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Bastl Instruments’ Kastle 2 Wave Bard is a “semi-autonomous” patchable sample player for discovering new rhythms and riffs 

Bastl Instruments has launched a new “experimental”, patchable sample player, inspired by its popular Kastle Drum synth launched in 2020.
The new Kastle 2 Wave Bard brings the Kastle range “to the next level”, according to the brand, with user-uploadable samples, stereo, effects, plus better sync and patch capabilities. It’s compact and runs on 3 AA batteries or USB-C, and it “loves to jam” with other portable gear thanks to sync in/out ports and an audio input.
READ MORE: Splice’s final instalment of Oliver’s “Power Tools Decades” sample pack series is inspired by hit producers of the noughties The Wave Bard is described as a semi-autonomous companion that continually delivers its fresh ideas to its user. The launch marks the second firmware release for the Kastle 2 platform, which already hosts the FX Wizard effects processor, and is cross-compatible between both devices, meaning the Wave Bard can be loaded onto the FX Wizard, or the other way around.
Samples are organised in banks, which can be selected and sequenced using knobs or CVs from a built-in pattern generator and LFO. You can also reverse your sounds with a ‘length’ knob and a unique reversing envelope, and in addition to your own samples, rhythms and scales can be loaded on to the Bard with the accompanying web-based app/editor. You can also play melodic samples in quantized scales, and experiment with a built-in filter, plus delay or chorus/flanger effects.
Take a closer look below:

The Kastle 2 Wave Bard is available now for €190. Both Kastle 2 instruments – the Wave Bard along the FX Wizard – will be presented at Superbooth 2025 at booth #0385. Find out more via Bastl Instruments. 
The post Bastl Instruments’ Kastle 2 Wave Bard is a “semi-autonomous” patchable sample player for discovering new rhythms and riffs  appeared first on MusicTech.
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Superpoze celebrates 10 Years of Opening with special reissue & Rival Consoles remix

Ten years after its original release, French composer and producer Superpoze celebrates the legacy of his breakthrough debut ‘Opening’ with a special anniversary reissue, available now on digital and limited-edition vinyl. He also announces a headline show at Paris’ Salle Pleyel, set for March 21, 2026.
Originally released in 2015, ‘Opening’ marked a defining moment for Superpoze (Gabriel Legeleux), his first full-length statement and a turning point in his artistic journey. Rooted in minimalism and emotion, it introduced his signature blend of “chamber electronic music,” crafted with intention, patience, and raw sincerity.
Now, a decade later, ‘Opening’ is being revisited in both physical and digital formats, featuring new material and rare archival tracks.
The 10th Anniversary Reissue Includes:
• Limited vinyl edition (300 copies only), featuring:
• Dream Koala’s rework of ‘Opening’ (on vinyl for the first time)
• An unreleased track from the original sessions: ‘Wait (2015 Archive)’
• Expanded digital version, including all of the above plus a brand-new remix of ‘Unlive’ by acclaimed UK producer Rival Consoles
“This album changed everything for me,” says Superpoze. “It was the first time I slowed down, gave music the space it needed, and created something with deep intent. Even in its fragility, it’s the foundation of everything I’ve done since—albums, scores, collaborations. I’m reissuing it to honor that beginning and to thank it.”
Since ‘Opening’, Superpoze has become one of France’s most visionary electronic artists. His follow-up albums (For We the Living, Nova Cardinale) earned praise from critics including Télérama, and he’s played sold-out shows across Europe and the U.S., including a standout performance at Paris’ Le Trianon.
As a composer, his work spans film (Frères ennemis, A voix haute), theatre (Hunter, Théâtre National de Chaillot), and sound installations for major cultural institutions like the Grand Palais and Louvre. He has collaborated with artists across the spectrum—from Jacques, Stwo, and DJ Pone to French chart-toppers like Lomepal, Nekfeu, and Eddy de Pretto. In 2023, he joined the experimental collective Ensemble Solaris (with Canblaster, Yndi, and Variéras), performing improvised, site-specific pieces across Europe.
With a new album set for fall 2025, this reissue is more than a celebration; it’s a bridge between past and future, offering a powerful reminder of how it all began. Stream / Download here
Tickets for Salle Pleyel, 21st March 2026 – HERE. 
The post Superpoze celebrates 10 Years of Opening with special reissue & Rival Consoles remix appeared first on Decoded Magazine.
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T78 Returns With Powerful New Track ‘Self Control’

T78 has been tearing up the techno scene with a tirade of bangers that have earnt him millions of streams and a reputation as a powerful force in techno. Continuing this insane run of massive hits he’s dropped ‘Self Control’ on Filth On Acid which further cements his status as a titan of techno.
‘Self Control’ is a fantastic blend of techno with elements of trance and acid sprinkled in which all adds up to make an undeniable dancefloor demon. From start to finish the track is packed with energy from the array of well-crafted synths, heart thumping kick, and relentless rumbling bass. ‘Self Control’ is yet another example of T78’s hypnotic, entrancing rhythms and mastery of low-end power that rocks every venue he goes to. He’s already had great success on Reinier Zonneveld’s label Filth On Acid and this track is sure to add to that success.
T78 otherwise known as Manuele Tessarollo is a regular on Beatport’s Techno Peak Time and Hard Techno Top 100 charts with his killer tracks. At the age of 12 he fell in love with techno as well as vinyl’s which he continues to collect and now has a collection of over 11,000 of them. He’s collaborated with some of the biggest names in the industry like Reinier Zonneveld, HI-LO and Space 92 as well as founding his own label Autektone Records.
T78 is continuing to tour around the world bringing his techno marvels to the masses. ‘Self Control’ is a display of why he is so highly revered in the techno scene and is going to blow the roof off of anywhere it’s played.
To follow T78 on Instagram click the button below:
T78 INSTAGRAM
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JOE T VANNELLI makes waves with remix of Eartha Kitt’s “Where Is My Man”

Internationally acclaimed DJ and House Music maestro Joe T Vannelli is set to release a stunning 2025 remix of Eartha Kitt’s iconic 1983 single, “Where Is My Man”, on April 25, 2025. A high-energy reimagining of a classic, the remix promises to ignite dance floors around the world while honoring the timeless glamour and theatricality of the original.
Originally penned by Bruce Vilanch, Jacques Morali, and Fred Zarr, “Where Is My Man” marked Eartha Kitt’s triumphant return to the charts after a 14-year hiatus. With its bold lyrics, Euro-disco flair, and Kitt’s inimitable voice, the song reached No. 7 on the U.S. Billboard Dance Chart and became a cult favorite across international club scenes, particularly among LGBTQ+ audiences.

Joe T Vannelli, one of the foremost figures in global House Music, brings his signature sound and masterful production to this fresh remix. With over twenty gold and platinum records to his name—including hits like “Children” by Robert Miles and “Groovejet” by Spiller—Vannelli’s remix delivers a pulsating, stylish tribute that bridges generations of club culture.
Having headlined legendary venues such as Pacha and Amnesia in Ibiza, Cavo Paradiso in Mykonos, and Marquee in New York, Joe T Vannelli is no stranger to global audiences. His work has defined eras of dance music, and his creative vision continues through Supalova, the groundbreaking event brand he founded, and Sound Faktory, his artistic hub in Milan.
The remix of “Where Is My Man” is more than just a nostalgic nod—it’s a celebration of bold individuality, timeless glamour, and the enduring connection between House Music and self-expression.
The post JOE T VANNELLI makes waves with remix of Eartha Kitt’s “Where Is My Man” appeared first on Electric Mode.
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Decoded Magazine Mix of the Month Returns — And This Time, We’re Raising the Bar

After a little bit of a hiatus, we’re bringing back one of our most loved (and yes, hotly debated) features — the Decoded Magazine Mix of the Month. But this time, we’re doing it differently. We have enlisted our former Mix of the Month winner, Ben Clifford, to adjudicate and we are opening up more genres to submit.
We’re here for the DJs who dig deep. No EDM. No chart-toppers. No chasing plays. We want substance, not popularity contests. This isn’t about who can rack up the most streams or drop the latest Beatport Top 10. We’re looking for DJs who push boundaries. Those who explore sound, not trends. Those who understand that DJing is a craft, about storytelling, technical precision, selection, and soul.
As our Editor, Damion Pell, puts it:
Our new Mix Director – Ben Clifford, explains
So what genres are we looking for?
Genres Accepted
Drum & Bass
Breaks
House
Techno
Deep House
Ambient
Chill Out
Trip Hip
Electro
Techno
Dub Techno
Minimal
Progressive House
Melodic Techno
No EDM (Trap, Dubstep, Commercial, Big Room, Trance — none of it)
Full details of how to enter, rules, and prizes will be released on Monday, May 5th, so stay tuned!

The post Decoded Magazine Mix of the Month Returns — And This Time, We’re Raising the Bar appeared first on Decoded Magazine.
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Catching Up With Mandidextrous

In a world where things sometimes seem to go backwards, Mandidextrous keeps moving forwards. They recently launched a new label, Speedbass Recording, where they showcase their signature sound, full of 4×4, bassline, jungle, and tek flavours. The first official release, ‘Needed You’, has been doing bits. Inviting BEANIE, Gea, and Samurai Breaks to the label, the next few releases are looking promising too. 
Mandidextrous truly is a versatile artist. They found their roots in free parties, built the label AMEN4TEKNO up to the leading UK label for raggatek, hardtek, and jungletek. Now they’re well on their way to truly making a mark in the scene with Speedbass Recordings, a venture where they can, in their own words, “truly be themselves”. 
We had a chat with Mandidextrous and talked all about the new label, the 15th anniversary of AMEN4TEKNO, and the very last edition of Balter festival.
You recently launched your Speedbass Recordings label, after a soft launch a few years back. 
When I started the Speedbass project, I was in a bit of a limbo scenario. I’ve been running my other label AMEN4TEKNO Records for 15 years now and did a soft launch with Speedbass Records in 2022. I did it on Bandcamp and that’s where I uploaded a big body of work as well. But then I got really busy, the bookings started to go crazy, and I lost my trajectory with Speedbass Recordings. I also felt that I needed more help to build the label, so I just let things sit there on Bandcamp for a while. Towards the end of last year, I decided that I really needed to refocus on the speed bass sound. This came from a number of different feelings and places but I reached out to the guys at Cygnus and they’ve been really good. They’re a distribution platform and they have decided to try and help me out with the Speedbass label. I’m going to do a release every month, and I’ve had some really cool submissions already. I’ve also started to make a lot more noise about it. 
What’s been bubbling behind the scenes for you?
I love drum & bass, it’s in my heart, and it’s what I was djing when I first started music, djing at free parties. I found the drum & bass scene is quite intense, the levels of production in drum & bass are through the roof, and I’m a bit of an old school head now. My vision of drum & bass is a bit different to what it is now, as much as I love the scene. The thing that I love to do the most is play my speed bass stuff, because that is inherently what I am all about. D&B is one thing, but the speed bass sound… I love creating it! I have endless inspiration for it, and it’s completely my sound and my style. In recent months I’ve decided that I didn’t want to continue battling in the way that I was within the drum & bass scene. There is so much competition, and rightly so, the levels of productions and everything that people put out now is through the roof, but I didn’t want to compete with that. I’d rather cut my own lane and this sound and style take from loads of different pockets. It’s all me. I still love D&B, I still love playing parties, but if I get the chance to just do me and be on a multi-genre lineup and do my speed bass sound, it pops off every time and I love it. 
Another thing is, I’ve been running a label called AMEN4TEKNO Records for 15 years now. We release a mix of jungle drum & bass and fast-paced techno inspired by the European hard tech scene. For a long long time, I used to struggle with that sound because I would play a lot in Europe and it would either be too UK for Europe or too European for the UK. There was no real middle ground for me to sit within. I still love that music but I fell out of love with making it and I hit a bit of a rut, so I decided to try and reinvent my wheel. Around that time I was living with my best friend SHOSH, she’s a big garage girl and she’s now come into her own and started her dubstep project which is unreal. I’m so proud of her. She was a big inspiration for me back when we were living together, I really took a lot of inspiration from her trajectory and the way that she worked. It made me think a lot, and I fell in love with bass house and bass line. I’ve always loved that sound, and I fell in love with mixing it. SHOSH and I ended up mixing it at home and all of those different sounds of garage, dubstep, bassline… came together. I wanted to try and recreate those moments into this new sound, which I called speed bass, which is taken from bassline, bass music, drum & bass, and then putting it together but all with a fast 4-4 tempo. That’s how I reinvented myself. The moment I did that, doors started opening. I was bringing a new sound to the table that was inherently my own sound, that was fresh and it had new energy. It revitalized me as an artist and since then I’ve been in love with making music again. 
Inventing your own genre! This is a moment people will speak about years and years from now. 
I started making music because I couldn’t find the music I wanted to hear anywhere. That was the jungletek sound, so what I used to do was record famous jungle and drum & bass tunes into Ableton, put a 4-4 kick drum under the whole thing, EQ out all of the bass tunes, and make a kick bass for it. Then I would burn it to a cd and play it in my sets. That was my sound of jungletek, that was me mixing jungle drum & bass with techno, but in a production  way. When the jungletek scene exploded I started signing artists to my labels that were making that same sound. Alongside that we had Vandal really pushing his raggatek sound, which is world famous. He’s the king of that sound. I for a little while was also named as the queen of raggatek, and the queen of jungletek. I wouldn’t say I invented jungletek, but I instigated it. But with the speed bass sound, that was me not wanting to conform to any genre and just do my own thing. I find it hard to find music that sits with me and that I want to play in my shows. So I just make it myself, and then I invent a name for it.
That’s also a way of describing your whole persona. You can’t fit you in a box.
A big part of my journey in music is blurring the lines. I blur lines between gender and expression as well, and I’m very open and vocal about it. I wear my heart on my sleeve with my music and who I am as a person. By doing that, I’m showing people that if you’re a bit different, you can still cut through. Being different is sometimes a benefit, it can really set you apart from everyone trying to make it.
How did you find your strength in that?
It can be really hard. There’s a lot of copycatting going on at the moment, and there’s a lot of people that compare themselves to other artists and other journeys. What we see online is all smoke and mirrors. You might see a really happy video from an artist but they might be going through hell in their life, but it’s just the way that we have to be. I’ve sometimes felt like the industry has been against me because I am trans, I’m non-binary, and I’ve been very feminine but also very masculine. My music is individual to a certain extent. I sent a lot of my music to labels and it got to a point where the amount of rejection really started eating away at me. When you get music rejected it might not necessarily be for the fact that your music’s bad or not well made, but all of that eats you alive. Finding middle ground has been very hard over the years and I think that my journey has taken quite a slow trajectory, but as long as you stick at it and you keep going eventually things will come up roses. I’m gassed to be here at 41 years old, still doing this. 
Let’s go back to Speedbass Recordings. You told me that there are going to be monthly releases… Can you tell us a bit more about that already?
The first release, ‘Needed You’, did really, really well. The response on that tune has been unreal. The next one is coming up on April 25. The track is called ‘The Signs’ and it’s with an amazing vocalist called BEANIE who’s just coming through. It’s got hyper pop vibes to it and it’s got a big cheesy full forward section and then switches into jungly drum & bass. It’s really high energy, I love it. After that I’m working with an artist called Gea. She’s killing it in the Spanish scene and is now moving over into the French scene a bit. She does singing, she’s a lyricist, she’s a producer, she’s a DJ, she’s a content creator. Everything all in one. We did a track together called ‘The Beat’, and that’s going to be the third release on the label. I’ve also got a really cool collaboration with Samurai Breaks coming up. I absolutely love that guy, he’s a mad inspiration. His music really sits with mine, and his label Super Sonic Booty Bangers is one of my favorite labels. A lot of the music that sits there makes its way into my sets. We’ve got two tracks together, one of which features vocals from Leanne Louise. 
Another thing you’ve mentioned was your AMEN4TEKNO label. You’ve been running this for 15 years this year! Anything planned for that?  
I haven’t thought about that, to be honest. I’m so proud of the guys on my label and the core collective, T-Menace, Matt Scratch, Slinks, Roland.K. When I started getting really busy within the drum and bass community just after covid, things all kicked off for me. Playing Let It Roll really launched me into the D&B scene and at that point I wasn’t really writing music for the label anymore. I was ready to close the doors on it, I’d run out of steam for it, but the boys really stepped up and they told me, let us run the label for you, and they’ve done exactly that. They’ve absolutely smashed it and I’m so proud of them. For the last couple of years, AMEN4TEKNO has been putting out around three tracks every month from new artists all over Europe and the UK, and we’re still the UK’s number one jungletek, raggatek, and hardtek label. In Europe we’ve also been hitting the top of the charts on the main distro. It’s been an amazing thing to see. So yes, we probably should be celebrating those 15 years, because it’s quite a milestone! 
It’s good to have people that you can really trust and to have people that have the same vision as you. That’s actually something that daunts me a little bit now with Speedbass Recordings. I am starting to get submissions, which is amazing. Other artists are starting to really tap into this little niche bubble that I’m trying to build, and in time that’s going to need more attention. I’m going to want to nurture those artists some more and in a way I might be putting myself back on the chopping board for solely running another label but it’s fine. I’m hoping it will be just as well, if not better than anything I’ve done before.
In one of the interviews I read, you talked about how you were involved at Balter. How is it to have been involved from the first till the last edition?
I’ve been playing Balter since day dot. I was at the first one and I’m playing the very last one. I lived with the organiser, E-Coli, for a number of years and I would often get very involved in the build-up and the breakdown of the festival. I ended up running one of the stages for him, the Jigsaw, and being a stage manager there. I’ve had quite a lot of involvement. The last few years I’ve stepped back from all of that because I’ve been so busy as an artist myself, but I’m part of the furniture there, just like with Boomtown. I love the UK festivals a lot with Balter as one of my favourites. It’s going to be an emotional party to say the least. I’m actually closing a stage and I’m probably going to end up crying at that one. The first ever time I played my speed bass sound was at Balter, some of the biggest jungletek and raggatek shows I’ve ever done have been at Balter. One of the best memories I have is when my good friend Vandal and I struggled to get to the end of a set when we played back to back. People would go so crazy for it, we’d have to shut the venue. It was just too over capacity. We finally managed to get to the end of a show at the recent Balter festival pre-party at Motion, the first time me and Vandal had finished the B2B together at a Balter party! It’s going to be super special closing the festival and this coming festival will be the last one in the series. So much love for Balter, it’s a shame to see it go. 
It’ll be special for sure! Any last thoughts? 
A big part of why I’m doing this now and why I’m really pushing it, is to be able to help cut my own lane within the music industry, and not worry so much about rejection from labels. I find that getting rejected for my music can be quite sobering, but like I said earlier, there are always reasons behind it. It’s not that my music’s bad, it’s just not quite right for that moment in time. To find a place and a voice for trans people and non-binary people within the music industry and show people that we can do it, we can be relevant, we can be out here and cut in our own lanes, that’s the goal.
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Epidemic Sound Launches New AI-Powered Music Recognition Service with Latest Acquisition

Photo Credit: Song Sleuth
Epidemic Sound acquires music recognition tech company Song Sleuth to help revolutionize music monetization in user generated content.
The world’s leading soundtracking platform, Epidemic Sound, has announced the acquisition of Song Sleuth, the music recognition technology company specializing in identifying and monetizing music used in user-generated content (UGC). The deal marks the launch of Aentidote, a new service under the Epidemic Sound Group, designed to help platforms pay out more accurately to artists and rights holders globally for the use of their music across online platforms.
This marks Epidemic Sound’s third major acquisition in as many years, after AP Records (now Overtone Studios) in 2022, and Soundly in 2023. All three strategic moves further solidify the company’s foothold in music licensing and the creator economy.
Aentidote combines Song Sleuth’s AI technology with Epidemic Sound’s industry expertise to identify music usage that traditional detection systems struggle to find—including remixes, covers, and live recordings. Offering a reported identification success rate of up to 95%, Aentidote is poised as the most comprehensive UGC music usage tracking and monetization service available.
“From day one, our mission has been to create a win-win situation for everyone involved in this rapidly evolving creator economy,” said Oscar Höglund, CEO and Co-Founder of Epidemic Sound. “We’ve built a platform that helps artists thrive, generating over three billion daily plays across platforms like TikTok and YouTube. With Aentidote, we’re pairing that expertise with Song Sleuth’s cutting-edge technology to bring even greater value to the broader creator industry—giving music rights holders powerful tools to track usage and ensure they get paid, while supporting both creators and platforms with scalable, accurate identification solutions.”
Song Sleuth’s technology has already helped its clients achieve a significant uplift in content identification, highlighting existing challenges for rights holders to track and monetize their work online. With creation and consumption of UGC expected to surge (Goldman Sachs predicts the total addressable market of the creator economy will approach half-a-trillion dollars by 2027), the future holds increasing opportunities for rights holders, the industry, and artists to capture the full value of their work.
“The complexity of music use across a plethora of digital platforms both officially distributed and user-generated requires a different approach,” said Jordan Gross, CEO of Song Sleuth. “By joining forces with Epidemic Sound, we’re scaling our vision to offer unprecedented clarity and control across the entire music ecosystem, providing platforms with ever more accurate identification systems, while giving artists, labels, and publishers confidence that their work is being both found and rewarded.”
After strong financial results in 2024, Epidemic Sound is doubling down on its commitment to innovation in music monetization. The company is building on initiatives like its soundtrack bonus, 50/50 streaming royalty split, and now, offering a new level of transparency and fairness in UGC monetization with Aentidote.
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Apple Music Names Ex-TikToker Ole Obermann & Rachel Newman As Co-Presidents

Photo Credit: rishi
Apple Music has appointed industry veterans Ole Obermann and Rachel Newman as Co-Presidents to steer the streaming service. The dual leadership structure will report to Apple Vice President Oliver Shusser. The structure merges external innovation with internal institutional knowledge as Apple fights for market share against industry behemoth Spotify.
Ole Obermann joins the organization from TikTok, where he served as the Global Head of Music Business Development from 2019 to 2025. During his tenure there, he negotiated landmark licensing deals, including the return of Universal Music Group’s catalog after the high-profile dispute in 2024. Obermann’s expertise with viral music marketing and AI-related licensing negotiations could prove critical for Apple as music streaming competes with video streaming head-to-head.
Meanwhile, Rachel Newman is a 16-year Apple veteran who has risen through the ranks. She started as a manager for iTunes in Australia & New Zealand’s music division before becoming the head of global content strategy. Her understanding of Apple’s ecosystem and editorial curation processes position her to maintain the services’ premium branding while adapting to emerging market demands. Newman’s expertise in balancing regional content strategies with global initiatives could see Apple Music refine localization efforts as it aims to take on Spotify.
Apple Music has continued to leverage high-profile sponsorships, such as the Super Bowl Halftime Show partnership—which achieved record viewership in 2025. With Ole Obermann’s expertise in viral music marketing and the AI-driven content challenges faced by streaming platforms, the dual leadership structure aims to capitalize on social media’s growing virality factor for streaming economics in an era of the music industry that is practically driven by online influencers—be that people, games, movies, or TV.
The restructure also coincides with Apple’s effort to navigate the complex geopolitical landscape currently changing day-to-day. The company recently resolved a sales blockade in Indonesia by localizing AirPods Max production in Indonesia as required by law. Indonesia blocked sales of iPhone devices after Apple failed to comply with the country’s Domestic Component Level policy, requiring 40% of electronic components to be domestically produced.
Part of that resolution was to include a $10 million facility for accessory manufacturing and a $100 million proposal to assemble AirPods Max components in the country. The AirPods Max component production is only a partial solution to an issue Apple faces when balancing global supply chains with governmental policies. Apple says its Asia and Europe teams will be on the same reporting level as US governmetn affairs, which is run by Tim Powderly.
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Anaheim’s Honda Center is Getting a $1 Billion Renovation, Complete with ‘Opera Box Seats’ and Ultra-Luxe Accommodations

Photo Credit: Rendering of Honda Center Encore
Anaheim’s Honda Center announces a $1 billion privately funded renovation to reimagine the arena, spearheaded by longtime stewards, the Samueli Family.
OC Sports & Entertainment (OCSE) made the announcement of the multi-year investment led by the owners of the Anaheim Ducks. The comprehensive renovations will reimagine nearly every aspect of the venue. The project launched last fall and plans to run through the end of 2027. Importantly, Honda Center will remain open during all project phases.
“This is more than just an investment in a venue—it’s an investment in Anaheim and the future of Orange County as a global destination for live entertainment,” said Bill Foltz, Chief Executive Officer of OC Sports & Entertainment. “Honda Center Encore reflects our commitment to delivering a world-class experience for every guest, every visit—all made possible through the vision and generosity of the Samueli Family.”
Among the highlights of the Honda Center Encore transformation include a new five-story South Entrance with a “grand arrival experience,” and future plans for a high-impact digital display to host outdoor viewing parties and community events.
New escalators will improve vertical circulation and enhance guest flow through the arena; a complete refresh of the food and beverage spaces—including ten new concepts and the use of self-service technology—will elevate speed and convenience for guests. The debut of new opera box suites and a full renovation of all 68 existing luxury suites, plus an all-inclusive club with upscale experiences for premium guests, will offer unmatched views and hospitality.
Finally, the arena will see three new parking garages, increasing available parking by nearly 60%, alongside four new entry plazas with a distinct social aesthetic. The two general parking garages will begin serving guests as early as October 2025, streamlining entry with an all-inclusive model, and the first of its kind at a US arena—eliminating parking passes and enabling seamless entry and exit for ticketholders.
“As our partnership approaches two decades, we are proud to be a part of this reimagining of the Honda Center into a world-class facility where dreams come true,” said Jennifer Symington, Assistant Vice President of Marketing, American Honda Motor Co., Inc. “This renewed commitment to the community and visitors will make Orange County and the Honda Center a premier destination for sports and entertainment.”
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Music Industry Bodies React to U.S. House Passage of TICKET Act

Photo Credit: Alexander Abero
With the TICKET Act’s passage in the U.S. House, several music industry organizations have released full statements in support of the action. Now the law must pass through the Senate.
Several music industry organizations released statements about the passage of the TICKET Act. Some of those statements praise the move, but also call attention to carve outs that may weaken the law as it is written. Here’s a peek at where many industry bodies stand on the passage.
National Independent Venue Association (NIVA)
“The speculative ticketing ban in the TICKET Act is an important step toward restoring trust in the ticketing market,” begins Stephen Parker, Executive Director of NIVA. “Artists, independent venues, and promoters fought tirelessly over the last two years to secure this critical protection. Any ticketing law must truly ban speculative tickets without exception.”
“Unfortunately the inclusion of a ‘concierge service’ carve-out, as written in the TICKET Act, would undermine the speculative ticket ban. Concierge services should not be a loophole for companies like Vivid Seats to claim they are offering a service while selling ‘tickets’ they don’t possess to unsuspecting fans. States across the country have proven that strong, loophole-free ticketing consumer protections work, and Congress should build on that momentum.”
“The White House Executive Order on Combating Unfair Practices in the Live Entertainment Market also made clear that deceptive practices must be fixed, not re-branded. We urge Congress to amend language to make certain that ‘concierge services’ do not empower multi-billion dollar resale platforms over consumers.”
“Further, we support strengthening the law with enhanced penalties and enforcement authority for state attorneys general to deter bad actors and help ensure the law is being followed. Illegal bot use runs rampant in the ticketing industry because the FTC has only brought one enforcement action since the use of bots was banned in 2016. We hope Congress does not miss the opportunity to ensure these laws are actually enforced in the future.”
“We look forward to working with the Senate to ensure that fans, venues, and artists are prioritized in the final version of the TICKET Act.”
National Independent Talent Organization (NITO)
“The TICKET Act that just passed the house does not do nearly enough to protect fans and consumers against bad actors,” NITO said in a joint statement of members. “Vivid Seats spec ticket ‘seat saver’ program is still 100% legal. All-in pricing without itemization means fans won’t know the price the artist sets. Bots will continue to run rampant without stronger enforcement mechanisms.”
“NITO urges the Senate to strengthen this bill prior to passage and we will continue to advocate for stronger protections for our community.”
Recording Academy
“Today’s passage of the TICKET Act by the House of Representatives marks a significant step forward toward improving the concert ticket marketplace,” shares Harvey Mason Jr., CEO of the Recording Academy. “The TICKET Act was a key focus of Grammys on the Hill and the Recording Academy thanks our Congressional leaders for bringing the bill to a vote shortly after meeting with Academy members. We now urge the Senate to act quickly to incorporate the strong provisions contained in the Fans First Act and move a comprehensive ticket reform package that will provide transparency and protect artists and their fans.”
Live Nation
“We’re grateful to Reps. Gus Bilirakis, Jan Schakowsky, Chairman Brett Guthrie and Ranking Member Pallone for re-introducing the TICKET Act, which includes an all-in pricing mandate and bans speculative ticketing—a deceptive scheme that targets concert-going fans. Live Nation has long advocated for such reforms, and we’re hopeful Congress could soon pass these important changes into law to make the concert industry better for fans and artists.”
The Coalition for Ticket Fairness (CTF)
“The Coalition for Ticket Fairness (CTF) applauds the House on the passage of the TICKET Act,” says the organization’s statement. “Introduced by Subcommittee on Innovation, Data, and Commerce Chair Gus Bilirakis and Ranking Member Jan Schakowsky, the TICKET Act represents common sense reforms that will bring much needed transparency into the ticket buying process and give consumers more information as they make purchasing decisions. By empowering consumers, this bill will help lead to a better ticket buying experience and a healthier marketplace.”
Fix the Tix Coalition
“The Fix the Tix Coalition, representing every major constituency of the music and live events industry, applauds the passage of the TICKET Act, as an important step towards restoring trust in the ticketing ecosystem,” the statement reads. “The bill provides transparency with all-in pricing, and takes important steps to combat speculative tickets and deceptive websites.”
“The live entertainment ecosystem is counting on Congress to act in the best interests of fans to restore transparency and trust to our country’s broken ticketing system.”
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Rinaly & Julie Thompson Join Forces for Uplifting Progressive Trance Anthem ‘Running’

The reigning #1 Trance DJ in Asia, Rinaly, has teamed up with the legendary vocalist Julie Thompson to deliver a breathtaking progressive trance anthem, ‘Running.’ This highly anticipated track is out now via Black Hole Recordings, and it’s an instant must-hear for any trance fan.
‘Running’ wastes no time in captivating listeners. It explodes with a pulsating, techno-inspired rhythm, laying down a hypnotic and relentlessly driving beat that immediately commands attention. Just as you’re locked into the groove, the track seamlessly unfolds into a lush and atmospheric soundscape, providing the perfect canvas for Julie Thompson’s iconic, ethereal vocals to shine. Her unmistakable voice, both powerful and hauntingly beautiful, takes center stage, weaving a captivating melody above the track’s insistent bassline. As her echoing vocals rise and soar, the energy builds, culminating in a truly euphoric progressive trance drop.
Hailing from Japan, Rinaly is an internationally acclaimed DJ with over a decade of experience captivating audiences worldwide. Renowned for her exceptional versatility, she seamlessly blends multiple genres to deliver electrifying performances tailored to any setting. Whether commanding the main stage at world-class music festivals or creating an unforgettable atmosphere at exclusive corporate events, Rinaly consistently demonstrates her professionalism, artistry, and ability to connect with diverse audiences. Her dynamic energy and refined musical expertise make her a sought-after performer on the global stage.
Career highlights include sets at the Electric Daisy Carnival in Japan, Mexico, and China, Dreamstate and Beyond Wonderland in the USA, Ultra Japan, Lanna Sky Festival in Thailand, AVA Night in Jakarta and Zurich, and the In Trance We Trust ADE Festival. This is on top of Transmission Tours and sets worldwide in Australasia, Europe, and every corner of Asia, and some of the world’s greatest nightspots.
Currently experimenting with tech-inspired sounds, her productions can be heard in DJ sets worldwide and on labels such as Coldharbour Recordings, Perfecto, FSOE, AVA White, Nocturnal Knights, and Uplift. This includes 4 Beatport Top 10s, including a number 1 with ‘Wave of Affection’ and 56th Top 100 chart for all genres. Her music is supported by Armin van Buuren, Aly & Fila, Paul van Dyk, Andrew Rayel, Markus Schulz, Alex M.O.R.P.H., and numerous other artists.
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Universal Music Posts Double-Digit Q1 2025 Subscription Revenue Jump, Addresses Spotify’s Superfan Comments

Universal Music Group CEO Lucian Grainge. Photo Credit: UMG
Is the streaming plateau over? A growth-minded Universal Music Group (UMG) generated $3.30 billion/€2.90 billion during 2025’s first quarter, when subscription revenue grew by 11.5% year over year.
That’s according to the major label’s just-released Q1 earnings breakdown, which points to roughly $2.55 billion/€2.24 billion (up 12.7% YoY) in recorded revenue for the three-month stretch. As usual, the lion’s share of the sum ($1.83 billion/€1.61 billion, up 9.5% YoY) resulted from streaming.
Within that €1.61 billion tranche, ad-supported contributed $402.15 million/€353 million (up 2.9% YoY), compared to $1.42 billion/€1.25 billion for the aforementioned subscription category, UMG relayed.
Against the backdrop of streaming price increases, long-running freemium-monetization woes, and the company’s aggressive acquisitions approach, the figures don’t exactly come as a surprise.
More interestingly, given UMG’s “artist-centric” obsession, the Modern Sky partner acknowledged “double-digit revenue growth from four of our major DSP partners” for the first quarter. (Here, “major” refers to the top 10; chief digital officer Michael Nash elaborated that UMG also enjoyed double-digit Q1 revenue jumps with three of its top-five DSP partners.)
Meanwhile, the A-Sketch owner identified double-digit subscription-revenue spikes in Japan, Germany, China, and Mexico on the quarter.
Each of those nations has found its way into UMG’s top-10 markets by subscription revenue, execs emphasized. Among other things, that raises questions about the precise revenue-growth trajectory of several emerging music sectors. But this discussion is best left for another time.
Rounding out the recorded side, where fitness revenue was “stable,” Universal Music attributed $45.56 million/€40 million (down 13% YoY) in revenue to permanent downloads, $341.77 million/€300 million (up 17.6% YoY) to the sale of vinyl as well as other physical formats, and $337.19 million/€296 million (up 33.3 % YoY) to licensing.
A sync boost and “strong live income in certain markets” fueled the licensing surge, per UMG, which touted as the quarter’s top sellers Kendrick Lamar, Sabrina Carpenter, Lady Gaga, The Weeknd, and Mrs. Green Apple.
(The live-income hike didn’t translate into bolstered merch sales, which came in at $127.56 million/€112 million, down 1.8% YoY, during the quarter.)
Shifting to publishing, the company disclosed revenue of $632.22 million/€555 million (up 11.9% YoY). Every sub-category save performance (which was flat YoY at $129.84 million/€114 million) and digital ($386.11 million/€339 million total, up 19.4% YoY) achieved modest growth.
Overall, UMG posted an 11.8% YoY improvement to adjusted EBITDA ($752.78 million/€661 million) for Q1 2025. During today’s trading, Universal Music stock (UMG on the Euronext Amsterdam) saw its value fall slightly to $28.48/€25.01 per share.
Elsewhere in the earnings report and the corresponding call, UMG didn’t divulge too many significant details. But higher-ups did reiterate plans for another round of “strategic organizational redesign” efforts this year – referring to cuts totaling $142.26 million/€125 million.
Lastly, Universal Music execs opted to focus on Spotify’s positive comments about a Super-Premium tier – not the streaming service’s newfound indifference to the offering.
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Day Trip & Insomniac Records Drop Hot House Roster For Day Trip In The Park 2025

Day Trip and Insomniac Records have shared the full lineup for their 2025 Day Trip In The Park summer party series.
The brand’s flagship seasonal run will bring Sunday afternoon house music havens back to LA State Historic Park on the Promenade from May to September, featuring a red-hot performance roster of some of the genre’s best selectors.
Day Trip In The Park’s grand opening party kicks off during Labor Day weekend on May 25, with sets from two of Australia’s top house exports, Sonny Fodera and Torren Foot, followed by a takeover from Ranger Trucco’s range. label on June 1, where he’ll be joined by rising London star Luke Dean and Miami veteran Ms. Mada.
The following week, Day Trip will host a live set from Oden & Fatzo, along with DJ sets from fellow groovers Kyle Walker and Ruze on June 8. SIDEPIECE and Jackie Hollander come to town on June 15; before house East Coast house pioneer Kerri Chandler helms a Kaoz Theory label takeover with surging UK trio Mason Collective and Fabric London resident Jaden Thompson on June 29.
Day Trip In the Park’s 2025 bill stays hot all through July, with sets from Latin house stalwarts San Pacho and Andruss, award-winning British future house artists D.O.D. and Aluna, and a trio of next-gen selectors, including LA’s own AYYBO, and international risers Discip and Omri. 
Finally, after a curated show from AMÉMÉ’s One Tribe imprint on August 17, minimal tech is on full display from UK favorite East End Dubs and Dublin duo OBSKÜR on September 7, while legendary producers MK and Martin Ikin will be on hand for Day Trip In The Park’s season finale on September 15. Check out the full lineup below.
All of Day Trip’s summer parties take place from 2PM to 8:30PM at 1279 N. Spring St., Los Angeles. For more information or to purchase tickets, visit daytrip.la.

Featured image courtesy Day Trip. Credit: Troy Avecedo.
The post Day Trip & Insomniac Records Drop Hot House Roster For Day Trip In The Park 2025 appeared first on EDM Maniac.
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Spotify records its highest subscriber net adds since 2020 in first quarter of 2025

Spotify has recorded even more growth across the first quarter of the year, with its highest subscriber net adds since 2020.
The platform has shared its latest Q1 report, revealing a record high operating income (its profit after deducting operating expenses), which rose to €509 million across the quarter, and a premium subscriber count of 268 million – an increase of 12 per cent year over year, marking the the second-highest Q1 in Spotify’s history. Monthly active users reached 678 million (up by 10 per cent Y/Y), and total revenue was also up by 15 per cent to €4.2 billion.
READ MORE: Best Spotify alternatives in 2025 for music listening and discovery Looking to the second quarter of 2025, Spotify predicts that its total number of monthly active users will rise to 689 million and its total of premium subscribers will reach 273 million –  thats approximately five million net new subscribers in the quarter. It also forecasts that total revenue will reach €4.3 billion, though it does specify that these results are subject to substantial uncertainty.
Spotify CEO, Daniel Ek, comments, “The underlying data at the moment is very healthy: engagement remains high, retention is strong, and thanks to our freemium model, people have the flexibility to stay with us even when things feel more uncertain. So yes, the short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”
Back in March, Spotify released its Loud & Clear annual royalty report for 2024. It revealed that it was the highest paying retailer globally in 2024, paying the music industry over $10 billion in total. It said this was the largest payout in music industry history, and was over 10x the contribution of the largest record store at the height of the CD era.
Amid ongoing criticism of its royalty model, it also released a video on how the money flows from its platform to artists, which you can watch below:

You can read the full report on Spotify’s Q1 earnings via its official newsroom.
The post Spotify records its highest subscriber net adds since 2020 in first quarter of 2025 appeared first on MusicTech.
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Kai Wachi Announces Sophomore Album, "NEKROSIS"

After a six-year gap between full-length releases, Kai Wachi has announced his sophomore album, NEKROSIS.
Details are scarce at this time, but the album's title suggests a continued exploration of the dark, transformative themes that have defined Wachi's artistic trajectory. Known for his fusion of bone-rattling bass, Wachi has built a devoted following through his distinctive sound, which balances aggression and haunting melodic elements with lyrical themes like internal struggle and transcendence.
Scheduled for release on June 13th via Black Tiger Sex Machine's Kannibalen Records, it's the dubstep and bass music star's first album since 2019's debut DEMIGOD LP. From mythology to pathology, DEMIGOD examined the elevation of mortal to mythic stature while its successor appears to reference cellular death, perhaps symbolizing a shedding of old identities or a creative rebirth.
Wachi has released two singles so far in 2025, channeling his trap roots for "Drown" before teaming up with Aaron Richards for "Hold Onto Me," a soaring melodic bass track. Both will appear on NEKROSIS alongside collaborations with Point North, Trella and Julienne By, among others.
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Follow Kai Wachi:
X: x.com/KaiWachimusic
Instagram: instagram.com/kaiwachiofficial
TikTok: tiktok.com/@kaiwachiofficial
Facebook: facebook.com/kaiwachi.official
Spotify: spoti.fi/30mPZD2
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TICKET Act Passes House, Now Headed to Senate

Photo Credit: Dylan Mullins
The House has passed the TICKET Act with a bipartisan vote of 409-15. Now the bill heads to the Senate to await a final vote before making it to the President’s desk.
The Transparency in Charges for Key Events Ticketing (TICKET) Act has passed in the House of Representatives by a bipartisan vote of 409-15.
The bill, which has near-universal support from both parties, would ensure a fair, dynamic, and transparent ticket market for fans across the United States. It has also seen overwhelming support from consumer protection organizations, trade associations, and industry groups.
“The House has once again made clear: consumers deserve transparency and fairness when buying event tickets,” said John Breyault, Vice President of Public Policy, Telecommunications and Fraud at the National Consumers League.
“This legislation puts an end to hidden fees and deceptive resale practices that have cheated fans for too long. With the House having acted, the Senate must now move swiftly to pass the TICKET Act and send it to the President’s desk. With so many live events coming this summer, consumers can’t afford more delays.”
“With another overwhelming bipartisan vote, the House of Representatives has reaffirmed what consumer advocates, artists, venues, and industry leaders all agree on: it’s time for transparency in ticketing,” said Brian Hess, Executive Director of Sports Fans Coalition. “We thank Chair Guthrie, Ranking Member Pallone, Chair Bilirakis, and Ranking Member Schakowsky for their tireless advocacy on behalf of fans.”
“The TICKET Act delivers all-in pricing and comprehensive protections against deceptive practices that have plagued the ticket resale market for too long. We urge the Senate to pass the TICKET Act without delay. Together, we can build a marketplace that works for fans.”
Earlier this year, the TICKET Act passed the Senate Committee on Commerce, Science, & Transportation.
The TICKET Act promises the following:
Illegalizing hidden ticket fees: mandating all-in, upfront pricing, so the first price you see is the last number you see, plus tax; providing fans a full refund to a cancelled event, or a comparable replacement ticket if the event is postponed.
Cracking down on misleading websites and deceptive URLs: ticket websites cannot claim to be “official” sellers or resellers unless they actually are; prohibiting sellers or resellers from using the names of venues, teams, artists, and events in their online domain names.
Banning deceptive “speculative” ticketing: sellers can only offer tickets they have in possession or offer ticket procurement shopping services; requiring clarity and a distinction between tickets for sale and ticket procurement services.
Maintaining the ability for fans to purchase through ticket procurement services, but requiring ticket sellers to ensure clear and conspicuous disclosures and a distinction between in-possession tickets and pay-now-procure-later shopping services.
Assessing the use of illegal software bots: requiring the FTC to study the 2016-enacted BOTS Act, its enforcement to date, and help identify the challenges with its enforcement.
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Hybe Posts Record First-Quarter Revenue As Concerts and Merch Offset Recorded Music Slip

Belift Lab act Enhypen, which is helping drive concerts revenue growth at Hybe. Photo Credit: Ten Asia
Thanks in large part to a substantial jump on the concerts side, Hybe has reported record Q1 2025 revenue of ₩500.61 billion (currently $349.36 million).
The professional home of BTS shed light on its first-quarter showing today, with the mentioned revenue representing a close to 39% increase from the same period in 2024. As Hybe acts released relatively few albums during Q1, however, recorded revenue fell 5.9% YoY to $95.27 million (₩136.52 billion), the Quality Control parent indicated.
In part because of the less populated release schedule (and K-pop’s ultra-strong physical sales), streaming accounted for “nearly half” the recorded sum in the first quarter, Hybe relayed.
And when it comes to live performances, the Belift Lab owner confirmed $108.28 million/₩155.15 billion (up 252.3% YoY) in concerts revenue for Q1 2025. Explaining the hike, Hybe emphasized the ticket sales behind tours from Enhypen and especially J-Hope, besides a continued prioritization of superfan passes offering artist meetings and more.
At the intersection of superfan initiatives and concerts, Hybe also generated a whopping $74.25 million/₩106.40 billion from merch and licensing on the quarter, up 75.2% YoY.
Meanwhile, the Weverse operator attributed $21.26 million/₩30.46 billion (up 39% YoY) to the fan club category. MAUs on Weverse (which added a “Listening Party” feature last month) were up a bit at 10 million, but average revenue per paid user slipped from Q1 2024, the report shows.
Rounding out the company’s Q1 revenue, ads and appearances kicked in $21.53 million/₩30.85 billion (up 10.9% YoY), against $28.77 million/₩41.23 billion (down 32.7% YoY) for “contents” including DVDs, per the document.
All told, then, Hybe identified Q1 2025 net profit of $38.59 million/₩55.30 billion, reflecting a YoY spike of 398.3%. When trading wrapped today, Hybe stock (KRX: 352820) was worth an even $176.55/₩253,000 per share, up 1.8% on the day and almost 29% from 2025’s beginning.
During the corresponding earnings call, Hybe touched on plans to debut new talent later in 2025 – including Japan-based Aoen (set to officially set sail in June) and a Big Hit group that will arrive in the third quarter. Additionally, execs reiterated a multifaceted long-term expansion strategy in Latin America.
Lastly, BTS’ reunion is also on the horizon for Hybe, which didn’t appear to address the ongoing NewJeans contract dispute during the call.
Earlier in April, Hybe’s gaming subsidiary scored a $20.5 million raise, and Scooter Braun-led Hybe America inked a distribution pact with Jermaine Dupri’s So So Def Recordings.
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Sultan + Shepard Release Beautiful Communicate EP

It’s an exciting early week as we celebrate the release of Sultan + Shepard’s highly anticipated Communicate EP. This talented duo has been keeping fans on their toes all April with a series of weekly track releases, making this a truly thrilling month for music lovers. Today marks the full release of the EP on This Never Happened, showcasing two captivating new tracks: ‘Sigh’ and the powerful title track ‘Communicate’. Enjoy the musical journey this EP takes you on.
‘Communicate’ and ‘Sigh’
Can you recall the electrifying moment when Sultan + Shepard, alongside Lane 8, unleashed the tracks ‘Communicate’ and ‘Sigh’ at the Proper NYD 2025 B2B set? These two tracks, which conclude the remarkable Communicate EP, were the first completed and shared with an eager live audience. They not only symbolize Sultan + Shepard’s triumphant return to their club roots but also seamlessly carry forward the captivating tone set by the other tracks. The title track ‘Communicate’ The title track, “Communicate,” grabs your attention from the very first note. With its pulsating basslines and dynamic progression, this track is intricately crafted, showcasing sophisticated synth work and rhythmic complexity that make it an undeniable dancefloor anthem. Its relentless energy invites listeners to lose themselves in the music, creating a powerful contrast with the more introspective journey of ‘Sigh’.
In contrast, ‘Sigh’ offers a deeply emotive experience that highlights Sultan + Shepard’s signature sound. This track skillfully layers atmospheric elements over a driving rhythm, resonating with listeners on multiple levels. Its meticulously crafted structure allows for a gradual build-up. It ultimately leads to a euphoric climax that is both uplifting and thought-provoking. Together, these tracks not only elevate the dance music experience but also define a moment in time for fans.
Communicate EP
Sultan + Shepard’s Communicate EP is an extraordinary fusion of progressive house energy and profound emotional resonance. Over the past weeks, we immersed ourselves in each track, uncovering layers of artistry. ‘Mio’ and ‘Mainline’ engulf us with their rich instrumental depth and expertly crafted progressive builds. ‘Postcards’ and ‘All Access’ take listeners on an introspective, atmospheric journey that lingers in the mind. Moreover, ‘Before The Storm’ a stunning collaboration with Rinzen, introduces a darker, cinematic edge that elevates the entire collection. This EP marks the duo’s return to the art of instrumental storytelling. It also showcases their mastery in exploring a wide array of textures within the melodic spectrum.
Prepare to be moved by this exceptional release! Stay connected with EDMTunes for the latest in music updates and insights.
The post Sultan + Shepard Release Beautiful Communicate EP appeared first on EDMTunes.
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Spotify Stock (SPOT) Slumps After Q1 2025 MAU + Subscriber Gains—What Happened?

Photo Credit: Google
Spotify stock (SPOT) shares fell by roughly 8% after the company reported its Q1 2025 MAU and subscriber gains, showing the Q2 slowdown in action. So what’s going on?
Spotify reported disappointing user and financial guidance for Q2 after showing the second-highest Q1 subscriber net addition in the streaming giant’s history. The company’s stock (SPOT) fell as much as 8% in early pre-market trading on Tuesday (April 29), and down roughly 6% around an hour before the market opened.
The company’s second quarter monthly active users (MAU) are estimated at about 689 million, down from the roughly 694 million expected by analysts. Similarly, Q2 guidance for operating income and gross margins fell short of expectations.
In Q1, MAUs rose by 10% year-over-year to 678 million, slightly below the estimate of 679 million. Premium subscribers rose by 12% from the year prior to 268 million, leading to the second-highest subscriber net addition Spotify has seen.
“The underlying data at the moment is very healthy: engagement remains high, retention is strong, and thanks to our freemium model, people have the flexibility to stay with us even when things feel more uncertain,” said Spotify CEO Daniel Ek in the company’s earnings release. “The short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”
SPOT closed at around $577 on Tuesday, down almost 4%, a slight improvement over its pre-market trading.
Wall Street analysts say the music streaming platform, alongside fellow streaming giant Netflix, serves as a defensive play amid ongoing macroeconomic uncertainty in the tech sector.
“It is our view that SPOT’s subscription model should be more defensive/utility-like amid the current macro uncertainty,” said Bank of America analyst Jessica Reif Ehrlich.
Spotify’s stock surged to all-time highs of around $652 in February and still climbed roughly 106% over the past year. That’s in stark contrast to the record lows the company faced in 2022.
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Edalo’s New Deep House Single “Turn Up!” Hits #9 on iTunes Dance Chart

Rising electronic music producer and composer Edalo celebrates another milestone with the release of his brand new deep house instrumental single, ‘Turn Up!’, which has skyrocketed to #9 on the iTunes Top 100 Dance Music Chart. Released through Creativ Music Group and distributed via The Orchard/Sony Music, ‘Turn Up!’ is already making waves among deep house enthusiasts worldwide.
Stream it here: https://orcd.co/streamturnup
A Hypnotic Sonic Journey
‘Turn Up!’ invites listeners into a rich, hypnotic soundscape, blending intricate basslines, lush atmospheric pads, and melodic synths into a seamless, immersive experience. Produced solo by Edalo, the track reflects an emotional and physical journey designed to move both body and soul.
“‘Turn Up!’ is about the feeling of being overwhelmed but also breaking down barriers by the energy of life,” Edalo explains. “I wanted to capture that push and pull in the music — the contrast between chaos and beauty. The driving bassline represents the relentless pace, while the melodic synths evoke the moments of wonder and discovery.”
Career Highlights
Edalo has steadily built an impressive career since 2012, collaborating early on with industry legends including Robby Takac (Goo Goo Dolls), Kenny Hawkins (Rick James, Snoop Dogg, Mary J. Blige), and Jerry Livingston (Rick James) on the song ‘Mariposa’.
In 2015, he was enlisted by the estate of Ray Charles to co-create a tribute album with Charles’ grandson RobTwyce, resulting in the single ‘You’, released via All Access Music Group. The same year, his debut album ‘Faith’ earned placement on the iTunes Top Instrumental Albums Chart.
Edalo followed up with the independently produced ‘California Rush’ (2017), debuting it at SXSW Music Festival, performing alongside names like Kent Jones, ROZES, and Malik Yusef (G.O.O.D. Music).
His 2020 release ‘Driftin’ marked his first headlining tour, followed by a 10-city East Coast tour in 2021.
In 2023, Edalo topped the iTunes charts with his #1 single ‘Mirage’, had his music video ‘Never Enough’ aired on MTV, and featured prominently on billboards in Times Square, Queens, and Buffalo.
A Deep House Powerhouse
‘Turn Up!’ is the latest example of Edalo’s ability to fuse emotional storytelling with club-ready production. His unique style continues to position him as one of the most exciting and versatile talents emerging from the American deep house scene.
‘Turn Up!’ is now available on all major streaming platforms.
Follow Edalo:
Instagram: https://www.instagram.com/edalomusic/
Facebook: https://www.facebook.com/marineae01 
YouTube: https://www.youtube.com/@EdaloMusic
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Spotify CEO Spins Word Salad When Asked About ‘Super-Premium’ Launch—Is This Still Happening?

Photo Credit: Fortune Live Media / CC by 2.0
During Spotify’s recent Q1 2025 earnings call, CEO Daniel Ek spun word salad for investors who were curious when the ‘super-premium’ tier targeting superfans would arrive. Spotify has been teasing an upgraded Spotify tier for nearly five years now—yet it has not materialized.
Spotify now has 678 million monthly active users, adding five million net subscribers for 12% year-over-year growth, reaching 268 million paying customers. Despite that ‘record subscriber growth’ Daniel Ek didn’t have much to say in the way of when investors can expect the new super-premium tier to drop. That reticence to launch seems due to a variety of factors, from licensing complexities, competitive landscape shifts, and feature development challenges.
A recent survey suggests only 45% of Spotify users would be interested in a higher-priced tier, meaning Spotify needs to add value for the tier to be attractive to users. The company may also have delayed the launch due to macroeconomic conditions, which have seen consumers tighten their belts where extraneous subscriptions are concerned. Nevertheless, when asked directly about the new tier, Daniel Ek spun a giant word salad.
Investor Michael Morris asked: “Daniel, in February you referenced your excitement for a superfan product that you had been using. Can you share more details about what makes you enthusiastic about the product and when it may be available in the market?”
Alex Nordstrom, Co-President & Chief Business Officer at Spotify, jumped in to answer before Daniel Ek could take the lead. “With regards to higher tiers, we see great potential in them as we’ve mentioned before. So creating higher tiers around new offerings is something we are working towards as it really opens up new opportunities to delight users. And of course we need alignment and support from our industry partners to offer these kinds of new experiences to our users. I think it’s also worth noting that we will continue to look for new ways to invest in our premium offering as we have done all along.”
Daniel Ek jumps in at this point, stating “If you sort of look at the overall picture, Spotify is now a quite sizable business, but also a sizable platform. And typically, what’s interesting is that we’ve kind of gotten here pretty much with just the same freemium model that we launched and started working on now 19 years ago.”
“And so what naturally happens as the market evolves is that you typically end up segmenting the market, and that’s always been a very good business strategy—we’re just in the early innings of doing that here.”
“So I think you should expect for the near term and midterm growth when it comes to Spotify, just working on our existing subscriptions, the family plans, all of these things is plenty enough for us. It’s going to be really great.”
“But for the very, very long-term, it is an upside opportunity for Spotify, but I think one where, if I look at it from a music industry standpoint, this is, this is a huge part of the music industry. But for the near term, the way to think about it for Spotify is we’re not dependent on that for growth, but we want to make it happen.” So this is really one where I would put, again, the emphasis is for the superfan, we do need the partners to come to the table and be a part of this journey.”
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Are Beyoncé Tickets Really ‘Cheaper Than a McDonald’s Happy Meal?’

Photo Credit: McDonald’s
After a report that tickets to Beyoncé’s Cowboy Carter tour cost “less than a McDonald’s Happy Meal,” fans took to social media to debunk that claim.
Last week, ahead of Beyoncé’s Cowboy Carter tour kicking off in Los Angeles, the lack of interest in tickets saw some uncharacteristically low prices—leading to plenty of roasting online. One user claimed they found resale tickets available for just $20, calling it “less than a McDonald’s Happy Meal.”
If you think that sounds strange, you’re not alone. It’s important to note the Happy Meal used as a comparison was the limited edition McDonald’s “Minecraft” meal for the film of the same name. That meal, designed as one of the fast food franchise’s “adult Happy Meals,” which includes more food than a kids’ meal.
But even that meal varied in price depending on the region, leading to even more confusion among music fans seeing that comparison. That was further compounded by most tickets for Cowboy Carter not dropping as low as $20—very few tickets on the resale market have gone for such prices, and they’re quickly snapped up. And those that do sell for that cheap are resale tickets, meaning the star already made her money from the initial sale.
Regardless, loyal fans of Queen Bey have pushed back against the narrative that the artist is in any way struggling. “Wait till the tour starts, once those clips start dropping, people will be flocking to get tickets,” one fan argued. Another pointed out the absurd comparison: “Where the f— are you guys getting a McDonald’s Minecraft meal for $21? At mine it’s like $14.”
While the naysayers insist that “nobody cares about the cowgirl version of Beyoncé,” the album’s success has shown otherwise. Cowboy Carter topped the Billboard 200 chart, while its lead single, “Texas Hold ‘Em,” hit No. 1 on both the Billboard Hot 100 and the Country chart. The album also earned her the Grammy for Album of the Year—her first in a sea of Grammy awards.
“This ain’t a country album,” the star said previously. “This is a Beyoncé album.”
The Cowboy Carter tour kicked off Monday night at SoFi Stadium with five shows lined up throughout the week. Afterward, the show heads to Chicago, New York, Houston, Las Vegas, London, Paris, and more.
View the full article
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Wiz Khalifa & Sean Paul Announce ‘Good Vibes Only Tour’—Special Guest DaBaby

Photo Credit: Daniel Kelly
Wiz Khalifa and Sean Paul have announced their 2025 co-headlining tour ‘Good Vibes Only’ headed across North America this summer—featuring special guest DaBaby.
Produced by Live Nation, the 15-date amphitheater run kicks off on July 6 in New York and includes additional stops across New Jersey, Ontario, Illinois, and Michigan before wrapping in Georgia. The run also includes a hometown performance for Wiz Khalifa in Burgettstown, PA. The tour announcement arrives after Wiz Khalifa’s most recent album Kush + Orange Juice 2, his eighth studio album. It’s the follow-up to his 2010 breakout mixtape Kush & Orange Juice.
The new album features production from Kush & Orange Juice producers Cardo, ID Labs, and Sledgren, as well as producers Mike WiLL Made-It, Juicy J, Jason Martin, Dominique Sanders, DJ Quik, Crazy Mike, TM88, Crash Dummy, Lex Luger, DJ Fresh, and Kenneth Wright. Featured collaborations on the album include OT Genasis, Ty Dolla $ign, Jason Martin, Luh Tyler, Michael Prince, LaRussell, Terrace Martin, Curren$y, Max B, Juicy J, DJ Quik, Larry June, Chevy Woods, rmr, Don Toliver, and Smoke DZA.
The Good Vibes Only Tour comes on the heels of Sean Paul’s 2025 UK arena tour with Ashanti, which is wrapping up in April. It also follows Sean Paul’s Greatest Tour, which saw over 20 performances across the United States in 2024.
Tickets will be available starting with a Citi and artist pre-sale on April 30 at 10 am local time. Additional pre-sales will run throughout the week ahead of general on-sale beginning May 2 at 10 am local time.
Wiz Khalifa & Sean Paul’s ‘Good Vibes Only’ Tour Dates — 2025
July
06 | Darien Lake Amphitheater — Darien Center, NY 08 | Xfinity Center — Mansfield, MA 09 | Northwell at Jones Beach Theater — Wantagh, NY 10 | Freedom Mortgage Pavilion — Camden, NJ 12 | Riverbend Music Center — Cincinnati, OH 13 | Ruoff Music Center — Noblesville, IN 15 | Blossom Music Center — Cuyhoga Falls, OH 18 | Budweiser Stage — Toronto, ON 19 | The Pavilion at Star Lake — Burgettstown, PA 21 | Hollywood Casino Amphitheater — St. Louis, MO 22 | Credit Union 1 Amphitheatre — Tinley Park, IL 23 | Pine Knob Music — Clarkston, MI View the full article
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Coachella Fined $20,000 After Travis Scott’s Set Runs Over

The City of Indio has issued a $20,000 fine to Goldenvoice, the organizer behind the iconic Coachella Valley Music and Arts Festival, after Travis Scott’s performance during Weekend 1 ran past the city’s enforced curfew.
According to the longstanding 2013 city permit that governs the festival’s operations, all performances must end by 1:00 AM on Fridays and Saturdays, and by midnight on Sundays. For every breach of this regulation, Goldenvoice is fined $20,000, with an additional $1,000 levied for each minute that a performance extends beyond the sixth minute past curfew.
The incident occurred on Saturday, April 12, when Travis Scott—headlining both Saturdays of the festival—took the stage late and ended his set around 1:03 AM. While the second Saturday’s performance managed to conclude on time, the first weekend’s minor delay was enough to trigger the penalty.
Interestingly, a source speaking to TMZ cited an earlier issue involving Green Day’s set running 15 minutes behind due to a fireworks mishap, which reportedly caused a tree to catch fire. This delay allegedly pushed Scott’s start time back by approximately five minutes.
Despite this hiccup, the City of Indio confirmed that this was the only curfew violation across all three weekends of Goldenvoice’s spring festival lineup, which includes both Coachella and the Stagecoach country music festival. That makes 2024 a notably tame year for infractions—especially compared to previous editions.
Last year, Coachella Weekend 1 saw a staggering $117,000 in fines after headline acts like Bad Bunny, Frank Ocean, and Calvin Harris exceeded their set times. Weekend 2 added another $51,000 to that total, with performances by Bad Bunny, Skrillex, Fred Again, and Four Tet running long. And even in 2024, Lana Del Rey‘s set during Weekend 2 earned the festival a $28,000 penalty after going 13 minutes over.
These recurring violations highlight the ongoing tension between the high-energy, unpredictable nature of live music events and the strict curfews enforced by local municipalities. While the fines are a drop in the bucket for an operation of Coachella’s scale, they serve as a reminder of the delicate logistics involved in staging one of the world’s most influential music festivals.
For now, Travis Scott’s brief overage stands as Coachella 2024’s lone curfew blip—one that underscores the challenges of timing in a festival that celebrates spontaneity and star power.
The post Coachella Fined $20,000 After Travis Scott’s Set Runs Over appeared first on EDMTunes.
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Mallorca Live Festival announces final lineup for 2025 edition featuring Chloé Caillet, Massive Attack, Iggy Pop and more

Mallorca Live Festival is back for its eighth edition, taking place June 12–14 in Calvià. The Balearic Islands’ largest music event features a stellar lineup including international acts like Massive Attack, Iggy Pop, Suede, and many more.
The full lineup and festival highlights were unveiled at a press conference in Madrid. Among the announcements was the La Plaza Electronic stage – a dedicated space designed to foster the dance music community and spotlight cutting-edge DJs and producers from around the world, with sounds ranging from house to techno. Headliners include Nicola Cruz, Chloé Caillet, Carlita, TSHA and others.
Tickets for the eighth edition of Mallorca Live are on sale now and can be purchased on their website.
Featured image: Xavi Torrent
The post Mallorca Live Festival announces final lineup for 2025 edition featuring Chloé Caillet, Massive Attack, Iggy Pop and more appeared first on Dancing Astronaut.
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