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Brazilian Police Thwart Bomb Threat at Lady Gaga’s Copacabana Show in Rio de Janeiro

Photo Credit: joaco_ds / reddit
Brazilian police have arrested two people in connection with an alleged plot to plant two explosive devices to bomb a free Lady Gaga concert in Rio de Janeiro.
Lady Gaga’ show on the Copacabana Beach in Rio attracted the largest show of her career, with more than 2.1 million fans listening and dancing. The men plotting against the event were attempting to target LGBTQ attendees enjoying the show.
“They were clearly saying that they were planning an attack at Lady Gaga’s concert motivated by sexual orientation,” Felipe Curry, a Rio police secretary told the press. Rio police chief Luiz Lima said the group disseminated hate speech and violent content online aimed at “gaining notoriety online in order to attract more viewers and participants—most of them teenagers, many of them children.”
Brazilian police arrested two suspects in the hours before the concert got underway, with the concert going off without any disruption. At the time, police did not mention the bomb threat in an effort to avoid panic and the ‘distortion of information.’ Meanwhile, a spokesperson for Lady Gaga says the pop star and her team learned about the supposed threat from media reports.
“Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risk,” the statement reads. “Her team worked closely with law enforcement throughout the planning and execution of the concert and all parties were confident in the safety measures in place.”
5,200 police offers and military personnel were deployed on the beach to keep the event safe. “Those involved were recruiting participants, including teenagers, to carry out integrated attacks using improvised explosives and molotov cocktails,” police said in a statement. Brazil’s Justice Ministry said it determined the group spreading hate online presented a risk to public order. Police raided homes of 15 suspects across several Brazilian states, confiscating phones and other electronic devices.
“Nothing could prepare me for the feeling I had during last night’s show, the absolute pride and joy I felt singing for the people of Brazil,” Lady Gaga wrote on social media on Sunday morning. “The sight of the crowd during my opening songs took my breath away. Your heart shines so bright, your culture is so vibrant and special, I hope you know how grateful I am to have shared this historic moment with you.” Lady Gaga’s audience attendance record beat out Madonna’s May 2024 record of 1.6 million people watching her perform.
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Barry Can’t Swim Crushes Los Angeles With Two Shrine Expo Hall Performances — Bonnaroo Next

A view from the booth at Barry Can’t Swim’s Friday night Shrine throwdown (Photo: Digital Music News)
Searing Scottish DJ Barry Can’t Swim packed The Shrine for two nights in Los Angeles this weekend — with his full band in tow.
Ninja Tune phenom Barry Can’t Swim capped his West Coast mini-tour this weekend with a pair of packed gigs at The Shrine — with a Bonnaroo slot next.  The fast-rising Scot is quickly making friends and influencing people, with the first Los Angeles gig oversold and expanded into a second night.
And for those who like to be entertained, Barry Can’t Swim — aka Joshua Spence Mainnie — essentially destroyed it. For starters, The Shrine is a cavernous space, though the sound was properly balanced and full, with a non-stop laser and light show to accompany the music.
Those putting on DJ sets are intimately familiar with how difficult it is to pull off a proper choreography, though team Barry crushed it. The result: Barry Can’t Swim’s adherents were dancing their asses off, with Mainnie deftly threading together tracks in a tightly-woven set.
Barry Can’t Swim definitely has his die-hard fans, and this story is likely to grow.
Part of the appeal might be the DJ’s differentiations from the typical solo DJ ensemble. Barry Can’t Swim’s visual display was great, though the real attraction goes beyond backdrop razzle-dazzle.
Instead, this ‘DJ’ is actually a band, with a real drummer, keyboards, and even a full-blown string section trotted out. That fits Mainnie’s orientation, which is more musician than DJ and certainly not constrained to a particular dance sub-genre. Instead, the music of Barry Can’t Swim traverses jazz, house, afrobeat, and even shoegazer, with splices of random recordings peppered throughout.
That said, Barry Can’t Swim is very much a DJ, and his performances are solidly dance events.
But it’s surprising how much of a difference the live instruments alter the musical motif, including the energetic drumming. It makes you realize that decades after the advent and widespread acceptance of the drum machine, there’s still something left behind.
Superfans also got a nice preview of some upcoming material at this weekend’s gigs. That includes some tracks from the forthcoming album, Loner, which drops July 11th on the aforementioned Ninja Tune.
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TOKiMONSTA: “The more satiating it is for the musician to create, the better the music is”

Should producers and beatmakers be calling more upon sounds heard in everyday life when making music? TOKiMONSTA does, and it’s a key part of her artistic process.
In a new episode of MusicTech’s My Forever Studio podcast – in which we sit down with producers and have them select gear for their fantasy Forever Studio – the veteran DJ and producer dives into her approach to using field recorders to source sounds for her beats.
READ MORE: My Forever Studio: TOKiMONSTA nabs a historic synth Asked about her process using real-world samples, she explains: “If I go out and I use my field recorder to [record a] twig snapping, you know, maybe a car door shutting, stepping on rocks or sand, whatever, all those sounds are [a] nice texture, so it’s using those to layer. Then you have an unlimited amount of samples in that way.”
She adds that another benefit to capturing her own samples for beats is that they are completely unique.
“I’ll always know that those are my sounds,” she says. “And so if I have stock kicks and I like the body of it, but maybe it’s not fuzzy enough or it doesn’t have the tack I want, there’s always a way to manipulate real life. Something from real life that’s recorded to give it that umph.
“And if I have a good field recorder, it’s. It’s unlimited. I can keep making sounds and manipulating sounds, I guess, with my stock Ableton plugins.”
She recalls: “I made a bass line that I recorded playing something that wasn’t real. Like I had tapped on this really interesting surface, and then I pitched that sound into a bass line. It required a lot of work, but those are just the little, little things. And people might not notice. It may not matter to anyone else, but for me, it’s fun in the process of creating stuff like that.”
Speaking more broadly on the importance of enjoying the creative process, TOKiMONSTA concludes: “The more fun the musician has, or the more satiating it is for the musician to create, the better the music is. That’s sort of where I’ve landed on my journey.”
The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
The post TOKiMONSTA: “The more satiating it is for the musician to create, the better the music is” appeared first on MusicTech.
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Blacklist Festival 2025 First Lineup Announced with DJ Snake, Black Tiger Sex Machine, and Sullivan King

Blacklist Festival returns to Turbinenhalle in Oberhausen on October 11, 2025. For one day, the industrial venue will host over fifty artists across four rooms, all rooted in bass-heavy genres. This year’s first lineup announcement features a range of names from dubstep, trap, drum and bass, and bass house. With twelve hours of nonstop music and seven thousand attendees expected, Blacklist continues to focus on programming that appeals directly to a specific underground audience.
A festival with a clear direction
Blacklist has built its identity around staying focused. It does not split its lineup across unrelated styles or aim to be a general music festival. Instead, every room is dedicated to a different branch of bass music, from drum and bass and riddim to experimental hybrids and heavier subgenres. This consistency has helped grow a following that stretches beyond Germany, bringing in fans from across Europe who are familiar with the artists being booked.
Turbinenhalle remains the venue of choice. Its layout supports the format Blacklist uses. The space allows for four distinct rooms to run simultaneously, each with separate production setups. The environment is built around large-scale visual and lighting design, but the focus remains on the artists and the set pacing rather than spectacle. Every room is programmed intentionally, and artists are given the time and space to deliver full sets.
DJ Snake brings The Outlaw to Germany
DJ Snake will appear at Blacklist under his alternate project, The Outlaw. First debuted at Lost Lands, this alias showcases a much heavier and more stripped-back selection compared to his usual mainstage sets. It marks a rare European appearance for the project and fits naturally into Blacklist’s lineup, which leans toward harder and more underground styles. The Outlaw has only been seen at a few select festivals so far, making this booking a standout for those who follow Snake’s broader range.
Black Tiger Sex Machine headline with a Europe-exclusive set
Black Tiger Sex Machine will perform their only European date of the year at Blacklist. The Canadian trio is known for combining narrative-driven visuals, live elements, and heavy electronic production. Their shows are designed with structure, often built around themes connected to their label and video content. Blacklist is one of the few festivals on the continent that regularly books acts with full creative setups, making this an appropriate match.
Sullivan King joins the lineup
Sullivan King is also confirmed. Known for mixing metal vocals and guitar into his live sets, he continues to blur the lines between band performance and electronic music. His shows include extended breakdowns, transitions built around tempo shifts, and original vocals. His name has remained visible across major bass festivals, and his inclusion here reinforces Blacklist’s relationship with artists who perform outside traditional DJ formats.
Other artists in the first announcement
The initial lineup includes Modestep, performing a classics set built from their early discography. Habstrakt will represent the bass house scene with a French take on groove and distortion. Code: Pandorum continues to explore darker themes in dubstep, and Reaper adds drum and bass with a precise and high-speed format.
Layz, Hurtbox, Makla, Nimda, and Dizzturb are also on the list. Each has been active in the club and festival scene across Europe. The announcement also includes a back-to-back set from Veksyu and Astaroth, both known for more aggressive selections and collaborative projects.
Tickets and access
Tickets start at 45 euros and range up to 85 depending on access tier. All passes and official updates are available through the festival’s site:
https://blacklist-festival.com
More names are expected to be announced in the lead-up to the event. Each year, Blacklist builds on its format without changing its direction, and the 2025 edition looks to continue that same path.
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VOID Water Fest 2025 Felt Like Stepping Back Into the Golden Era of EDM

VOID Water Fest made its debut this April at RCA Central Park, and from the moment I arrived, it didn’t feel like a first edition. The event was built around a single stage with a clean layout and a lineup that actually made sense. It didn’t try to do too much. It didn’t feel overdone. Everything about the setup focused on what mattered. Music. Crowd. Timing.
The stage design had a futuristic look without being too flashy. LED screens gave each artist space to showcase their own visuals. Water jets fired during key drops and pyro followed some of the biggest moments in each set. It wasn’t constant. It was timed well. You didn’t get the sense that they were trying to impress with every second. They used what they had properly. The sound held across the venue and everyone seemed to really enjoy this new festival following the major Songkran events. It was like an extension of Songkran, wetter and yet calmer at the same time. 
Third Party Played the Track That Stuck
I’ve seen Third Party in Bangkok before, but this set felt different. I was filming from the stage and had a full view of the crowd the entire time. When they played Believe, the moment hit hard. The water jets launched as soon as the drop came in. The lights shifted and I could see the front rows reacting without hesitation. No phones in the air. Just people singing word for word. It was one of those tracks that didn’t just play well. It felt like the right one for that exact point in the set. I knew while filming it that I was capturing something that worked. I didn’t need to be in the middle of the crowd to feel it.
DubVision B2B Matisse & Sadko Was One of the Most Personal Sets I’ve Ever Filmed
This was the set I had been waiting for and I’m so happy that I got to experience it at Void Water Fest. I’ve followed both acts for years and seeing them finally go b2b in Bangkok felt surreal. I was on stage filming the entire thing, and from the very first few minutes, it already felt like something special. They played a run of progressive house classics that brought everything back. I wasn’t trying to predict the next track or think about the crowd. I just stood there, camera in hand, fully in the moment. At one point, I actually teared up.  I jokingly told Dubvision and Matisse & Sadko before their set that I would cry and well, I did because it felt too real to be true. The sound, the setting, and the fact that I was right there for it hit all at once. It wasn’t about one song. It was about finally being there for something I had waited years to see. I didn’t want the set to end.
Progressive House Still Has Its PlaceThat set reminded me why I still care about progressive house. It’s not gone. It’s not something we talk about like it belongs in the past. It’s here. It’s just taken time to find the right space again. VOID Water Fest gave it that. I put together a short video from the weekend and posted it to Instagram. Just clips from that set. No edits. No added sound. The response was instant. This sound still means something to a lot of people. And after seeing it live like that, it means even more to me now.
Dannic B2B Dyro Hit Exactly How I Hoped It Would
This was one of the sets I was genuinely looking forward to filming. I’ve followed both of them for years, and seeing them go back-to-back at VOID Water Fest felt like the kind of pairing that didn’t need to be overthought. They got on, started strong, and didn’t slow things down. The transitions were quick and steady. Every track had a purpose. I stayed on stage for the full set and kept filming without even thinking about moving. The crowd didn’t drift or look around between drops. Dannic and Dyro stayed right where they were and responded to every shift in pace. Nothing about the set felt forced or too planned. It was two artists doing what they’ve always done well, and it came through clearly in every moment they played.
R3HAB Gave VOID Water Fest Exactly What It Needed
I’ve been watching R3HAB live since 2012, and his set at VOID Water Fest was a reminder of how consistent he’s been over the years. He didn’t try to force anything or go too heavy on crowd interaction. The transitions were smooth, the pacing was tight, and the crowd stayed focused the entire way through. What made it more meaningful was that I had interviewed him at Unseen Festival last year, and seeing him again here felt full circle, especially knowing VOID Water Fest was put together by the same team. The best part was how he remembered me. That moment stuck with me. It wasn’t planned or expected, but it added something personal to an already strong set. When you’ve been following someone for over a decade and get a moment like that, it stays.
Support Acts Helped Carry VOID Water Fest From Start to Finish
Josh Le Tissier and Kevu both played later in the day, around the early night stretch, and brought exactly what was needed to keep things running strong between the headliners. Josh kept his set steady and never rushed it. He paced it in a way that gave people time to reset while still staying with him. Kevu leaned into harder drops and kept the tempo high without going overboard. They didn’t treat their sets like filler. Both made the most of their slots and helped hold the shape of the evening.
Earlier in the day, it was the VOID Club regulars and local talent that gave the festival its base. Sets from ARS, DEVARA, DJ LER, BEE CHAN, KIKIE, MATHEW BEE, and MC DAN all reflected the sound that’s been built inside VOID over time. None of them tried to do too much. Each one brought a clear sound and didn’t shift just because it was a bigger stage. The balance between international and local names didn’t feel forced. It felt natural and earned. VOID Water Fest didn’t just fill the schedule. They filled it with people who already understand how this scene moves.
VOID Water Fest didn’t try to do too much. It stayed focused with one stage, a lineup that made sense, and a flow that kept people grounded in the music. From the local names to the progressive house moments to the way the crowd stayed present throughout, it felt like something that had real thought behind it. Nothing felt rushed or added for show. If this was the first edition, it already set the tone for what could be built from here.
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Watch Mochakk Halt Ibiza DJ Set to Aid Unconscious Attendee

Mochakk interrupted his Circoloco Ibiza performance last week when he saw someone in the audience needed immediate medical assistance, the DJ wrote on Instagram.
As revelers danced at Circoloco, a storied party series at the island's DC-10 nightclub, the Brazilian house music star noticed people waving for help near a collapsed individual on the dancefloor. Footage shared by attendees on social media shows him frantically pleading for someone to tend to the man.
"There was someone passed out on the dance floor, people were waving to show and ask for help, no one was doing anything to get the guy off of the crowd and take him to the medical center," Mochakk wrote on Instagram. "I'm not gonna keep playing knowing someone is potentially hurt in the middle of a packed crowd, people can die in these scenarios."
His comment goes on to emphasize the risks of inaction by drawing comparisons to past tragedies: the 2022 death of a fan due to heat exposure at a Taylor Swift concert in Brazil and the disastrous 2021 crowd crush at Travis Scott's Astroworld Festival in Houston.
Mochakk says he paused the music and instructed his videographer to intervene, enabling paramedics to reach the man safely. Only once the attendee was in medical hands did he resume playing.
You can watch a video of the incident below.
View the original article to see embedded media.
Follow Mochakk:
TikTok: tiktok.com/@mochakk
X: x.com/mochakkmusic
Instagram: instagram.com/mochakk
Facebook: facebook.com/mochakkmusic
Spotify: bit.ly/3LYOfH1
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Watch Mochakk Halt DJ Set to Aid Unconscious Attendee

Mochakk interrupted his recent Circoloco Napoli performance when he saw someone in the audience needed immediate medical assistance, the DJ revealed this week.
As revelers danced at the storied party series, the Brazilian house music star noticed people waving for help near a collapsed individual on the dancefloor. Footage shared by attendees on social media shows him frantically pleading for someone to tend to the man.
"There was someone passed out on the dance floor, people were waving to show and ask for help, no one was doing anything to get the guy off of the crowd and take him to the medical center," Mochakk wrote on Instagram. "I'm not gonna keep playing knowing someone is potentially hurt in the middle of a packed crowd, people can die in these scenarios."
His comment goes on to emphasize the risks of inaction by drawing comparisons to past tragedies: the 2022 death of a fan due to heat exposure at a Taylor Swift concert in Brazil and the disastrous 2021 crowd crush at Travis Scott's Astroworld Festival in Houston.
Mochakk says he paused the music and instructed his videographer to intervene, enabling paramedics to reach the man safely. Only once the attendee was in medical hands did he resume playing.
You can watch a video of the incident below.
View the original article to see embedded media.
Follow Mochakk:
TikTok: tiktok.com/@mochakk
X: x.com/mochakkmusic
Instagram: instagram.com/mochakk
Facebook: facebook.com/mochakkmusic
Spotify: bit.ly/3LYOfH1
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[INTERVIEW] EDMTunes Catches Up With Anjunadeep Heavyweight Anyasa Post North America Tour

Anyasa is renowned for pioneering an exquisite sound that fuses Indian classical music with melodic house and techno. The first artist from India to sign with the legendary Anjunadeep, Anyasa has released critically acclaimed EPs, including Gaya, Athena and Apollo, solidifying his place as a global talent and earning him recognition as one of electronic music’s most genre-defining storytellers.

Anyasa’s impact extends far beyond the studio, with his live performances —touted as immersive journeys—from the dancefloors of Brooklyn Mirage in New York City to the shores of Savaya Bali, and the stages of DGTL Amsterdam and Printworks in London. His headline performances across North America, Asia, and the Middle East have earned him an inimitable international presence.

With a vision to expand the horizons of melodic house and techno, Anyasa remains an ever-evolving force in the industry, preparing to release new music and embark on new tours, cementing his place as one of the most exciting and forward-thinking talents of his generation.
EDMTunes sat down with Anyasa (real name – Anish Sood) recently post his recently concluded North America tour.
Thank you for catching up with EDMTunes, Anish! Third successive North America tour wrapped up in 3 years. How does it feel?
It feels fantastic! I am very grateful to the North American audiences for accepting my sound with such open arms and after this third tour, it definitely feels like I’ve built a consistent fan base across the major cities. We hit some iconic venues on this tour like Coda in Toronto and Audio in San Francisco and all the shows did really well with amazing energy on the dancefloor.
Being the first Indian artist to be signed to the legendary Anjunadeep, which includes the globally well received EPs Gaya, Athena and Apollo, how would you characterize the Anyasa sound as per your own self-evaluation?
I would describe the core Anyasa sound as ethnic influenced with production that walks the line between melodic house and techno. However, I am also an artist that likes to constantly innovate, so the new ‘Flectere’ EP marks a momentary departure from the ethnic heavy sound to discover new realms with English vocals.
It’s always about finding the balance between a global sound that has Indian roots.
How has the Anyasa journey been so far? Would you be able to shed some background about the factors that inspired you to carve out Anyasa some years ago (starting 2021, if not mistaken)?
It has been a fantastic ride! I did not in my wildest dreams expect the ‘Anyasa’ project to break out internationally as quickly as it did and I’m very grateful to my teams and the fans for their unwavering support.
The project was born during the lockdown as an experiment to marry Indian classical vocals with modern house and techno production. One of the key distinctions with all the Anyasa material is that all the ethnic vocals and instruments are 100% original and not sampled, and that’s one of the key reasons Anjunadeep chose to sign and work with me.
Any particular moment or high point you cherish from this North America tour (or any of the previous ones) on the continent? Feel free to include any specific memory about a venue or club that might have left an impression.
Reactor Venao in Panama was absolutely surreal! It’s a two week long festival on the beach about 5 hours away from Panama City and the community there is simply unrivalled. They have built such a pure, spiritual experience with the festival, it’s a magical experience.

How has the experience been so far on this tour? Were there any particular surprises or highlights that you might have treated the North American crowd to? 
Abhilasha Sinha jumped on the decks in New York to sing our track ‘Kaise’ live and that was a completely unplanned, yet super special moment!
Lastly, your thoughts on embracing the intense touring schedule that you are synonymous with across the globe. Are there any words of advice for upcoming producers that you would like to share around this?
For me, it is all about finding the balance between touring and downtime at home in the studio. I think rest and recovery are as important as a hectic touring schedule and I’m very mindful of staying fit and healthy when I’m not on the road.
For upcoming artists, it can be hard to find the right schedule since you want to maximize every opportunity possible and you rightly should. My advice would be to find downtime during the week and try to find a consistent & healthy routine during the week between touring weekends. 
Can we already foresee another North America tour soon?
The plan for the rest of 2025 is to focus on new music in the studio, so I think North America would most likely be next year!
The post [INTERVIEW] EDMTunes Catches Up With Anjunadeep Heavyweight Anyasa Post North America Tour appeared first on EDMTunes.
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HWIN Unveils A Euphoric Remix Of ‘Love is All I Need’

Following the release of his debut solo EP Just Like A Flower, the project that launched his visionary new imprint 57 Records, HWIN returns with a euphoric remix of one of the project’s standout tracks, ‘Love Is All I Need‘. This remix reimagines the original UK garage-influenced track with a driving four-on-the-floor pulse and global rhythmic influences. While preserving the emotional core that defines HWIN’s work, this version transforms the intimate anthem into a celebratory peak-time moment.

The remix maintains the song’s heartfelt vocals and melodic essence while opening up new sonic territories. It creates a euphoric experience that simultaneously moves bodies and touches souls. By introducing worldbeat elements and a more propulsive rhythm section, this version broadens the emotional palette of the original. It offers listeners a joyful catharsis that stays true to the “beautiful contradictions” at the heart of HWIN’s sound.
The HWIN Touch
Ideal for those magical dancefloor moments where collective celebration meets individual feeling—when the crowd is ready to ascend while staying rooted in emotion. The remix arrives on the heels of Just Like a Flower, a deeply personal yet community-focused EP that marks HWIN’s evolution. An evolution ranging from chart-topping producer (Cathedrals) to independent cultural architect. The EP blends underground textures with anthemic songwriting. It also celebrates the launch of 57 Records, a new model for artist development rooted in real-world engagement and creative collaboration.

The label’s debut release was accompanied by a 360° immersive launch event at HERO NYC. It also follows five years of community building through HWIN’s artist collective, 57. 57 is a hybrid creative studio, performance venue, and cultural movement with over 9,000 active members. The party had close to 2K RSVPs, and resulted in 3,000+ EP saves generated on the EP on DSPs. It’s undeniable HWIN’s 57 Community is invested in their collective art.

With his remix of ‘Love Is All I Need‘, HWIN continues to carve out a musical space where vulnerability, groove, and transcendence collide.
The post HWIN Unveils A Euphoric Remix Of ‘Love is All I Need’ appeared first on EDMTunes.
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Allow her to reintroduce herself: MISS DRE rebrands as DREYA V

Drea Kaplan has been passionate about music for as long as she can remember. What began as a love for singing back in elementary school has evolved into a lifelong obsession with every aspect of music. Evolving into a triple-threat DJ, producer and vocalist, Kaplan is formally reintroducing herself to the world as DREYA V.
The artist formally known as MISS DRE earned a spot on Dancing Astronaut‘s Artists to Watch in 2025 list thanks to a standout discography that includes tracks like “Lucy,” a touring schedule that included dates at EDC Las Vegas, Project GLOW and Day Trip among others, and distinct vocals that grace nearly every track she puts out. She made waves on the club and festival circuit last year with her viral remix of Tinashe’s “Nasty,” which received support from Dom Dolla, Mau P, and MEDUZA among others.
Her ascendent trajectory speaks for itself, bolstered by releases on labels such as Gorgon City’s Realm Records and MEDUZA’s Aeterna. Now, she’s stepping confidently into a new chapter as DREYA V. “This new era feels more of like an arrival than a departure,” she says, while also adding that she’s “so excited to share it with you guys!”
DREYA V has already established herself as one of dance music’s brightest rising talents. This year alone, she’s released “Light The Fire” — her debut single on Aeterna — and graced stages like The Concourse Project in Austin. With her eyes firmly on the future, DREYA V is undoubtedly poised to continue making noise in the dance music community.
Featured image: DREYA V
The post Allow her to reintroduce herself: MISS DRE rebrands as DREYA V appeared first on Dancing Astronaut.
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Verknipt Makes India Debut, Brings Unrelenting Hard Techno Energy

Verknipt, the renowned hard dance collective from Amsterdam, is officially landing in India—and it’s arriving with a bang. In collaboration with Sunburn, one of India’s known music event curators, Verknipt will debut with three exclusive shows this May 2025 in Mumbai, Bangalore and Hyderabad.
Expect the full force of Verknipt’s signature style— hard techno, industrial beats, high-impact visuals, and relentless energy. Full-blown sensory experiences engineered for the rave-hardened and the curious alike. or Indian audiences, this event offers a window into the raw, underground energy of Berlin-style hard dance culture—delivered with Verknipt’s signature Dutch flair.
Artists of Verknipt: A Lineup of Hard Techno Pioneers
Verknipt has made a name for itself by showcasing some of the biggest names in hard techno alongside the fresh emerging talent. Over the years, the collective has hosted the likes of Nico Moreno, Sara Landry, Shlømo, Luca Agnelli, and Alignment—artists who are shaping the global hard techno sound. Other heavy-hitters frequently seen on Verknipt lineups include 6EJOU, Basswell, DIØN, OGUZ, and Trym, known for their high-octane sets that push tempo and intensity to the limit.
For its India debut, attendees can expect blistering sets from international heavyweights like— Shlømo, Fatima Hajji, 6EJOU and Stan Christ. Each act brings their own sonic arsenal, promising a weekend packed with unrelenting BPMs and warehouse-ready rhythms.
Journey from Amsterdam to India
Founded in 2012, Verknipt began as a local party series in Amsterdam. Over the past decade, it has transformed into a global phenomenon. They have been championing the hardest shades of techno—raw, industrial, and uncompromising. With sold-out shows across Italy, Germany, France, and Croatia, and the upcoming Verknipt ArenA 2025 promising a 360-degree stage production, the collective has built its legacy on breaking rules and shaking walls.
Verknipt is built on a bold ethos: “Nothing is mandatory, everything is possible.” This mantra drives their music programming but also its production values. Think massive LED rigs, custom lighting, and industrial-futuristic stages that transform venues into dystopian dance utopias.
After expanding into Asia in 2023, Verknipt sets its sights on India in 2025. And according to founder Mer Hajbarati, the timing couldn’t be better, “India has one of the most passionate electronic music scenes in the world. We’ve seen the energy at Sunburn, and we knew this was the right moment to bring Verknipt’s hard techno movement here. We’re not just throwing events; we’re building a community.”
Verknipt India 2025: Tickets and more
Verknipt’s debut India tour spans three major cities, promising an unrelenting weekend of hard techno heat. Here’s everything you need to know:
Dates & Venues
May 2, 2025 – Sunburn Union, Bangalore. May 3, 2025 – NSCI Dome, Mumbai. May 4, 2025 – Quake Arena, Hyderabad. Tickets are live on BookMyShow. Note that this is a cashless event, so be ready to tap and go. Bring your ID, and don’t forget to charge your phone— ticket QR codes will be scanned at entry. For more information, check out Verknipt Events and Verknipt Asia.
If you’re looking for Tickets for Verknipt ArenA 2025, you can find them here.
The post Verknipt Makes India Debut, Brings Unrelenting Hard Techno Energy appeared first on EDMNOMAD.
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Keeping Festivals Clean: What’s Being Done, And What You Can Do To Help

Festivals can be a glorious landscape of music and unity that brings joy to millions of people a year. However, once the crowds are gone that landscape isn’t quite so glorious to gaze upon as the sea of rubbish and abandoned tents is revealed. Every year we see that festival grounds are left in poor states the day after, so what’s being done to prevent this, and what can you do to help?
One of the main things you always see is thousands of tents left behind which contrary to popular belief are usually incinerated instead of donated. Thankfully festivals like Creamfields have a salvage operation in place where charities and community groups are allowed in at the end to collect reusable tents and camping gear. Tomorrowland’s approach to this problem is their ‘Camp2Camp’ scheme where they collect, clean, and repair camping equipment to hire out at future events. Although that Monday morning may hold a horrific hangover at the end of the festival, you still need to make the effort to take your belongings home. It helps the environment, it helps the clean up crew, and it saves you having to buy more equipment for the next festival.
Of course, the other main problem is general rubbish with cups and bottles creating a new layer on top of festival grounds. The type of waste left behind has improved drastically in the last few years with the advent of paper cups and aluminium cans/bottles over plastic. An excellent idea that many festivals have adopted is giving a small amount of money for returning cups which encourages people to not just drop them on the floor. Brands like Liquid Death that provide water in recyclable cans are becoming more frequently seen at festivals even being a title sponsor for Download Festival. This is all encouraging but this waste still needs to be disposed of properly to make this change work. It’s on festivals to provide the correct facilities to dispose of all the rubbish, it’s on festivalgoers to make use of those facilities.
Amidst the rubbish there is always thousands of cigarettes and in the past few years a rapidly increasing number of disposable vapes. Neither of these are biodegradable, and both leak toxins into the soil. Now disposable vapes are more popular festivals are providing electronic waste bins and it’s essential that they are used. Disposable vapes are both harmful to the environment as well as being dangerous if the battery is damaged. On the cigarette front Ultra Music Festival has come up with a simple solution as they provide pocket ashtrays for free so people can keep their cigarette butts till they find a bin.
All these efforts are not only for the environment, but for the continuation of festivals. If the grounds are not looked after, then whoever owns that land may decide to stop hiring it out. The grounds must be respected by festivalgoers as much as the festivalgoers must be respected by the festival itself. Woodstock 1999 didn’t provide adequate waste facilities, and we all know how that went. If everyone does their bit then festivals can continue to thrive, and the world will be a better place for it.
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Latest Music Industry Hires: Warner Music Nordics, CD Baby, Payday Publishing, Event Safety Alliance, More

(l to r) Craig May (artist and fan development) and Sean Hallarman (product) are now CD Baby SVPs. Photo Credit: Downtown Music
Here’s a recap of recent music industry hires and in-house promotions as of May 2nd, 2025.
If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here.
Warner Music Nordics
Over six-year Sony Music Finland exec Henri Lanz has come aboard Warner Music Nordics as senior international A&R and creative advisor.
CD Baby
Downtown’s CD Baby has brought on Sonos content director Sean Hallarman as SVP of product and named Craig May (who joins from an executive role at FUGA, also a Downtown subsidiary) SVP of artist and fan development.
Meanwhile, marketing SVP Jean Mischler’s role has expanded to include revenue, and finance VP Whitney Thomas will also oversee business operations moving forward.
Payday Music Publishing
Payday Publishing has hired Score a Score vet Jamey Sussman as creative sync director for trailers and ads. Additionally, the company has welcomed former MNRK higher-up Desiree Autobee in the same role but with a focus on film and TV.
Event Safety Alliance
Rob Bergeron, previously an executive director with ODTUG, has signed on with the Event Safety Alliance in the same capacity.
Apple Music
Apple Music has confirmed as co-presidents ex-TikToker Ole Obermann and 16-year Apple vet Rachel Newman.
Kobalt
Former 138 Strategic managing partner Jason Feinberg has joined Kobalt as SVP and head of its Kosign admin platform.
SXSW
A far-reaching shake-up at South by Southwest has brought the exit of longtime president and chief programming officer Hugh Forrest, music festival VP James Minor, and close to four-decade comms VP Lillian Park.
Now, Penske EVP of product and technology Jenny Connelly (who’s been on the SXSW board for four years) is SXSW’s director in charge. Plus, SXSW EDU co-founder Greg Rosenbaum is succeeding Forrest as programming head, and 13-year SXSW music team member Brian Hobbs is replacing Minor as VP.
Avex Music Group
Justin Hunter, an over three-year exec at S10 Entertainment, is officially VP at Avex Music.
Russells
London law firm Russells has two new music partners: Liv Lyons (who joins from Lee & Thompson) and Mark Walker (who’s been with the firm for about a decade).
North American Concert Promoters Association (NACPA)
AEG Presents exec Brent Fedrizzi has been re-elected president of NACPA’s board.
ASCAP
ASCAP has upped Nicole George-Middleton, who’s been with the PRO since 2008, to EVP and head of creative membership.
Virgin
Virgin Music Group has formally boosted three-year team member Hannah Thompson-Waitt to SVP of U.S. commercial strategy.
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“F1 The Movie” Soundtrack Will Feature Plenty Of EDM Artists

Adrenaline is rushing as the official Formula 1 Movie premieres worldwide this summer. And better yet, the movie directed by Joseph Kosinski (Top Gun: Maverick) will have its album soundtrack. From Doja Cat, to Madison Beer, Roddy Ricch, to Don Toliver, there are a total of 19 world-class acts featured on the “F1 The Movie” Soundtrack album. EDM Fans will surely enjoy this release, as many of our top EDM producers also take part in the soundtrack.
EDM Acts on “F1 The Movie” Soundtrack
The International EDM artists featured on the album are adding their legacy to film, sprinkling depth and intrigue to the movie starring Brad Pitt. The first name on the poster is none other than the Aussie Tech-House extraordinaire Dom Dolla. This is the artist’s first soundtrack feature, which includes vocals from singer Nathan Nicholson. We have heard Nicholson’s enchanting vocals in songs by Sultan + Shepard, VisionV, Anyma, and more.
Our next artist is the British Solid Grooves co-founder PAWSA. The ‘Money Talks’ producer will surely provide us with a sultry and sexy track that will have those cars racing fast. In addition, EDM legend Tiësto brings his signature sound to the soundtrack as well. The Dutch progressive producer adds Formula 1 to his list of movie soundtracks. He provided tracks for movies like “Hotel Transylvania 3” and another car racing movie, “Grand Turismo”. Fun fact about his track is that it will be a collaboration with rapper Sexy Redd.
Our final electronic artist that will grace the soundtrack album is non other than Korean House goddess Peggy Gou. The Gudu Records lead is known for her richly melodic, timeless club anthems.
You can pre-add the album to your device while we await the release on June 27.
The post “F1 The Movie” Soundtrack Will Feature Plenty Of EDM Artists appeared first on EDMTunes.
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Fan Rushes Stage, Appears to Attack Paul Kalkbrenner During Madrid DJ Set

A crowd member of the recent Elrow Town event in Madrid rushed the stage during Paul Kalkbrenner's performance, appearing to attack the renowned DJ and electronic music producer, per footage shared by attendees on X.
The German techno artist on May 1st was in the midst of his DJ set when the incident occurred. Videos from the ordeal show an unidentified man climbing onto the DJ platform from the crowd and lunging at Kalkbrenner before putting him in a headlock as security personnel intervened.
Security managed to quickly remove the individual from the stage. Kalkbrenner, 47, was not injured in the attack, according to Ibiza 1 Radio 94.1 FM. He then continued his performance.
Neither Kalkbrenner nor his management team had issued a public statement about the incident as of press time.
Follow Paul Kalkbrenner:
X: x.com/paulkalkbrenner
Instagram: instagram.com/iampaulkalkbrenner
TikTok: tiktok.com/@paulkalkbrennerofficial
Facebook: facebook.com/paulkalkbrenner
Spotify: spoti.fi/3DSd3hG
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Warner Music Sues Designer Shoe Warehouse for Alleged Social Media Copyright Infringement

Warner Music Group is suing DSW for alleged copyright infringement on social media. Photo Credit: Anthony92931
Another day, another social-focused copyright lawsuit – this time from Warner Music, which is suing Designer Shoe Warehouse (DSW) and others for allegedly infringing on protected works in hundreds of promo videos.
Warner Music Group (WMG) submitted the straightforward action to an Ohio federal court, naming as defendants the mentioned DSW, Topo Athletic, and their Columbus-headquartered owner, Designer Brands (NYSE: DBI).
By now, many are aware of the mountain of infringement actions targeting music featured in companies’ social videos. In short, social platforms’ song libraries are pre-cleared only for personal use, with standalone licenses required for commercial usages in most instances.
(On the “most instances” front: Warner Music licensed some of its catalog for TikTok’s “Commercial Music Library,” which, as its name suggests, includes works cleared for brands.)
And paid influencer campaigns don’t constitute personal use, multiple companies have found out the hard way in separate litigation. Per today’s suit: “DSW’s social media advertising” – even featuring an appearance from the spouse of a Warner Music exec – “is similar to that of” Bang Energy.
Bang “was found liable for copyright infringement in two different lawsuits due to the same type of copyright infringement,” WMG’s DSW suit reads in part.
Running with the point, then, Warner Music says the defendants have “extensive experience with music licensing” but failed to seek or receive usage permission for its own social videos and for its influencer campaigns.
(WMG also took the opportunity to call out the defendants’ alleged approach to compensating influencers.“[C]ontrary to Federal Trade Commission guidelines, the social media influencers often do not disclose that they receive compensation in any form,” the complaint maintains.)
As for the extent of the alleged infringement, the filing parties’ “initial investigation has revealed that DSW misappropriated over two hundred” compositions and recordings in which Warner Music has stakes, per the text.
Incorporated into videos on Instagram and TikTok alike, the allegedly infringed works include tracks recorded by Usher, The Weeknd, Linkin Park, Ed Sheeran, and many others, the suit shows.
All told, Warner Music has levied three copyright claims against DSW and the other defendants, including for vicarious and contributory infringement.
Regarding the aforementioned mountain of social-infringement actions, various music companies have opted to litigate against NBA teams, AHL teams, Chili’s parent Brinker International, the University of Southern California, and Crumbl Cookies, to name some.
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Brooklyn Mirage Forced To Cancel All Opening Weekend Shows

As hopeful as one can be, reality checked us Friday afternoon as The Brooklyn Mirage announced that the opening weekend for the 2025 season will be delayed to another weekend. As we know already, Hard Techno maven and producer Sara Landry would’ve played the first two sold-out nights of the weekend with Cityfox planning to close out the first weekend on Sunday. Yesterday, the Brooklyn Mirage was forced to cancel the Thursday night show.
Making Up For It
With tons of social media feedback and awareness, Sara Landry’s team did the impossible and booked the Knockdown Event Center for Thursday night. Although it had limited capacity, the artist offered a free RSVP for anybody quick enough to snag the link. It was not limited to ticket holders from the first show. Knockdown is known for its top-notch lineups, including its signature event, Wire Festival. Moreover, the artist also booked an afternoon appearance today at the Brooklyn Storehouse from 5-10pm. With tonight’s show also cancelled, we would not be surprised to see a longer/later show at Brooklyn Storehouse tonight. We have not yet heard from Cityfox about alternative plans.
Opening Weekend Delay
Hours before the doors opened yesterday, the Brooklyn Mirage had to cancel its opening show. It was unable to pass construction inspections necessary to obtain permits so that attendees can occupy the new structure. With high hopes, attendees have waited patiently for updates on the rest of the shows this weekend. Late in the afternoon, the venue posted the sad update that the entire weekend would have to be called off, for now.
Early Friday morning, the Brooklyn Paper was reporting that the entire weekend would be cancelled, citing a city building official. Reportedly, there were three construction permits on hold and no definitive timeline was given. Prioritizing transparency and safety for ticket holders, the venue cancelled the remaining shows, including Cityfox, and Black Coffee.
However, the venue will refund all the tickets for the weekend. Moreover, they will keep updating the general public. The venue is working closely with city officials to ensure get the permits cleared so that it can open the amazing new Brooklyn Mirage 4.0. We’re standing by for the green light and will keep you posted.
The post Brooklyn Mirage Forced To Cancel All Opening Weekend Shows appeared first on EDMTunes.
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Sandy Rivera, Aruhtra & Deeprule Unite for a Mesmerizing Déepalma Release: ‘My Rose’ ft. ANNABELLA

Déepalma Records is poised to make waves in the deep and organic house scene once again, this time with a dynamic collaboration between the legendary Sandy Rivera (Kings of Tomorrow), rising groove architects Aruhtra & Deeprule, and the deeply expressive vocal artistry of ANNABELLA. Their latest release, ‘My Rose’, landed on April 25, 2025, serving up two compelling versions, each offering its own unique sonic journey.
The Original Mix leads the charge—a pulsating, tribal-infused production designed to move dancefloors deep into the night. Fueled by kinetic lead synths, atmospheric piano chord swells, and ANNABELLA’s captivating vocal work, this version delivers a driving, emotive energy that seamlessly bridges underground sophistication with main-stage appeal.
For those craving a deeper groove, the Deep Mix steps in with a sultry, hypnotic approach. Rooted in a headier bassline and a steady cowbell groove, this mix takes a smoother route—its lush piano chords and ANNABELLA’s ethereal vocals wrapping around listeners like a warm embrace, making it an essential selection for intimate late-night sessions.
With its spellbinding blend of deep organic elements, ‘My Rose’ stands as a testament to Déepalma’s continued curation of world-class electronic music. The anticipation began early, with the radio version of the Original Mix dropping on April 18 across all streaming platforms—an early taste of what promises to be one of the essential releases of the season. Let ‘My Rose’ bloom.

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Michael Roman & Klaas Reignite a Classic with High-Energy Rework of ‘Tainted Love’

A timeless anthem gets a bold new life as producers Michael Roman and Klaas join forces to release a powerful, techno-driven reimagining of “Tainted Love”, the iconic hit made famous by Soft Cell.
Infusing the track with modern production, pulsating energy, and an emotional edge, this rework blends the nostalgic pull of the original with a cutting-edge sound designed for today’s dance floors and playlists. With electrifying synths, a driving beat, and a respectful nod to the past, Michael Roman & Klaas offer a version that is both familiar and thrillingly fresh.
“This single isn’t our first collaboration,” shares Michael Roman. “We’ve known Klaas for a long time and have worked together before. I’ve always been drawn to the modern trend of reviving classic hits from the ’70s, ’80s, and ’90s. Klaas shares that same passion, and when the opportunity came up, we knew we wanted to create something big.”
After considering a shortlist of nearly a dozen classics, the duo agreed on “Tainted Love” — a track that remains as emotionally potent today as it was decades ago.
“There’s something timeless about the emotion in this song,” says Klaas. “We wanted to honor that while bringing in a whole new wave of energy and sound.”
Stream Link – https://open.spotify.com/track/14ZpHvSYc2sLItTVg8vfkO?si=d52adb1837b041bb
The post Michael Roman & Klaas Reignite a Classic with High-Energy Rework of ‘Tainted Love’ appeared first on EDMNOMAD.
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Diddy Rejects Government Plea Deal As Sex Trafficking Trial Gets Underway

Photo Credit: Wesley Tingey
Sean “Diddy” Combs has rejected the government’s offer to plead guilty to reduce his potential prison sentence as his sex trafficking trial kicks off.
Combs appeared in court on Thursday, formally rejecting the US government’s plea offer that would reduce his potential prison sentence if he would plead guilty. When asked by Judge Arun Subramanian if he rejected the prosecution’s plea deal, Combs answered, “Yes, I do, your honor. Thank you.”
As the disgraced musician’s federal sex trafficking trial gets underway, at least four witnesses who have already filed civil suits against Combs are expected to testify against him. While the witness list has not been made public, three individuals familiar with the matter told CNN anonymously about those likely to testify.
Unsurprisingly, the central witness is Cassandra “Cassie” Ventura, the singer and ex-girlfriend of Combs, who will testify under her real name. The judge has permitted the other three witnesses and alleged victims to testify under pseudonyms to aid in protecting their identities. In court documents, they are referred to as “Victim-2,” “Victim-3,” and “Victim-4.”
Meanwhile, a number of supporting witnesses will also testify as government witnesses to corroborate the key witnesses’ accounts or to provide other relevant information. Among those expected to testify is a male sex worker seen in explicit videos of Combs’ “Freak Offs”—sexual encounters he allegedly coerced women into with sex workers, in which one or both parties were drugged and forced to engage in sex acts.
Combs is facing over 60 civil lawsuits, which are notably separate from his criminal trial. But many of those lawsuits served as a “roadmap” for prosecutors, according to sources close to the matter.
He has pleaded not guilty to charges of racketeering conspiracy, transportation to engage in prostitution, and sex trafficking. Combs continues to vehemently deny all civil allegations against him.
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Brooklyn Mirage Abruptly Cancels Reopening Concerts After Failing City Inspection: Report

The much-anticipated reopening of the Brooklyn Mirage was abruptly canceled on Thursday evening after the venue reportedly failed to secure necessary safety approvals from city authorities, halting a sold-out performance by Sara Landry just hours before showtime.
In a statement posted to Instagram, the Mirage said the venue had been built to "exacting safety, structural, mechanical and technical specifications" but that it had not met the final inspection deadline. "Abiding by all appropriate city, local and building authorities is paramount to our core value,” the statement added. The venue pledged full refunds for ticket-holders.
City officials confirmed that the venue does not currently meet the standards for either a temporary or permanent certificate of occupancy. "We cannot endanger New Yorkers by allowing them to enter a venue without a permit," a City Hall spokesperson said, per Brooklyn Paper.
The infamous Brooklyn Mirage, a cornerstone of New York's electronic music scene, had closed for renovations months ago and planned to reopen with an ambitious dancefloor and "groundbreaking" LED technology. But in the days leading up to the reopening, social media posts showed construction equipment still inside the venue, raising doubts about its readiness.
Avant Gardner CEO Josh Wyatt pledged to be "100 percent" ready to open May 1st, he told BKMAG this week. But construction records show that three permits tied to the site were placed "on hold" earlier in the week week, pending administrative review.
Despite public reassurances from management, including a TikTok posted Thursday morning by Wyatt, the concert with EDM.com Class of 2024 star Landry was called off just before doors opened. In a follow-up statement, the Mirage said it accepted "full responsibility" for the disruption.
View the original article to see embedded media.
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Stirling Drops Debut Single ‘All That Really Matters’ On Alleanza

Stirling, the impressive new talent from Canada makes a bold entrance onto the electronic music scene with his debut release ‘All That Really Matters.’ The rapidly rising Tech House DJ and producer is garnering a host of support from leading industry players and earmarked as an exciting name to watch this season.
More than just a first outing, ‘All That Really Matters’ is a powerful statement of intent. Deep, rolling, and emotionally resonant, the track captures a raw club energy that highlights the Alleanza sound. With this release, Stirling joins Alleanza’s growing roster, embodying the label’s commitment to both seasoned artists and emerging talent. his debut sets a strong precedent and marks the start of an exciting journey ahead. 
Founded in 2011 by Jewel Kid, Allenza Recordings was relaunched last year. Universally known for its electronic-focused releases, primarily navigating from House through to Techno, the label has a substantial discography including a range of successful EPs and LP’s. Hosting a collection of artistic talent, from The Yellowheads to Enrico Sangiuliano, Loco & Jam, and Tom Hades, Allenza Recordings sets to welcome Stirling to their ever-growing family, further cementing their position as an imprint that nurtures the stars of tomorrow.
Stirling is a London, Ontario-based artist and, through a sequence of recent events and signings that include Farris Wheel Recordings, he has become recognised for his high-energy sets and punctuated, powerful grooves that instantly ignite the dancefloor. Rooted in club culture from an early age, he translates his musical expression with raw emotion and electrifying rhythms built purposely to move the dancefloor. With a string of releases already lined up for 2025, he’s fast becoming a talent that is registering with international promoters and label heads alike.
All That Really Matters is set to drop on all major streaming platforms on May 9th, solidifying Stirling’s and Allenza’s placement in the current electronic music scene. 
Pre Save: https://found.ee/ALN015
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Singer-Songwriter Jill Sobule, Best Known for 1995 Hit “I Kissed a Girl,” Dies in House Fire

Photo Credit: Jill Sobule for Uncensored Interview / CC by 2.0
Jill Sobule, whose 1995 song “I Kissed a Girl” is widely known as the first openly gay track to hit the Billboard Top 20, has died in a house fire. She was 66.
Singer-songwriter and activist Jill Sobule was best known for her 1995 track “I Kissed a Girl,” widely considered the first openly gay-themed song to hit the Billboard Top 20. The 66-year-old Sobule died in a Minneapolis house fire on Thursday morning.
Sobule was scheduled to perform in her hometown of Denver tonight at Swallow Hill Music’s Tuft Theatre. Instead, there will be an informal gathering hosted by her friend Ron Bostwick from 105.5 FM. A formal memorial celebrating her life will take place this summer, according to her rep.
Her diverse career featured songs like “I Kissed a Girl” and “Supermodel,” which featured on the soundtrack to the film Clueless, and the Drama Desk-nominated autobiographical musical, “Fuck 7th Grade.” That show has enjoyed four theatrical runs in three years, with the original cast recording set to be released on June 6.
Born in 1959 in Denver, Sobule released her debut album, Things Here Are Different, produced by Todd Rundgren, in 1990. She recorded a second album with British singer Joe Jackson, but it was not released. In 1995, she signed with Atlantic, but in the years that followed, she has released music on independent labels while working on television and theatrical projects.
“Jill Sobule was a force of nature and human rights advocate whose music is woven into our culture,” said her manager, John Porter. “I was having so much fun working with her. I lost a client and a friend today and hope her music, memory, and legacy continue to live on and inspired others.”
“Jill wasn’t just a client. She was family to us,” added her longtime attorney, Ken Hertz. “[Jill] showed up for every birth, every birthday, and every holiday. She performed at our daughter’s wedding, and I was her ‘tech’ when she performed by Zoom from our living room (while living with us) during the pandemic.”
In 2008, Sobule became a pioneer of releasing albums via crowdfunding. In less than two months, she reached her $75,000 goal with over 500 donations, releasing the album California Years in 2009. Ten years later, she utilized crowdfunding to release her Nostalgia Kills album.
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Adam Beyer Releases ‘The Distance Between Us’ Ahead Of New Album

Out today is Adam Beyer’s latest track, ‘The Distance Between Us‘ ahead of his upcoming album, Explorer Vol. 1, on Drumcode.
Having already closed out huge sets at festivals like Ultra and Drumsheds with the new single, ‘The Distance Between Us’ is probably the most unexpected track on the upcoming new album, laser-kissed with new wave synth lines which deftly contrasts last week’s ‘Hypnotic‘s future-facing ethos.
The excitement surrounding Beyer’s first album in over 20 years is palpable. Following the LP’s eponymous first single, ‘Explorer‘ which dropped last month, highlights have included the 12,000-person Drumcode party at Drumsheds, a wild Drumcode Pop-up event at an off license in London, while Beyer featured on two billboards in Leicester Square and Stratford to celebrate the album announcement.  
Now comes two new tracks. Last week saw the release of ‘Hypnotic,’ a collaboration with Toronto producer HNTR, responsible for the viral techno hit ‘Yes B!itch’ with Danny Avila, and his remix of Cloonee’s ‘Stephanie,’ which both became Beatport no.1 records. ‘Hypnotic’ delivers in spades, a massive vibe-bringer that rolls with crunchy percussion and seductive vocal lines.
Adam’s new album, Explorer Vol.1, is out June 13th via Drumcode, pre-save here.
About Adam Beyer
Adam Beyer is a highly influential Swedish techno DJ and producer, widely regarded as one of the leading figures in the global techno scene. Emerging from Stockholm’s underground in the mid-1990s, Beyer quickly gained recognition for his powerful, driving, and meticulously crafted techno sound. He is the founder of the highly successful Drumcode Records label, established in 1996, which has become a powerhouse in the genre, releasing music from many prominent artists and hosting its own acclaimed events and radio show. Throughout his long and consistent career, Beyer has maintained his status as a top-tier DJ, headlining major festivals and clubs worldwide, celebrated for his technical skill and ability to command dancefloors with his distinct brand of functional, impactful techno.  




The post Adam Beyer Releases ‘The Distance Between Us’ Ahead Of New Album appeared first on EDMTunes.
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Kneecap Faces Intensified Investigations from British Counter-Terrorism Police

Photo Credit: Ethan Wilkinson
The Metropolitan Police’s counter-terrorism unit is now actively investigating Irish rap group Kneecap’s online videos. The investigation comes after videos surfaced of the group saying “kill Tory MPs.” The group also expressed support for Hamas and Hezbollah, which are proscribed terrorist organizations in the United Kingdom.
The investigation was triggered by two videos, one from a 2023 performance with the statement “up Hamas, up Hezbollah.” Another video from a 2024 concert in London shows a member of the trio appearing to say on stage “The only good Tory is a dead Tory. Kill your local MP.” London’s Metropolitan Police confirmed they were looking into the videos as there are “grounds for further investigation into potential offenses.”
“The investigation is now being carried out by officers from the Met’s Counter Terrorism Command and inquiries remain ongoing at this time,” the Met Police spokesperson said in a statement. No charges or arrests have been made at this time.
Several Kneecap concerts have been canceled in the UK and Europe following the controversy. After their statements on stage at Coachella, the group lost their US work visa after their sponsor, booking agency Independent Artist Group (IAG), dropped them as clients. Once IAG ended its relationship, the sponsorship was revoked and their visas became invalid.
Kneecap has denied supporting Hamas or Hezbollah and claims their comments have been misrepresented. They have also issued statements expressing regret to the families of murdered MPs Jo Cox and David Amess, stating that they do not endorse violence.
The controversy around the group has sparked calls from politicians in the UK for Kneecap to be removed from festival lineups including Glastonbury. Meanwhile, many artists and musicians have signed open letters supporting the group’s right to free speech.
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