you.
LIB is a sanctuary for those ready to shed their everyday burdens, step through the portal, and fully immerse themselves in a world of open minds and hearts. Music pulses at its core and extends well into the morning. Still, the festival’s true magic lies in the rich tapestry of experiences waiting to be uncovered: art, workshops, and unexpected moments of connection. For those willing to surrender and explore, LIB offers a weekend that resonates far beyond the dancefloor.
The post Festival Report Card: Lightning In A Bottle 2025 appeared first on EDM Maniac.
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Adam Beyer’s Daughter Recovering After Being Struck By a Car

Tragedy hit Drumcode‘s label lead and producer, Adam Beyer, and his family recently. His daughter has been in intensive care for the last week after a speeding car struck her while crossing the road. The accident occurred in Ibiza, where Adam Beyer holds the Resistance Residency at Amnesia Ibiza.
The Accident
Beyer recently got on social media to explain the situation that occurred this week. A few days after Beyer announced the release collab with American producer Layton Giordani ‘Alto’, his daughter had a near-death experience while being hit by a speeding car and suffering head trauma. She was transported to a hospital in Mallorca via helicopter. She has been in the intensive care unit since.
According to the artist, he and his ex-wife, DJ Ida Engberg, have been taking turns day and night. They accompany Uma during these tough times. Nonetheless, both Uma and Adam are smiling in the picture he posted. This picture shines a ray of light and hope on an otherwise somber situation. Adam has not made any comments regarding his Residency at Amnesia. He is not scheduled to perform until July 30th.
The EDMTunes family sends them lots of love and healing energy during this trying time.
The post Adam Beyer’s Daughter Recovering After Being Struck By a Car appeared first on EDMTunes.
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This 100-Track Mashup Crams Two Decades of Dance Anthems Into 13 Minutes

There's something charmingly unhinged about the idea of releasing a mashup of 100 songs for a generation with no attention span left. But while that may sound absurd, it works in practice thanks to the tenured dance music duo DJs From Mars, who reached triple digits while curating songs for their new "megamashup.”
Cramming 100 festival anthems from the past two decades into one cohesive cut, the mix spans from the seminal music of Daft Punk and The Chemical Brothers to the serotonin-draining anthems of 2010s Avicii and Swedish House Mafia to today’s global hits from Fred again.. and Peggy Gou. It’s the kind of ambitious nonsense that sounds impossible until you hear it working perfectly.
The Italian duo credits the AI-powered stem separation tool LALAL.AI for making the project feasible. While many in today’s music industry weaponize AI for unethical uses like unauthorized vocal deepfakes, platforms like LALAL.AI were built to enhance the toolkits of producers rather than displace them.
Thanks to its clean stem separation technology, gone are the days of artists digging into the dregs of Google with the hopes of finding that one golden studio-quality acapella.
"We always struggled to find good quality acapellas," DJs From Mars said in a statement. "Now we can extract clean vocals from basically every existing track. That’s a game-changer for our mashups, our live sets and our studio production. We tried LALAL.AI, and boom! It was love at first sight."
The result, a euphoric 13-minute jolt of electro nostalgia, feels like watching a montage of your own raving history. It’s a reminder that sometimes the best way to celebrate how far dance music has come is to throw it all in a blender and just see what happens.
Check out the new "megamashup" below.
Follow DJs From Mars:
X: x.com/djsfrommars
Instagram: instagram.com/djsfrommarsofficial
TikTok: tiktok.com/@djsfrommars
Facebook: facebook.com/djsfrommars
Spotify: tinyurl.com/5bbk6tt9
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‘The Comeback of Hard House’ – A New Documentary on the Rebirth of a ’90s Club Phenomenon

Armada Music has announced the release of The Comeback of Hard House, a new genre-focused documentary charting the explosive return of one of dance music’s most iconic sub-genres. Centred on the Dutch corner of the hard house movement of the ‘90s, the film explores how a once-underground genre is storming back into the spotlight – louder, cheekier, and more energetic than ever.
Deeply rooted in the iconic Midtown Records catalog, the Dutch hard house scene forms the backbone of The Comeback of Hard House. This 10-minute documentary traces the genre’s rise, fall, and full-circle revival from a distinctly Dutch perspective. Featuring exclusive interviews with foundational ‘90s acts like Club Caviar (aka Mass Medium), Klubbheads, and B.O.B. Ltd (aka Sax Brothers), as well as contemporary producers such as Benwal and Maruwa, the film captures both the legacy and the lasting influence of the Netherlands’ contribution to hard house.
The documentary examines how the pandemic played a pivotal role in the rediscovery of this corner of hard house. With dance floors closed and energy bottled up, the appetite for fun, fast and feel-good club music grew, and hard house delivered.
The post ‘The Comeback of Hard House’ – A New Documentary on the Rebirth of a ’90s Club Phenomenon appeared first on Decoded Magazine.
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The Truth About Modern DJing: Lexlay Sends Powerful Message After 20 Years of Music

As Lexlay celebrates 20 years in music with his debut album, his journey reveals not only the personal cost of longevity—but the transformation of an entire culture. In this EDMNOMAD exclusive interview, we dive into his legacy, the modern DJ scene, and two decades of dance.
When Spanish DJ and producer Lexlay began playing Saturday nights at City Hall Barcelona in the early 2000s, the electronic music scene was still largely local, physical, and analog. Records outnumbered laptops. Word-of-mouth filled clubs. No one cared about follower counts. If you could move a crowd, you mattered.
Twenty years later, he stands on the other side of a transformed landscape. Lexlay has performed across five continents, founded a global record label, and just released his debut album 20 Years of Music—a deeply personal project that doubles as a time capsule of both personal growth and cultural evolution.
But as the dance world has scaled, so has its distance from its emotional roots. “One of the biggest lessons we’re still learning is the value of authenticity over hype,” Lexlay says. “The scene sometimes gets too focused on trends, numbers, or social media presence, and forgets that at the heart of it all is the music and the connection it creates.” In that one reflection lies the paradox of modern electronic music: bigger than ever, but often lonelier too.
From City Hall to Global Halls: A DJ Grows With the Scene
Lexlay’s foundation was laid not on viral moments but on repetition. For six years, he played every Saturday night at City Hall Barcelona—a venue that taught him more about crowd psychology than any masterclass or algorithm ever could.
“City Hall taught me one of the most important lessons of my career: read the crowd, don’t just play for yourself,” he says. “Week after week, I learned the psychology of the dance floor—how to build tension, when to surprise, when to hold back. It wasn’t about playing the ‘coolest’ tracks—it was about creating a journey people would remember.”
Few artists can translate 20 years of music into something that still feels urgent—but Lexlay achieves it with sincerity. His words echo the now-rare craft of DJing: responding to energy, not executing a pre-planned set. At a time when visuals, pyrotechnics, and prerecorded sets fill main stages, this ethos feels almost radical.
Today, the industry often celebrates branding over beatmatching. Lexlay recognizes the advantages younger artists have—tools, distribution, exposure—but warns that the pressure has simply shifted forms. “Now it’s not just about making good music—it’s about building a brand, staying visible, managing social media, engaging constantly. It can be overwhelming,” he says.
The Pandemic and the Power of Stillness
Much of Lexlay’s new album was written during a time when dancefloors were silent. The COVID-19 pandemic forced artists worldwide to sit still for the first time in years. For Lexlay, that pause gave rise to Resilience, one of the most personal tracks on the album. “It came from a very personal chapter of my journey,” he explains. “It represents a moment of change—when I had to take risks, leave comfort zones, and truly believe in myself as an artist.”
Stripped of touring, applause, and adrenaline, Lexlay had to confront what remained. “Translating those memories into music meant going deep, not just into my sound, but into my emotions and mindset at the time,” he adds. “Now, I don’t just create or play to stay busy—I do it with more meaning, more presence.”
That reflective shift was mirrored across the global scene. Some artists quit entirely. Others experimented. Livestreams surged. Conversations about mental health and balance became mainstream. For the first time in years, the industry had no choice but to reconsider its relentless pace. Through 20 years of music, Lexlay has remained committed to building not just sets, but communities around sound.
South America, Soul, and Reconnecting to the Crowd
Lexlay’s global touring experience brought him to many corners of the world, but no region left a deeper imprint than South America. On Lovin’ Sudamerica, a standout track from the album, he pays tribute to the energy he found there. “South American crowds have something truly special—pure passion and presence,” he says. “They don’t just listen—they live every beat with their whole heart. There’s this raw energy, an emotional connection with the music that’s impossible to fake.”
In an era where clubbing can sometimes feel curated for content rather than connection, the emotional immersion of Latin American crowds serves as a reminder of dance music’s roots. “It’s not about status or trends—it’s about feeling,” Lexlay continues. “Playing in places like Argentina, Colombia, Chile or Peru reminds me why I started this journey in the first place.”
His experience underscores a broader truth: while the music scene has globalized, local cultures still shape how music is experienced. In cities like Medellín or Córdoba, electronic music isn’t just nightlife—it’s resistance, expression, community. Lexlay doesn’t just observe this; he channels it.
The Label as Lifeline: Happy Techno’s Evolving Role
As a label boss, Lexlay hasn’t just adapted to the changing tides—he’s helped shape them. Happy Techno, his imprint and creative home, began as a passion project and has grown into a community-driven platform with global reach. “With Happy Techno, my goal was always to go beyond just releasing music,” he explains. “I wanted to build a platform where people felt part of something—a sound, a vibe, a family.”
In the 2000s, signing to a label was often the only viable path for DJs to break through. Today, distribution is democratized—but Lexlay believes the need for curated identity is more critical than ever. “A strong, well-curated label matters—maybe even more now, because it gives artists not just visibility, but identity,” he says.
That sentiment puts Happy Techno in the company of other values-driven collectives—Innervisions, Anjunadeep, Afterlife—where the imprint is as recognizable as the artists themselves. It’s not just about the music; it’s about what the music stands for.
Sacrifices, Soul, and the Next Twenty Years
For all the milestones, Lexlay’s career has come at a cost—one often unseen behind the stage lights. “One of the hardest sacrifices has been the constant travel and the solitude that comes with it,” he admits. “People see the lights, the crowds, the energy—but what they don’t see is the long hours alone in airports, hotels, or backstage after the show.”
The personal toll is real: missed birthdays, holidays, even family crises. “No matter how much you love what you do, sometimes you feel the weight of everything you’ve missed,” he shares. “But these sacrifices make every connection with the crowd even more meaningful.”
Lexlay’s endurance in a scene that devours and discards quickly is testament to something deeper. Not perfection. Not marketing. But presence. “When I’m on stage, I give everything—because I know what it’s cost to be there.”
As he looks ahead, his optimism is grounded in caution. The tools will change. The platforms will evolve. But he hopes the essence—the soul—remains. “I’d be most curious to see whether the soul of electronic music is still alive—the real human connection, the emotion, the unity on the dance floor,” he says. “If we can carry that spirit forward, no matter how the sound or the tools change, then the future will be beautiful.” For 20 years, Lexlay has built a global career on the foundation of connection, not algorithms—and the music proves it.
And where does that leave Lexlay? Reinvigorated. Purposeful. Ready.
“This album feels like closing a chapter—but not the book,” he says. “It’s a celebration of everything I’ve lived so far, but also a reminder that there’s still so much more to explore. It’s not about repeating the past—it’s about writing the next part of the story with even more passion, more freedom, and more purpose.“

The post The Truth About Modern DJing: Lexlay Sends Powerful Message After 20 Years of Music appeared first on EDMNOMAD.
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[INTERVIEW] D&S Talk Musical Beginnings, Persistence, Sonic Evolution, And More

We recently sat down with an extraordinary duo for a quick chat.
The world of music is a beautiful one. You just don’t ever run out of new faces to discover, new corners to step into, new goodies to uncover, and certainly, an uncountable catalogue of songs at your disposal at all times. This time, a certain two-man group has been brought to our attention. Their name? D&S.
D&S, a vibrant Chicagoan DJ and production duo, formed through a serendipitous connection, creating their distinct sound. Their mutual passion for electronic music, especially House, Progressive, and Techno, drives their signature blend of melodic synths and commanding basslines. Drawing inspiration from their shared musical history, D&S has significantly impacted Chicago’s underground scene, gracing major venues and festivals. With 2024 on the horizon, they’re set to unveil more groundbreaking music, pushing the electronic sonic envelope.
It’s at this point in their blossoming career — and right after the release of their new song ‘Time & Space’ — when we figured we’d step in and have a little chat. So, from their beginnings in the business to evolving their sound into a distinct one and reflecting on the past, here’s our interview with the Chicago-bound dynamite duo, D&S.
Where did you grow up, and how did your environment shape your relationship with music?
We both grew up in the Chicago suburbs, and it had a huge impact on how we connect with music. Being so close to the city gave us access to an amazing music scene. Chicago’s legendary nightclubs and iconic music festivals were where we first felt the magic of house and techno. Those late-night sets and packed dancefloors showed us how electronic music could bring people together and create unforgettable moments. Growing up, there were tons of opportunities to learn an instrument or dive into something creative, and that encouragement really stuck with us. Early on, we explored everything from classic rock and jazz to hip-hop beats before finally finding our place in electronic music. That mix of curiosity, discipline, and Chicago’s vibrant music culture shaped not just our sound but also how we approach making music today. It gave us the work ethic and open-mindedness that drive us as artists.
What’s the first memory you have of making music?
For both of us, making music started with learning traditional instruments as kids. Dan started with piano, guitar, and percussion, experimenting with different styles early on. Sean picked up violin and saxophone, which sparked his love for melody and rhythm. Those early years gave us a foundation in music theory and the freedom to explore our own ideas. The big turning point came when we started messing around with Ableton and a MIDI keyboard together. What began as casual experimenting turned into something bigger. We layered sounds and textures until we landed on a melody that became our first track, “Origins.” That moment showed us the magic of collaborating and blending our musical backgrounds into something new. Looking back, those early sessions were more than just making a track. They solidified our shared passion for creating music and kicked off a journey we’re still on today.
When you think back to your earliest projects, what’s something you would do differently now?
Looking back at our earliest projects, one thing we’d do differently is starting with a strong melody or vocal hook as the core of a track. Back then, we’d often dive into drums or basslines first, which helped us learn production basics but sometimes left us without a clear direction. Over time, we’ve realized that starting with a standout melodic idea or hook not only sparks creativity but also gives the whole track more focus and flow. This shift has been a game-changer, especially with remixes. Building around the main vocal hook has helped us create tracks that feel more intentional and dynamic. It’s all about having a clear focal point to guide the arrangement and make sure every element supports the main idea. Those early projects were crucial for our growth, but this change in our approach has made a huge difference. It’s a lesson we’re glad we learned, even if it took a little time to get there.
Why do you think persistence is such an important part of making it in the music industry?
Persistence is everything in the music industry because growth doesn’t happen overnight. It takes time, effort, and resilience to sharpen your craft and handle the ups and downs. Having a routine or creative process helps you stay consistent—whether that means dedicating specific hours to studio time or trying out new techniques, it keeps you moving forward even when inspiration feels out of reach. Trial and error is a huge part of it. Not every idea will stick, and not every track will feel right, but that’s where the real growth happens. Taking risks, making mistakes, and learning from them are what push you forward as an artist. Combine that mindset with discipline and practice, and you’ll keep getting better at bringing your vision to life. The music industry isn’t just about talent; it’s about perseverance. Persistence helps you tackle challenges, break through creative blocks, and stay focused on your goals. It’s the difference between dreaming about success and working hard to achieve it.
What’s a key piece of advice you would give to your younger self at the start of your journey?
If we could give our younger selves one piece of advice, it would be: don’t be afraid to fail. Early on, it’s easy to get discouraged when things don’t work out, but failure is just part of the process. Every misstep teaches you something new and helps you grow. Embrace mistakes and trust they’re leading you toward success. We’d also remind ourselves to always keep learning. The music industry is always evolving, so staying relevant means constantly refining your skills. Whether it’s experimenting with new techniques, diving into sound design, or learning from other artists, growth keeps creativity alive and your music fresh. Most importantly, we’d say to enjoy the journey. Every challenge, lesson, and breakthrough shapes who you are as an artist. Knowing that from the start would’ve made every hurdle feel more rewarding and worth the effort.
How has your sound evolved as you’ve grown as a person and artist?
Our sound has evolved a lot as we’ve grown, both personally and as artists. When we first started, we focused on making club and underground-driven tracks for our DJ sets. That foundation shaped our early style, but over time, we’ve worked on developing our songwriting and composition skills. This shift has helped us create music that not only works on the dancefloor but also connects with listeners on a deeper level. We’ve also become more intentional about pulling inspiration from other artists while staying true to our sound. Melodic synths and commanding basslines remain at the core of what we do, but we’ve embraced new ideas and influences that feel fresh while still authentic to us. This evolution reflects how we’ve grown as individuals, too. The music we make now feels like a more refined and expressive version of who we are, shaped by the lessons we’ve learned and the inspirations we continue to explore.
Why do you think it’s important for artists to share their struggles as much as their successes?
It’s important for artists to share their struggles because fans usually only see the highlights—sold-out shows, big releases, and moments of celebration. What’s often hidden is the hard work, setbacks, and doubts that happen behind the scenes. By opening up about the challenges, artists can show a more authentic side and connect with fans on a deeper level. Struggles are where the most growth happens, and sharing them can inspire others to keep going in their own pursuits. It’s a reminder that success isn’t a straight path. Every failure, late night in the studio, or missed opportunity is part of the journey. When artists share those moments, it makes their achievements feel more genuine and relatable because they’re built on resilience and hard work. Being open about the ups and downs also helps break the illusion of perfection. It fosters a sense of community and shows that behind every polished track or performance is a person navigating life’s challenges, just like everyone else.
Final Words
Thank you so much for the words, S&G. We’re truly looking forward to seeing what the future brings both for you as artists, and us as listeners. ‘Time & Space‘, the duo’s latest single, is out now, and you can stream it by hitting the ‘Play‘ button on the Spotify player below. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post [INTERVIEW] D&S Talk Musical Beginnings, Persistence, Sonic Evolution, And More appeared first on EDMTunes.
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Copyright Office Legal Battle to Run Into At Least July, New Scheduling Order Shows

Under a newly confirmed schedule, the lawsuit filed by former Copyright Office head Shira Perlmutter is expected to run into at least July 2025. Photo Credit: Maddi Bazzocco
One scheduling sub-dispute later, the legal battle for Copyright Office control is seemingly set to proceed into at least July.
That’s according to a new preliminary injunction scheduling order from the presiding judge, who signed off on most of the deadlines proposed by the involved parties. As many know, those parties – reinstatement-minded former USCO head Shira Perlmutter on one hand and Trump administration officials on the other – spent a good bit of May clashing over the case’s timetable.
To be sure, during May’s final week and change, Perlmutter filed the complaint, the government fired back, and the former Register of Copyrights sought a restraining order as well as summary judgement.
Now, with the dust having largely settled from the restraining order and summary judgement pushes, the heretofore breakneck proceedings are easing into a more measured pace.
In response to a related conference order, the litigants on June 4th requested a June 10th deadline for Perlmutter’s preliminary injunction motion. From there, the defendants would have until the 24th to respond, followed by a July 1st cutoff for Perlmutter’s reply in support of the original motion.
As initially mentioned, Judge Timothy J. Kelly just recently approved these scheduling particulars.
Notably, with regard to the preliminary injunction itself, both sides had also asked the court to “schedule a hearing at its convenience for the week of July 7 or July 14-16.” Here, however, Judge Kelly only wrote that he would “determine whether a hearing is necessary at a later time.”
In any event, the high-stakes suit doesn’t appear to be trending towards an immediate resolution; it’ll be worth charting the above-described motion and responses throughout June.
And in the bigger picture, as explored in detail by DMN Pro, there’s quite a lot riding on the Copyright Office’s future from an IP policy perspective. While nothing is set in stone, the available evidence suggests Perlmutter’s reinstatement might be unlikely.
But if their past comments are any indication, the acting Copyright Office and Library of Congress replacements aren’t exactly Big Tech advocates. The point is certainly important when it comes to pressing AI training questions.
So is the possibility that the acting appointees could make way for permanent successors following the Perlmutter action’s resolution. To state the obvious, the music space, the wider entertainment sector, and the tech world alike have an interest in who takes the reins.
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Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love”

Marshmello, Ellie Goulding, and AVAION have teamed up to release their debut collaborative single, “Save My Love.”
Arriving today, the track marks a first-time union of dance music titans, as the superstar EDM producer-DJ and award-winning British singer-songwriter combine forces alongside German melodic talent AVAION for a summer house tune overflowing with dancefloor euphoria. 
Taking center stage on “Save My Love” is the latest of many iconic dance vocals from Goulding, who has worked with a host of greats from Calvin Harris and Kygo to Major Lazer and Skrillex, before the track drops into a wash of fluttering stutter house grooves from the pair of producers.
The track follows Marshmello’s March-released collaboration with AR/CO, “Worlds Apart,” as the helmeted dance music hero’s fourth release of 2025, joining “Slow Motion,” featuring the Jonas Brothers, and “Fale Então,” with Argentine rapper Trueno.
Listen to Marshmello, Ellie Goulding, and AVAION’s new single, “Save My Love,” below.

Featured image courtesy: Marshmello.
The post Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love” appeared first on EDM Maniac.
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Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love”

Marshmello, Ellie Goulding, and AVAION have teamed up to release their debut collaborative single, “Save My Love.”
Arriving today, the track marks a first-time union of dance music titans, as the superstar EDM producer-DJ and award-winning British singer-songwriter combine forces alongside German melodic talent AVAION for a summer house tune overflowing with dancefloor euphoria. 
Taking center stage on “Save My Love” is the latest of many iconic dance vocals from Goulding, who has worked with a host of greats from Calvin Harris and Kygo to Major Lazer and Skrillex, before the track drops into a wash of fluttering stutter house grooves from the pair of producers.
The track follows Marshmello’s March-released collaboration with AR/CO, “Worlds Apart,” as the helmeted dance music hero’s fourth release of 2025, joining “Slow Motion,” featuring the Jonas Brothers, and “Fale Então,” with Argentine rapper Trueno.
Listen to Marshmello, Ellie Goulding, and AVAION’s new single, “Save My Love,” below.

Featured image courtesy: Marshmello.
The post Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love” appeared first on EDM Maniac.
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Madonna Introduces New EDM ‘Veronica Electronica’ Alter Ego

Think of the Queen of Pop, Madonna. Now, imagine her as Veronica Electronica. Yes, you read that right. The pop icon recently took to social media to introduce her fans to her new alter ego, Veronica Electronica. The announcement came as a prelude to her forthcoming electrifying remix album, promising to take her fans on an exhilarating ride into the realm of electronic dance music (EDM).
Madonna, who has always explored new territories in her music, revealed that she “ventured into electronic music” under the guidance of renowned producer, William Orbit. This collaboration was instrumental in shaping her highly anticipated remix album. Her transformation into Veronica Electronica is not only a testament to her evolving musical persona but also a symbol of her commitment to pushing boundaries and breaking norms.
On Thursday morning, Madonna dropped the bombshell announcement of the release date for this much-anticipated project. Scheduled to hit the music stores on July 25, the album will serve as a treasure trove for Madonna’s fans, featuring eight rare and unreleased remixes, some of which were conceived during her ‘Ray of Light’ phase. The original demo version of “Gone, Gone, Gone,” and fresh edits of “Drowned World/Substitute for Love,” “Ray of Light” and “Sky Fits Heaven” are expected to be the highlights of the album.
The Anticipation for Veronica Electronica
Madonna’s announcement of Veronica Electronica has sparked excitement among her fans. The announcement also came with the promise of an EDM remix album, set to be released on July 25. This album, aptly titled ‘Veronica Electronica’, promises to be an exciting blend of new and old, featuring eight rare and unreleased remixes from her past work.
Among the tracks, fans can look forward to new edits of classics like “Drowned World/Substitute for Love,” “Ray of Light” and “Sky Fits Heaven.” The album will also feature the original demo version of “Gone, Gone, Gone.” To whet fans’ appetite, Madonna dropped a first taste of the LP with “Skin (The Collaboration Remix Edit).”
Madonna’s venture into the world of electronic music is not just about creating foot-tapping tunes. It’s about pushing boundaries and exploring new sounds, much like she’s done throughout her career. With Veronica Electronica, Madonna continues to be a trailblazer in the music industry, proving that evolution is key to longevity.
Embracing Veronica Electronica
Madonna’s evolution into Veronica Electronica is a testament to her ability to reinvent herself, pushing the boundaries of what is expected from her. This new persona is yet another example of how Madonna continues to lead the charge in evolving pop music, this time by venturing into the world of electronic dance music.
As fans eagerly await the release of ‘Veronica Electronica’, it’s hard not to marvel at Madonna’s audacity to venture into new musical landscapes. Her consistent efforts to redefine herself and her music are what make Madonna a true icon, a beacon of inspiration for other artists, and an ever-evolving force in the music industry.
So, let’s embrace Veronica Electronica and get ready to embark on this new musical journey with Madonna. As she herself declared, Veronica Electronica is her ‘other half’, and it’s clear that this other half is all set to take the music world by storm.
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After Signing with Suno, Timbaland is Creating an AI-Focused Genre Called ‘A-Pop’

Photo Credit: TaTa by Stage Zero
After signing with AI music startup Suno, Timbaland is creating an AI-focused genre, as well as his first AI-generated artist.
Timbaland is determined to make AI music his own way, announcing the launch of a new AI entertainment company, Stage Zero, which will work on an AI-focused genre he calls “A-Pop.” The company is already introducing the world to their first AI-generated artist, called TaTa.
According to Stage Zero co-founder and film producer Rocky Mudaliar, TaTa is one of the first steps in Timbaland’s “A-Pop” (artificial pop) project. Timbaland has been champing at the bit to create AI music since last year when he started using AI music creation program Suno, made by a company on which he now serves as creative director.
Timbaland says he “fell in love” with the voice that Suno generated when he uploaded unfinished demos of his songs onto the platform. “It came to a point where I’m like, ‘Yo, this voice, it’s amazing.’” That voice became the pink-haired young woman known as TaTa.
While there’s no word yet on when TaTa’s first single might be released, Stage Zero says they plan to make her seem as real as possible. She will have a social media presence, in addition to more AI-generated imagery of the virtual artist.
Despite AI remaining a touchy subject, particularly in the music industry where the technology has been challenging copyright law, Mudaliar believes the opposition will subside, eventually. “[AI is] not going anywhere,” he says, comparing what he calls the inevitability of its eventual acceptance to the way influencers were initially viewed in the cultural zeitgeist.
Human creators will be involved in the process of creating TaTa and her music, as well as that of other AI artists. But it’s difficult not to look at such an endeavor as a way to minimize human involvement. Often at the cusp of creating generation-defining music, it will be interesting to see if his latest move will prove to be a meaningful one.
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Which DSPs Paid Out $10 Million+ to Alleged Fraudster Michael Smith? Spotify, Pandora, and (Probably) SoundCloud Say They’re Off the Hook

An over $10 million question: Which DSPs made material payments in the alleged years-long fake stream scheme purportedly orchestrated by Michael Smith? Photo Credit: Simone Secci
Billions of fake streams and millions in allegedly stolen royalties later, many questions remain about the federal case against accused fraudster Michael Smith. Perhaps the biggest of all: Which DSPs failed to flag – and consequently paid into – the years-long scheme?
At least according to the indictment, that scheme saw Smith make off with north of $10 million in fraudulent royalties between 2017 and 2024. Behind the sizable sum, the defendant allegedly used bots to stream “hundreds of thousands of” AI songs.
The machine-generated recordings’ titles didn’t scream “hit” – ever heard of “Zyme Bedewing”? – and were attached to “artist” profiles like “Calorie Event” and “Camalus Disen,” per the indictment.
Apparently, the gibberish titles and the exclusive reliance on AI didn’t raise red flags throughout the entire streaming world. In an age when most tracks are failing to crack 1,000 annual streams – to the financial detriment of the involved talent – how did some services let the alleged scam and its billions of plays run unimpeded?
Given AI’s growing prevalence, that’s another multimillion-dollar question with massive implications for the music industry. While we won’t arrive at an answer overnight – the case itself is still navigating through choppy discovery waters – there’s nothing stopping us from peeling back the streaming fraud onion layer by layer.
In this spirit, we got the ball rolling by asking on-demand music platforms point blank about their contributions to Smith’s alleged scam. We’re still awaiting responses from several DSPs, and one can certainly argue that silence will ultimately prove more telling than straight answers.
An important note here: The indictment specifically mentioned Amazon Music, Apple Music, Spotify, and YouTube Music, but the alleged scheme’s tracks made their way onto even more platforms than that. Though they’ve long since been removed, of course, the uploads also reached SoundCloud, Africa’s Boomplay, and multiple others, lingering “artist” profiles show.
Getting down to it, then, Spotify previously told DMN it’d paid less than 1% of the $10 million in allegedly fraudulent royalties described in the indictment.
“Spotify invests heavily in automated and manual reviews to prevent, detect, and mitigate the impact of artificial streaming on our platform,” a spokesperson told DMN. “In this case, it appears that our preventative measures worked and limited the royalties Smith was able to generate from Spotify to approximately $60,000 of the $10,000,000 noted in the indictment.
“As Spotify typically accounts for around 50% of streamshare, this shows how effective we are at limiting the impact of artificial streaming on our platform,” the rep proceeded.
Like we’ve noted in prior coverage, that Spotify seems to have stopped the alleged scam – on its own service – presents additional questions yet about communications (or the lack thereof) with the MLC, distributors, and more.
But we’ll dive into the multifaceted topic another time. As things stand, SiriusXM told us that Pandora had contributed even less than Spotify to the alleged scam.
“Pandora’s estimated royalty exposure for tracks relating to the indictment in question was $1,500.00, underscoring the speed and effectiveness of our preventative measures,” a SiriusXM spokesperson told us.
“We have several measures in place, leveraging AI machine learning and other technologies, to identify and filter behavior to prevent data disruption and inaccuracies,” the company continued.
“We use conservative thresholds that monitor for multiple types of behaviors in violation of our terms of service at the listener level, and in our continued efforts to combat attempted fraud we regularly evolve our methods of identifying both anomalous streamed tracks and listeners.”
Next, SoundCloud opted against disclosing its cumulative payout to Smith – while directing us back to a September 2024 statement touting the fan-powered model as a means of preventing fraud.
“In a pooled royalties model, it’s easy to game the system with vanity accounts that exist to blindly play certain tracks over and over, commonly supported by bots,” SoundCloud said. “In contrast, fan-powered royalties tie royalties directly to the contributions made by real listeners.
“Fan-powered royalties are attributable only to listeners’ subscription revenue and ads consumed, then distributed among only the artists’ listeners streamed that month. No pooled royalties mean bots have little influence, which leads to more money being paid out on legitimate fan activity,” the platform proceeded.
With those clarifications, we can cross Spotify, Pandora, and presumably SoundCloud off the list of possible payers into Smith’s alleged scheme. And needless to say, we’ll provide further updates as other responses come in – or fail to arrive.
Meanwhile, we’re also teeing up updates exploring, among different things, Smith’s alleged co-conspirators as well as separate instances of alleged streaming fraud. If a $10 million alleged royalty scam can go (partially) undetected for years, it’s safe to say DSPs are hardly impervious to smaller-scale efforts to boost uploads via non-organic listening.
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Trump Preparing to Extend TikTok Ban Deadline for a Third Time, Insiders Reveal

Photo Credit: Solen Feyissa
President Trump is ready to extend TikTok’s deadline for a federal ban for the third time as the White House prepares to hold trade talks with China.
The previous extension to the law that forces TikTok’s Chinese parent company ByteDance to divest the app in the US or face a federal ban expires June 19. However, the White House is expected to hold tariff discussions with China this week.
“The president has said he’s willing to [announce another extension] if it has to happen,” said a government official close to the situation on Tuesday, adding that the Chinese government “just want[s] to hold this up as leverage in the trade talks.”
According to a Wall Street banker involved in the deal to sell the app to US investors said Trump could be persuaded to let TikTok disappear from app stores on June 19—if he believes it will give him a strategic advantage in negotiations with China.
The Biden administration signed the law to force divestiture or face a ban on TikTok to go into effect on January 19, the day before Trump’s inauguration. Once he took office, Trump promptly signed an executive order to push the ban by 90 days.
Trump then announced a second extension in April, claiming they were close to reaching a deal that would allow TikTok to be controlled by a majority-US company, while a minority stake would be retained by Beijing-based ByteDance. Should that deal be completed, the consortium of private sector names will be led by tech giant Oracle, founded by Trump supporter and friend Larry Ellison.
But that deal quickly went belly up when Trump launched his extensive trade tariffs, with especially rigid sanctions against China: a 145% rate. That rate was already reduced to 30% last month, as talks for a final deal resumed.
Trump was previously a critic of TikTok, seeking to get it banned during his first term. He has since turned around on the platform, believing it was integral to his reelection in 2024.
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We’re Gonna Need a Bigger Venue—Subtronics Adds 6th Night at Shrine Expo Hall in Los Angeles As Sellout Spree Continues

Photo Credit: Subtronics.net
Subtronics adds a sixth and final night to his 360-degree shows at the Shrine Expo Hall in Los Angeles after overwhelming demand.
Due to overwhelming demand, Subtronics has added a sixth and final night to his 360-degree shows at the Shrine Expo Hall in Los Angeles, set for Tuesday, December 2.
The previous five shows, set for December 3, 4, 5, 6, and 7, are sold out, making Subtronics’ run one of the fastest-selling sets of shows in the venue’s history. The six-night stretch also marks the second-highest number of performances by an electronic artist at the Shrine, just behind Fred Again…’s nine dates.
Subtronics hit the stage at Ultra’s Main Stage earlier this year, while in May he kicked off his residency at the Wynn in Las Vegas. The DJ and producer is scheduled to perform two nights at the Brooklyn Mirage on July 31 and August 1.
In April, Subtronics released his latest EP, Fibonacci Part 1: Oblivion, through his record label Cyclops Recordings. The EP is part of a larger project that will come to fruition when Part 2 drops later this year.
Subtronics is managed by Red Light Management’s Eric Silver, Elyse Young, and Brandon Garber, and booked by Wasserman Music’s Jake Bernstein.
Jesse Kardon (Subtronics) came up in the Philadelphia music scene, and never expected his “wonky beep boop music” to go anywhere beyond small online circles. The son of a tour manager and promoter, he got his associate’s degree and went to Temple University intending to follow in his father’s footsteps.
His DJ gig started out as a hobby, and it took Kardon about nine years to “figure out” and perfect Subtronics. But by the time he was 23, he had become fully devoted to the project, thanks to the support of his father.
“It’s unbelievable for me,” said Jesse’s father, Rich Kardon. “I remember the first time [a band I worked with] played Red Rocks. I was a tour manager for ten years, and did Red Rocks back in the mid-80s, and always loved the venue. […] And then, to see my kid on stage at Red Rocks, it was mind-blowing.”
“It’s crazy how that corner of dubstep popped off,” said Subtronics. “It was not something anyone ever expected. We were definitely the weird ones. It was just goofy and fun.”
Now a touring juggernaut, Subtronics has successfully brought his unique sound to continuously sold out major events, including the annual Miami Music Week ‘Deadbeats vs Cyclops’ event in March; his Cyclops Rocks at Red Rocks in April; and most recently, the launch of his 2025 Wynn residency in Las Vegas.
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Dancing Astronaut’s New Music Friday: Jackie Hollander, Amy Wiles, RÜFÜS DU SOL, and more (June 6, 2025)

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg.
New music highlights from Dancing Astronaut’s Artists to Watch in 2025:
Jackie Hollander, Malóne & Baby Bash – What The World Is
Exactly two decades ago, Akon and Baby Bash released an all-time classic. Fast forward to present day and Jackie Hollander has brought it back to continue her red-hot release run. Teaming up alongside Malóne, an iconic vocal sample to turn it into the ultimate summer anthem. Hollander’s summer tour run is already 17 dates deep and most recently featured stops at both Breakaway Ohio and Project Glow in D.C.
Amy Wiles & Angel City – Dream Away
Amy Wiles is continuing to refine her signature melodic sound. And she’s done so on “Dream Away,” her newest single in the form of a collaboration with Angel City, who provides her legendary trance vocals to the record. A year in the making, “Dream Away” arrives as a euphoric summer anthem ripe for her sets around the planet, which most recently included a stop in New York for Anjunabeats’ takeover.
Zerb & Kiki Gyan – 24 Hours In A Disco (PACS Remix)
After opening the year with his double-sided FAREWELL EP, PACS has returned for his third offering of the calendar. Zerb had revived Kiki Gyan’s iconic ’70s classic “24 Hours In A Disco” just a month prior, and PACS has flipped the original, repurposing Gyan’s famed vocal and reimagining Zerb’s toned-down approach for a melodic techno undertaking that once more reaffirms his Dancing Astronaut Artist to Watch status.
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Argy & Omiki – Wind
After months of teasing their collaboration, Argy and Omiki’s long-awaited meeting “WIND” has finally landed via New World. With a string of genre-defining releases like “Aria,” “Tataki,” “Pantheon,” and acclaimed remixes for the likes of The Chainsmokers, Zerb, and Hugel, Argy has firmly cemented his status as a global innovator in electronic music. A track that’s quickly become a fan-favorite moment in Argy’s sets, “WIND” now follows the massive success of Argy’s LP New World and the rise of his imprint of the same name. 
Seth Hills & DAMEN – Losing My Mind
When Seth Hills manned the decks at Tomorrowland’s House of Fortune stage last July, he unloaded more than a few previously unreleased weapons. And one of those was a meeting with DAMEN. Fast forward almost a year to the day later and “Losing My Mind” has fittingly arrived via Tomorrowland Music, with Hills and DAMEN loading up a searing plate of melodic techno that incites exactly what its title suggests every time it hits the live circuit.
RÜFÜS DU SOL – Inhale / Exhale Remixed Vol. 2
RÜFÜS DU SOL have doubled down on the reimagining of Inhale / Exhale with its second remix pack. Landing as 22-track expansion of the first remix album that landed back in May, the remix album sequel sees the trio invite a compelling group of electronic acts to put their own spin on the project, including Samm, Vintage Culture, LP Giobbi, and more. Arriving in the wake of their record-breaking, coinciding album tour, this follow-up collection reinforces the trio’s impact at the club level, continuing their evolution as one of the most influential forces in modern electronic music.  
Featured image: drewsmedia

The post Dancing Astronaut’s New Music Friday: Jackie Hollander, Amy Wiles, RÜFÜS DU SOL, and more (June 6, 2025) appeared first on Dancing Astronaut.
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Music Organizations Rally Behind NY Ticketing Reform Bills to Protect Fans and Artists

Photo Credit: Izumi
Two influential music industry groups, the Music Artists Coalition (MAC) and the National Independent Talent Organization (NITO) have thrown their support behind New York legislative bills A.8659 and S.8221.
These bills aim to overhaul the state’s live event ticketing system—giving artists more control over how their tickets are sold. Their advocacy reflects a growing frustration among artists, venues, and fans over exploitative ticketing practices and excessive fees in the live entertainment industry.
Assembly Bill 8659 and Senate Bill 8221 are designed to address several persistent problems in the ticketing market. This legislation would ban speculative ticketing, requiring resellers to actually own tickets before they list them. It would also cap secondary market ticket mark-up at 25%, curbing extreme resale prices.
The legislation would also empower artists and venues to mandate that resold tickets be offered at face value—including all fees—to ensure fans pay a fair price for access. Finally, ticket resellers in New York would be required to register with the state, adding an additional layer of accountability and oversight.
NITO, which represents independent talent agents and managers, has been vocal in urging lawmakers to pass these bills. IN a public statement, NITO emphasized that speculative ticketing “misleads fans into buying tickets that do not actually exist at the time of purchase, driving artificial scarcity and fueling inflated resale prices.”
The organization also highlights the importance of capping resale prices and fees, noting that “bots and platforms add extreme fees—often over 40% of the ticket price—to already inflated listings.” NITO believes eliminating these practices is essential to restoring integrity to ticket-buying to protect both artists and fans.
Meanwhile, the Music Artists Coalition highlights how speculative tickets hurt fans directly. “What we want is simple: do not interfere with our artists’ relationship with our fans,” their statement begins.
“As musicians, MAC’s members create their art with the hope that it will connect with people. They want their fans to be able to attend shows at a reasonable price that enables them to craft a unique musical experience. They don’t want their fans competing against brokers, or bots, who intercept these tickets and drive up the price, diverting money from fans’ wallets to people who have no involvement whatsoever in the creation of the shows and music.”
“We also want to end the practice of someone selling a ticket that they don’t own. This practice, called speculative ticketing, is unheard of in other industries. How can someone sell something that they do not own? Even before our artists’ tickets are put on sale for the general public, shady resellers are already listing them at inflated prices. Then, often using bots, they go and buy tickets at the face value price and resell them at the inflated price.”
“We’ve heard many stories of fans flying to a show, staying in a hotel, only to get to the ticket scanner and find out that the speculative ticket is not a real ticket. The resellers might offer to refund the money for the ticket, but it doesn’t solve the fan getting shut out from the show. This bill ends speculative ticketing by requiring resellers to actually own tickets or have written contracts before they can sell them. This simple requirement protects fans from fraud and ensures artists can maintain trust with their audiences.”
As the bills move through the legislative process, the unified support from these major music organizations sends a strong message to lawmakers about the urgent need for comprehensive ticketing reform in New York.
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OMRI. Hits His Groove on ‘Nothing Wrong’

OMRI. has been building something special and his Crosstown Rebels debut “Nothing Wrong” feels like the moment everything clicks into place. This three-track EP showcases a producer who understands that the best dance music doesn’t just move bodies.
The title track’s “Love Mix” floats on clean, pulsing foundations, gradually revealing layered vocals and subtle emotional textures. It’s designed for those liminal club moments between peak euphoria and dawn reflection – the kind of track that lingers long after the night ends. The “Club Mix” strips things back to expose the track’s minimalist core, functional but deeply soulful. AYYBO’s remix pushes into darker, sci-fi territory with West Coast punch, yet OMRI.’s emotional DNA remains unmistakable.
This feels like a fully-formed artistic statement because OMRI. has been methodically building toward it. His previous work across Hot Creations, Nervous, and REALM established his hypnotic sensibilities, while co-founding Collecting Dots proved his curatorial instincts for off-center club music. Collaborations with Moscoman, Adam Ten, and Yamagucci further cement his place in a globally-minded electronic movement.
With a Crosstown Rebels co-sign and a summer of dates at Hï Ibiza on the books, OMRI. isn’t just poised for a breakout. He’s already mid-metamorphosis.
If ‘Nothing Wrong’ is any indication, the next chapter is going to be worth following, closely.
The post OMRI. Hits His Groove on ‘Nothing Wrong’ appeared first on Dancing Astronaut.
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From Oslo to Paris: dublon’s Sophisticated Debut EP

Norwegian producer dublon has been quietly perfecting his jazz-house fusion, and “Nectar” – his debut EP via French label Delicieuse Musique – proves the wait was worth it. This isn’t your typical bedroom producer fare; it’s bridges club culture and live musicianship with genuine finesse.
The seven-track collection reads like a European tour diary, capturing everything from golden-hour soul to smoky late-night introspection. Dublon’s assembled an impressive cast of collaborators, including New Zealand jazz legend Nathan Haines, Stockholm’s TABLE, Texas alt-pop artist Deza, and French producer Tour-Maubourg.
“Salve” featuring Deza and TABLE radiates that SG Lewis-backed warmth, while “CPH” with Nathan Haines delivers a flute-laced tribute to Copenhagen that’s equal parts stylish and club-ready. The EP’s smoky slow-burner “Brush” showcases Tour-Maubourg’s touch, building to the raw, piano-led title track that strips everything back to dublon’s classical foundations.
What makes “Nectar” work is dublon’s restraint. These tracks roll with TR-909 grooves and tumbling jazz improvisations without ever feeling overwrought or academic. There’s real soul here – the kind that comes from someone who’s spent time absorbing the culture that informs every track.
“Nectar is the soundtrack to a European summer,” dublon explains, and that’s exactly what it delivers – groovy, melancholic, and refreshingly human in an increasingly digital landscape. For a debut EP, it’s remarkably assured work from a producer who clearly knows the difference between jazz-house and jazz-house done right.
The post From Oslo to Paris: dublon’s Sophisticated Debut EP appeared first on Dancing Astronaut.
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Premiere: John Alto previews next chapter with ID-filled set upload [Watch]

Since being awarded the Dancing Astronaut Artist to Watch in 2025 title at the end of last year, John Alto has already earned his stripes in his path to defending our decision. In the first half of this year alone, Alto has already racked up impressive musical milestones that include serving as the debut signee on Alesso’s Body Hi label — as well as having reworked the forenamed Swede’s new single with Becky Hill — on top of his live circuit cameos that include Coachella, EDC Las Vegas and more. And now, Alto is taking everything that he’s been working on behind the scenes over the previous year and putting it center stage with the upload of an hour-long set.
Alto had previously teased at the start of May that a set upload in the works, which would only contain music that he’d personally worked on. That set is now available via Alto’s YouTube, with him offering an endless sea of IDs that give a front-row seat into what’s to come for the remainder of 2025 and beyond. Alto explained that he’d been “spending a lot of time in the studio during the last eight months,” adding that he’s “stoked to give [everyone] a glimpse of what [he’s] been creating” and that he’s “got some really big things coming later this month, this is only the beginning.” And while details have yet to be revealed, Alto also added that it’s set to be one of his biggest career achievements thus far.
Out of the 14 included tracks across the 56-minute runtime, 10 are unreleased, showcasing the depth of Alto’s current production vault. From the opening moments all the way down to his linkup with Alesso from last year — while also including yet-to-be released edits of LISA, RÜFÜS DU SOL, VNSSA, Years & Years, and more — Alto’s ID-loaded set reaffirms his Dancing Astronaut Artist to Watch standing once more.

Featured image: John Alto/YouTube
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“I can’t find the hook. It just keeps on going, and then it ends”: Barry Manilow’s issue with modern songwriting

Barry Manilow thinks songwriting has changed, and that young artists don’t write the same way he was trained to.
Manilow – known for hits such as Copacabana and Mandy – is currently amid his The Last Concerts tour, and is planning to release a new album by the end of the summer which he says will probably be his last. Manilow also runs the Manilow Music Project, which has provided schools with instruments and equipment for over 30 years.
READ MORE: “I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist In an interview with Billboard, he discusses the forthcoming album: “I’ve been working on it for a long time…for so long that the style of music has changed [laughs]. I had to go back and redo [the songs] so they sounded a little more contemporary.
“I had to take all the strings out, all the background vocals out ‘cause they don’t do that anymore. They don’t use strings and background vocals and all that. Even I heard that it sounded dated, so we had to go back and redo it,” he says.
“The songwriting has changed. Young people don’t write the way I was trained to write. There’s no verse which goes into the chorus which goes back to the verse which goes to [the] ending, and you change keys. They don’t do that.
“They start the song and then they just…it feels like a run-on sentence to me. I can’t find the hook. I can’t find the chorus. It just keeps on going, and then it ends,” Manilow continues. However, he assures his own album will stick to the classic formula. “That’s not what this album is, and that’s not the way I know how to write, and I think my contemporary songwriters and people I work with would say the same.”

Barry Manilow will continue playing shows for his Last Concerts tour in July. He is also playing a number of shows in Las Vegas as part of his residency at the International Theater. You can find out more via his official website. 
The post “I can’t find the hook. It just keeps on going, and then it ends”: Barry Manilow’s issue with modern songwriting appeared first on MusicTech.
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