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London’s Junction 2 Finalizes Stacked Lineup For 2025 Festival

Junction 2 has locked in its complete lineup for the London festival’s return this summer.
The long-running event, one of the British capital’s largest and most anticipated annual electronic festivals, is back at Boston Manor Park in Brentford from July 25-27, featuring another deep performance roster of house and techno titans, underground veterans, and rising stars alike.
This year’s lineup crosses an array of 4/4 subgenres, opening with Friday night performances from techno heavyweights like Adam Beyer, Enrico Sangiuliano, and ANNA, respective live and hybrid sets from WhoMadeWho and Para for Cuva, and house grooves from Azzecca, Layla Benitez, and Ahmed Spins, along with anticipated appearances from Above & Beyond and deadmau5.
The BPMs increase on Saturday night with sets from Charlotte de Witte, DVS1, KETTAMA, Nina Kraviz, Effy, and X CLUB., and a live performance from Reinier Zonneveld, while deadmau5 returns under his techno alias, TESTPILOT. 
Junction 2’s program then comes to a head on Sunday with underground heroes of all sounds, including Erol Alkan, Soulwax (live), Sofia Kourtesis (live), DJ Koze, Job Jobse, Mount Kimbie (live), Joseph Capriati, and BASHKKA, among others.
Throughout the weekend, the festival also features a striking run of collaborative sets, such as DJ Seinfeld B2B Prospa, Tenashee (DJ Tennis & Ashee), ADIEL B2B Quest, Daria Kolosova B2B Dr. Rubinstein, Dax J B2B Helena Hauff, 2manydjs B2B Palms Trax, and more. Check out the full lineup below.
In addition to top-notch tunes, Junction 2 is known for its scenic festival site at Boston Manor Park, where greenery and woodland trails lead attendees to parties beneath bridges and stages tucked away behind industrial infrastructure.
For more information or to purchase tickets, visit junction2.london.

Featured image courtesy: Junction 2. Credit: Khroma Collective.
The post London’s Junction 2 Finalizes Stacked Lineup For 2025 Festival appeared first on EDM Maniac.
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London’s Junction 2 Finalizes Stacked Lineup For 2025 Festival

Junction 2 has locked in its complete lineup for the London festival’s return this summer.
The long-running event, one of the British capital’s largest and most anticipated annual electronic festivals, is back at Boston Manor Park in Brentford from July 25-27, featuring another deep performance roster of house and techno titans, underground veterans, and rising stars alike.
This year’s lineup crosses an array of 4/4 subgenres, opening with Friday night performances from techno heavyweights like Adam Beyer, Enrico Sangiuliano, and ANNA, respective live and hybrid sets from WhoMadeWho and Para for Cuva, and house grooves from Azzecca, Layla Benitez, and Ahmed Spins, along with anticipated appearances from Above & Beyond and deadmau5.
The BPMs increase on Saturday night with sets from Charlotte de Witte, DVS1, KETTAMA, Nina Kraviz, Effy, and X CLUB., and a live performance from Reinier Zonneveld, while deadmau5 returns under his techno alias, TESTPILOT. 
Junction 2’s program then comes to a head on Sunday with underground heroes of all sounds, including Erol Alkan, Soulwax (live), Sofia Kourtesis (live), DJ Koze, Job Jobse, Mount Kimbie (live), Joseph Capriati, and BASHKKA, among others.
Throughout the weekend, the festival also features a striking run of collaborative sets, such as DJ Seinfeld B2B Prospa, Tenashee (DJ Tennis & Ashee), ADIEL B2B Quest, Daria Kolosova B2B Dr. Rubinstein, Dax J B2B Helena Hauff, 2manydjs B2B Palms Trax, and more. Check out the full lineup below.
In addition to top-notch tunes, Junction 2 is known for its scenic festival site at Boston Manor Park, where greenery and woodland trails lead attendees to parties beneath bridges and stages tucked away behind industrial infrastructure.
For more information or to purchase tickets, visit junction2.london.

Featured image courtesy: Junction 2. Credit: Khroma Collective.
The post London’s Junction 2 Finalizes Stacked Lineup For 2025 Festival appeared first on EDM Maniac.
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How to use sound design to turn a vocal take into a creative instrument

Have you been spending hours searching for samples and synth presets to inspire your next track? Getting creative with a single sound source can help you break the cycle.
READ MORE: How to record vocals on your phone and mix them to perfection You can grab a phone-recorded vocal today and produce a full track with it. Here’s how.
Start with the bass
I’ve already captured a song idea on my iPhone in free tempo, so I’ll import it into a new session in Ableton Live 12. Find or record a vocal that suits your style, and follow along.

Drag a copy of the recording into Simpler or another sampler instrument. Here, you’ll cut, stretch and manipulate the pitch of your vocal.
Find a part in the clip that works well, even when playing the lowest notes on your MIDI keyboard. In the Controls window, transpose the pitch up a semitone, so that the notes on your keyboard match the pitch of the sample. Here, I compose a bass line that follows the rhythm of the vocal — you can try something similar.
Most sampler instruments come with sound design tools. In Simpler, I’ll use the MS2 low-pass filter and adjust the frequency, resonance, and drive. I want each note to come in and out gradually, so I tweak the attack, decay and release controls.
To ensure the bass cuts through on small speakers, try adding a clipper effect. The Bass Shaper setting in Live’s Analog Clip plugin is useful here, with some tweaking of the Drive and Dry/Wet knobs in Hard Clip mode.

Next, use a compressor to tame the dynamics a little. At this point, I also duplicate the bass and transpose it an octave down to enrich the sub register. Cut the frequencies below 25Hz and above 200Hz on the new Vocal Sub channel, and add the same EQ to my original Vocal Bass channel as well.

Cutting frequencies below 100 Hz and above 500 Hz gives you more freedom to process the Vocal Bass pad. I apply reverb with a low-cut EQ, turn the chorus on and increase the wetness to 95 per cent. A bit crusher can help make the pad sound brighter and dirtier, and you can shape the the dynamics and tone with compression and EQ. And finally, thanks to the drive module in the Cableguys ShaperBox 2, my bass is no longer static.

Build the synth pads
With the melody and bass in place, start writing the chords. In my session, I want to create some of the midrange elements with Simpler, treating each layer purposefully.
Using the same sample, design the first synth pad. First, I select the high-pass PRD filter in Simpler. For the pad to swell, increase the attack time and toggle the Portamento setting from the Glide menu.
Trap the sound with a band-pass EQ and use some saturation — I used Klanghelm’s free saturation plugin IVGI2. Other free plugins that come in handy are the TENSjr and Valhalla’s FreqEcho, injecting depth and width to the sound.

I’ll follow a similar strategy with three other sampler instruments that I’ve built out of different portions of the same recording. As you design each layer, try to pay attention to what’s missing in the frequency spectrum.

By transposing and processing short audio samples from the performance, you can create deep background vocal textures. You can try plugins like the Antares Harmony Engine to create vocoder-type layers, increasing the density of the production.

Design drum sounds with transients and sibilance
I want to implement some impact drum elements and light percussion, so I search for moments in the vocal take that can be repurposed through pitch shifting and effects processing.
First, I sample a particularly sibilant “s” and transform it into a hi-hat. Some Ableton Live stock plugins like Spectral Resonator, Vinyl Distortion, EQ Eight, Echo, and Hybrid Reverb will help give it some extra character.

The same clip easily becomes a rainstick-like texture when I slow it down. With Grain Delay, iZotope’s free Vinyl plugin, Valhalla FreqEcho and Hybrid Reverb, I can make it longer and smoother.

The “c” of the lyric, “coming down,” turns into a deep impact sound with a couple of transient shapers, Soundtoys’ Devil-Loc distortion, Ableton’s Spectral Resonator and tons of reverb. I dial the sound in with EQ and compression.
Unfortunately, my clip doesn’t have much of a transient tail. To imitate the natural decay of a kick drum, I’ll copy it, pitch it down 13 semitones, and paste it 5 times back to back in decreasing volumes.

To design the snare sample, I cut out the “p” at the end of the word “wipe”. Transient shaper, distortion, and reverb effects like Valhalla’s free Supermassive plugin play key roles in shaping the sound here.

Final touches
After some volume, panning and effects automation, it’s time to clean up the mix.
A sidechain compressor on the Vocal Sub channel, routed to the Vocal Impact drum, resolves masking issues. I’ll also group the impact and snare to compress, saturate and EQ them together for a tighter mix.
Next, I group all the layers in the midrange and employ FabFilter’s dynamic EQ, the Pro-Q 3. By sidechaining a smile curve band to the lead vocal, I can carve out enough space in the mix for the performance to shine.
With some light mastering, everything sounds even more glued together.

The post How to use sound design to turn a vocal take into a creative instrument appeared first on MusicTech.
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More Festival Sector Carnage: Wannasee Ltd. Says It ‘Will Not Be Able to Continue,’ Axes 10+ Events

Wannasee Limited has shut down and canceled a number of its music festivals. Photo Credit: Adrià Sánchez Roqué
The UK’s Wannasee Limited has confirmed that it “will not be able to continue” operating, and the development has resulted in nearly a dozen festival cancellations.
Wannasee announced the unfortunate news on its website and in a media statement, after pulling the plug on the namesake Wannasee Festivals last week. One of those cancellations was made official at the last minute; Wannasee South had been scheduled for May 26th, with Wannasee Penrith teed up for late August.
(Additionally, Wannasee last year put the Penrith festival on ice, explaining then that “the ground conditions are not in a fit state for this to occur without substantial damage to the site.”)
Before nixing the May event, however, organizers acknowledged “growing speculation regarding the status of this year’s festival.” And prior to putting out the 11th-hour notice, Wannasee on May 14th seemingly changed its name to 08076670 Limited upon entering receivership, Companies House docs show.
Bearing in mind the latter detail, The Northern Echo and other outlets across the pond are pointing to 11 total festival cancellations stemming from Wannasee’s implosion.
“It is with deep regret that we confirm Wannasee Ltd will not be able to continue,” the company elaborated on this front, “and we must announce the cancellation of the following festivals: Kubix and Monument Festivals in Sunderland, Wannasee Penrith and Wannasee South, Jukebox Sunderland and Jukebox Bingley, Sign of the Times, Stone Valley South, Stone Valley Midlands and Stone Valley North.
“We are hopeful, however, that positive discussions currently underway may preserve Lindisfarne Festival and Northern Kin, and we wish them all the very best,” continued Wannasee.
Lindisfarne Festival organizers, still set to deliver a late-August event featuring The Fratellis and more, took to Instagram to inform fans of “work going on behind the scenes to ensure that” the happening proceeds. And Northern Kin, booked for early August, posted the same message (albeit with the appropriate event name) on its own Instagram page.
“Although we are unable to respond to individual emails and messages at the moment, we thank you all for your patience and we hope to have a full update for you as soon as possible,” both wrote.
Meanwhile, refunds for the shelved festivals are rather unsurprisingly a big focus for the impacted customers and vendors. With Wannasee’s brief remarks here having evidently failed to assuage related concerns, a number of passholders are speaking out on social media.
“To all of our ticket holders: we are truly sorry,” Wannasee weighed in on the ticketing side. “We understand your disappointment and frustration. Please contact your ticket provider or card issuer for refund information.”
In the bigger picture, the cancellations mark the latest in a long line of axed festivals. At the intersection of continued cost considerations, consumer-spending woes, and adjacent factors, more than 170 mega-events were called off or otherwise failed to take place in 2024, DMN Pro tracked.
Signs of the disconcerting trend have carried on into the current year: Travis Kelce’s Kelce Jam festival has opted against hosting a 2025 edition in favor of “planning ahead for 2026.” And even well-entrenched festival players like Coachella are grappling with sales slowdowns.
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Stimming breaks down the production techniques on his new single, ‘Lucky Me’

Beloved for his delicate, detailed, and highly emotive production style, Martin Stimming has carved out a niche in the world of experimental IDM. Based in Harmburg, Germany, the producer is currently on part two of a trilogy of albums; each one dedicated to his three sons. 2021 brought us Ludwig; a glorious subversion of the artist’s more club-centric work, while the recently released Friedrich retains that sonic freedom but arguably dives even deeper into the emotional resonance that electronic music can offer.
READ MORE: Who is the next Aphex Twin? Meet the producers warping the future of electronic music We catch up with Stimming to get the inside story on how he produced his recent single, Lucky Me.

Finding the feeling
A big part of Stimming’s creative process involves building up an archive of melodies, tones, beats, and field recordings, which might then chime with an experience or emotion he wants to explore on a track.
In the case of Lucky Me, the original musical material came from a small family pump organ situated under the staircase of his parents’ home. Having kicked everyone else out of the house so he could get a clean, ultra-close recording using a pair of LOM microphones, Stimming says he started performing with no clear idea of where the audio would eventually end up. “I knew what I wanted to capture,” he recalls of the process. “But, when I do a recording like this, I just think of it as sampling material; I know I will use it somewhere, but I don’t know where.”
The next element grew out of a jam session on Erica Synths’ PĒRKONS HD-01 drum machine. “It’s four voices of digital synth,” Stimming says of the instrument. “The special thing is the UI and the sequencer – the sequencer can change the patterns and the sound settings independently, and you can jump between snapshots seamlessly in an instant, which is crazy.” However, rather than use it for percussion, Stimming says the PĒRKONS HD-01 instead provided Lucky Me’s bass tones: “Drum synths are very good at baselines because they have this punch. So, I found a way of creating this ‘whoof whoof’ sort of dubstep bassline.”
Once Stimming brought together those organ recordings with his drum machine baseline, it resulted not only in great music but also produced a sound and a feeling that spoke to a deeply personal time in Stimming’s own life.
Two years ago, the producer received a cancer diagnosis — the treatment was successful, but it left an undeniable impact on him:
“Especially after I was first diagnosed, there was a feeling of being frightened but also of being challenged. After the surgery, it was like being released from it. I recognised that if I combed the pump organ recordings that I did at my parents, those tones together with this very deep bassline… it got very close to expressing what I really felt at that time.”
Pragmatic percussion
When it comes to percussion, rather than overthink it, Stimming’s approach is much more pragmatic – if it sounds good, use it.
“I wouldn’t be surprised if many of the drum sounds in Lucky Me come from the OP-1 Field,” he admits with a laugh. “Teenage Engineering really put great sounds in there. This other track from the album, Sugar and Lemon, the main chord is just a preset from the OP-1 Field, which I combined with the Behringer TORO. To have this €2,000, tiny, high-tech thing alongside a cheap clone from a German company made in China, I did it just for fun.”
Of course, he didn’t stop there. The next step was to add in some real hand claps and run the percussion bus through some outboard gear. “I layer things up,” he says. “And then it’s going to be sidechain compressed. I think the whole groove on Lucky Me went through the API 2500 compressor, for that old school glue.”

Avoid Anything Annoying
Stimming says one of the biggest and most time-consuming challenges in production is figuring out how to develop musical ideas. “Let’s say, theoretically, the whole time to create a track is twenty hours,” offers Stimming.
“Fifteen of those hours are spent trying to grasp how to proceed. While the actual procession, the improvements or expansions actually happen very fast. On Lucky Me, the two and a half minutes which are the really important moments came out naturally. Then, of course, there’s lots of work needed to make it into a five-minute track.”
His trick for knowing when a section is finished and it’s time to move on? Repeated listening.
“It’s a technique that I heard Kraftwerk also use,” says Stimming. “I listen to the loop for ages — sometimes it feels like four, six, seven hours—and if there’s nothing popping out that annoys me, then I’m good to go.”
Jamming, recording, and compiling
Stimming is known for the intricate sonic details that fill up his productions. On Lucky Me, there are a number of musical elements that gradually shift their tone and timbre as the song unfolds. Rather than automating changes after the fact, Stimming says he performs those evolutions live and then listens back to find moments of magic. “I record quite a lot of material,” Stimming emphasises. “For the bass, it’s just one jam, which I was going crazy with. Then, afterwards, I listen to it and cut all the parts that I like. All the sections I find have a meaning or they play into the story that I want to tell.
“I’m not sure if it’s the most clever way to do it,” he continues. “It’s very time consuming to listen to it afterwards. It’s just like a vocal session – and I hate vocal sessions so much. Not the session itself, but choosing which take to use afterwards is the hardest part.”
Stimming uses a similar process—capturing long sections of audio and then comping—in his field recordings. Throughout his career, found sound, nature recordings, and sonic oddities have been a mainstay of his production style. Lucky Me is no exception, featuring watery clicks, chirps, and thuds.
“Every so often, I have a phase where my ears open up to all the surrounding sounds, and I start recording them,” Stimming says of his love of field recording. These days, however, he’s not content to present those field recordings in their natural state. “I feel like using field recordings on their own isn’t that interesting anymore,” he muses. “It’s like… here’s a sound from the city, yeah, we get it. So, the way I use it right now is to throw it in a granular synth, for example, and all of a sudden it becomes an interesting texture. The GR1 is an incredible synth for that: it can handle really loud impulses, and, if they’re even a little bit atonal, you can use that tonal element to morph it into a pad or a chord.”

Playing with space
The details of Stimming’s sonic creations are easily matched by the nuances of his stereo mix. Spreading out across the stereo field, Lucky Me blends distant and close sounds to achieve a highly dynamic result.
Though he now mixes on a pair of Kii Threes at home, Stimming says his approach to space was shaped by his experiences using 4DSOUND, a spatial audio system, back in 2013. “I was playing on the 4DSOUND system for quite some time,” says Stimming. “It gives you these 3-dimensional containers for mono signals and you can move those containers around. Working with that system, using that dimensionality as part of the musical expression, it really helped me a lot even when moving back to 2D sound.
“On the one hand, the mixing happens quite intuitively,” Stimming continues. “But at the same time I do have some strict rules about what I put where – for example, if you want to open up a space, you have to close it beforehand, or if you want to make something appear louder then you have to remove the loud sound so that you can then jump back to it. This thinking is something I learned working with the 4DSOUND system.”

Keep pushing yourself
Perhaps more than anything, Lucky Me is a track that shows how important it is to challenge ourselves as producers and songwriters. After years spent perfecting his house and IDM skills and having built a dedicated following, it would have been easy for Stimming to stick to tried and true approaches. Instead, he chose to eschew formula in favour of experimentation – and the results speak for themselves. “This album came out of a desperate need to get rid of the strict 4/4 formula,” he states. “Once you get rid of the straight bassline, everything gets shaken up and pretty soon you’re in uncharted territory.”
The post Stimming breaks down the production techniques on his new single, ‘Lucky Me’ appeared first on MusicTech.
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Excite Audio’s new Motion: Fractal plugin gives audio “endless motion” and texture

Excite Audio has released Motion: Fractal, a granular plugin that can transform and manipulate audio in real time through dual granular engines and rhythmic effects.
The launch marks the third plugin within its Motion series, joining Motion: Dimension (space and time modulation) and Motion: Harmonic (dynamic distortion modulation). Excite Audio says Fractal can offer “endless motion, texture, and modern sonic transformation”.
READ MORE: Waves’ ILLUGEN text-to-sound engine can create sounds nobody has heard before using ultra-specific prompts – here’s how it works Just like its Motion siblings, Fractal offers a unique UI with a hexagon controller – an upgrade to the traditional XY pad. Here you can assign and morph between granular parameters, gated rhythms, and loop behaviours in real­time.
Users can also experiment with Fractal’s trance gate and beat-­repeat engines. Customise intricate patterns via a 32 ­step trance gate sequencer, sync rates to the tempo of your project, and shape dropouts smoothly or sharply with envelope controls.
The Repeater can also assist in crafting “complex, dynamic stutters” using adjustable repetition counts, interval triggers, and sync or free timing. Hear it in action in the video below:

For plugin recommendations selected by the MusicTech team, you can check out our rolling guide of the best free and paid-for plugins on the market. If you want more from Excite Audio, Plugin Boutique is currently selling its Lifeline Space reverb for only $5. You will have to act fast though, as the offer ends on 31 May at 09:59 BST.
Motion: Fractal is priced at £79, but is currently available for an introductory price of £39 – running until 30 June. You can also purchase it as part of a wider Motion or Excite Audio bundle. Find out more via Excite Audio, or purchase now via Plugin Boutique.
The post Excite Audio’s new Motion: Fractal plugin gives audio “endless motion” and texture appeared first on MusicTech.
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Two Men Jailed for Music Festival Attack That Left Attendee Blind in One Eye

Two men have been jailed after attacking a university lecturer at a Scottish music festival and leaving him permanently blind in one eye, the BBC reports.
Patrick Kerr, 33, and Simon Tierney, 38, were sentenced at the High Court in Glasgow to terms of five-and-a-half and four-and-a-half years in prison, respectively. The pair assaulted the victim, 53-year-old Antonio Grant, at the Rewind Festival at Scone Palace in July 2023.
Grant, who was attending the festival with his family, did not personally know Kerr or Tierney but had engaged in brief and "polite" conversation with them earlier that day. The assault reportedly occurred after Grant declined Tierney's offer of a chip. The former was punched in the head and knocked to the ground, then repeatedly kicked and punched by both assailants.
The festival's security intervened to stop the attack, but the victim sustained serious injuries, including six broken teeth, the permanent loss of vision in his right eye and extensive facial trauma that required the insertion of a metal plate into his jaw.
Both men admitted to the assault and pleaded guilty to causing severe injury and permanent disfigurement. Upon sentencing, the judge decried their actions as a "brutal, cowardly alcohol-fueled attack on a vulnerable victim." Both Kerr and Tierney will be supervised for two years after their release and are banned indefinitely from contacting the victim.
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Beats and Burgers: Ibiza's New [UNVRS] Venue Has a "Burger Club" Inside

Ibiza's highly anticipated new nightclub, [UNVRS], officially opens its doors this Friday, May 30th, marking an ambitious new chapter in the island’s storied nightlife scene. Created by Yann Pissenem and The Night League—the minds behind hotspots Ushuaïa and Hï Ibiza—the venue combines arena-scale production with a luxury clubbing experience.
Adding to the fanfare, [UNVRS] will also host what The Night League is calling Ibiza's first-ever "burger club" inside its futuristic walls. VICIO's cult-favorite smash burger brand, known for its hit locations in Mallorca and Formentera, is bringing its culinary prowess to the White Isle with a new fried chicken and caviar dish made exclusively for [UNVRS].
The launch campaign kicked off with a cheeky billboard on May 26th that reads, "Finally a legal VICIO on the island." In an announcement video, two secret agents protect a mysterious burger box in a Men in Black-style spoof, which ends with a warning: "Fried chicken and caviar? Not for you. Not for us either. Just for [UNVRS]."
On the music side, [UNVRS] is poised to present residencies from Anyma, FISHER, David Guetta and many more this summer season as the club ushers in one of the most high-profile venue debuts in recent memory. You can find out more here.
Follow [UNVRS]:
X: x.com/unvrsibiza
Instagram: instagram.com/unvrsibiza
TikTok: tiktok.com/@unvrsibiza
YouTube: youtube.com/@unvrsibiza
Facebook: facebook.com/unvrsibiza
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Orchestras Are Stealing the Spotlight on Stages Worldwide – With Coachella Being Just the Latest Example

At Coachella 2025, the Los Angeles Philharmonic performed with artists like Laufey, LL Cool J, and Zedd, highlighting the growing intersection of orchestral music with pop, hip-hop, and electronic genres. Similar collaborations are happening on stages worldwide, with some of the most prominent artists fueling the trend.
This article was written by Harry Levin in collaboration with How Music Charts. Music Trends on Digital Music News is powered by Chartmetric.
When Coachella is in full swing, surprise guest performances dominate the news cycle. But this year, Laufey, LL Cool J, Zedd, and Becky G joined a set that was surprising to be at Coachella in the first place: Gustavo Dudamel and the Los Angeles Philharmonic orchestra.
Coachella is a symbol of pop culture known for hosting superstar headliners. This year three of them are Lady Gaga, Post Malone, and Travis Scott. In between those massive shows, a group of musicians are performing in a musical format that first came to fruition thousands of years ago: the orchestra. They played the works of classical masters such as Beethoven and Wagner…along with orchestral pop renditions from the aforementioned roster of guests.

“My dream was always to mix the worlds of classical and orchestra and pop and fun music festivals like this,” Laufey said during the first weekend of the festival before performing the live debut of her new song, “Silver Lining.”
Well, by every indication, Laufey’s dream is closer and closer to coming true. Pop artists of all genres, including Dua Lipa, Louis Cole, Anderson .Paak, Pete Tong, Billie Eilish, Nas, Willow, deadmau5, and Florence + The Machine have all either performed or recorded with full orchestras in recent years.
Dua Lipa took the stage at Royal Albert Hall in London with the Heritage Orchestra back in December for the television special, An Evening with Dua Lipa. Louis Cole’s most recent album, nothing, was a collaboration between the Dutch Pops orchestra Metropole Orkest and the composer and arranger Jules Buckley. Anderson .Paak performed his lauded 2016 album, Malibu, at the Hollywood Bowl alongside Derrick Hodge’s Color of Noize Orchestra.
“One thing drives the other. Artists are seeing it done more. Then they’re seeing it realized more in a way that feels like the original intent. It’s taking it to a different dimension without it having to be something that feels like a whole other expression that no longer belongs to them. I know firsthand that’s a big thing for them,” Hodge tells Chartmetric. In addition to .Paak, he has arranged orchestral parts for Yasiin Bey, Nas, and Common. “It’s something that I always knew was a possibility. So I was trying to write and speak to it even before the opportunities came, so that when they came I could be really efficient and act on them fast.”
Hodge has worked a lot in hip-hop with and without orchestras (he wrote and recorded the iconic bassline on “Be” by Common). However, he also arranged orchestral parts for all of the LA Phil’s guests for their Coachella set. These days, artists within every genre, from alternative jazz via Louis Cole to dance music via Pete Tong, are experimenting with the format. Now these orchestras are performing in the most popular forums in the world. Clearly, the value of orchestras is both historical and universal, and artists reap the benefits. 
Every Audience Loves An Orchestra
“It broadens their audience reach,” says Karen Garrity, owner of Karen Garrity Music, an orchestra contracting service based in Southern California. She has hired musicians to record and perform with pop artists like deadmau5 for his album, Where’s The Drop, and the ska band Streetlight Manifesto. When Garrity attended one of Streetlight Manifesto’s orchestral performances last year, she saw the broadening with her own eyes:
“I stood in line for probably an hour as we were going in, and it was so cool to see the vast age range. There were kids as young as school age. And then there were people in their eighties,” Garrity says. “I was asking them why they were there, and Streetlight Manifesto was on the periphery of their interest range, but when they brought in the orchestral element, it brought it home to the older ones, and then the older ones wanted to share that with the younger ones.”

More than bringing in new fans, the orchestra expanded the interest of the current fans as well. “They have an intense fan base that is just doggedly loyal to them. They follow the band all over the world. They know every word to every song and sing and chant and cheer. They chase the orchestral musicians out the back door, asking for autographs. You don’t experience that coming out of a symphony hall,” Garrity says.
The visual element is certainly a reason why the orchestra persists today. Seeing 50-100 musicians in action is a spectacle to behold, and fans appreciate it both live and on YouTube. 
In the case of Dua Lipa, the live video of her performing “Training Season” at Royal Albert Hall has reached 26.9 million views, which is more than any of the 65 videos she’s shared in the Radical Optimism album cycle besides the official music videos for the album singles.
The video of Nas performing “One Love” at the Kennedy Center has the 16th highest number of views on the “PBS Great Performances” YouTube channel. While that is not generally a top mark, there are over 500 videos on the channel in total. Plus, the videos with more views than Nas feature artists traditionally revered by an orchestral audience, such as the famous Italian tenor, Andrea Bocelli, and the celebrated Broadway actress, Sutton Foster.

Considering Nas’s turn was the first time a rap artist performed with an orchestra at the Kennedy Center (which had been open for over 40 years at that point), this amount of views demonstrates how these two worlds are coming together in a public manner after hip-hop has sampled symphonic music for decades. 
“Rappers and hip-hop producers were hearing that sound often in the samples they use. What Pete Rock sampled all the way to Timbaland. So the curiosity was always there from that side. You couldn’t listen to Tupac’s music and not think, ‘Oh, man, there’s a symphonic element to it. I can imagine that happening.’ It was more, will it be accepted?” Hodge says.
Hodge has been a major player in helping classical music become accepted in the world of rap, and Jules Buckley has been equally important in introducing orchestras into the world of dance music. 
Orchestras At The Rave
Pete Tong, the legendary BBC Radio 1 DJ and dance music pioneer, first curated an orchestra performance of dance classics during the 2015 BBC Proms season with the help of Buckley, and the two have been partners in the project ever since. Now entitled “Ibiza Classics,” Tong and Buckley are touring the newest rendition of the show throughout this year.

In furthering how Ibiza Classics has brought together dance music and classical music, dance titan Tiësto remixed the orchestral version of “You Got The Love” from Ibiza Classics. This brought Buckley Tiësto’s 40 million monthly listeners that he had when the track was released in May 2022. Beyond Tiësto’s individual audience, his remix was added to Spotify’s premier playlist for dance music, mint, which had 5.9 million saves at the time.

Buckley’s audience has seen marked benefits with this kind of exposure. Before the release of the 2021 Ibiza Classics album, his Spotify monthly listeners were at 301.6k. That album brought them up to 521.6k, and the Tiësto remix launched them up to their peak of 1.5 million. Since then, Buckley hasn’t dropped below 586k, spiking up to 1.4 million again upon the release of the Florence + The Machine album, Symphony of Lungs, Buckley’s orchestra arrangement of the band’s debut, Lungs.

Buckley’s widespread experience demonstrates how orchestras are adapting with the times. When Garrity was in college studying cello, her 20th-century music professor told her class that their jobs would be obsolete by the time they graduated. Yet, in 2017, Garrity hired an orchestra to perform a piece composed by an AI program called AIVA, Artificial Intelligence Virtual Artist.
“The smart orchestral musicians are the ones who realized that they had to make a shift at some point in their career and expand beyond just the orchestral repertoire. The ones that are working constantly are the ones who can play any genre, whether it’s in a recording session or on a live concert stage or in a rock band,” Garrity says.
The Power of Special Guests
These players populate the prominent orchestras that are backing artists like Dua Lipa and Laufey. Before Laufey joined the LA Phil at Coachella, she recorded the live album, A Night At The Symphony: Live at the Hollywood Bowl, with them back in 2024. Prior to this album, the orchestra’s monthly listeners fluctuated around 450k. The album with Laufey saw them reach 730.2k, and they have yet to drop below 600k. The album version of “Bewitched” also brought the orchestra into Spotify’s Women of Jazz playlist, which currently has 875.5k saves.

To further demonstrate how these collaborations increase the reach of orchestras, Laufey also recorded her 2023 album, A Night At The Symphony, with the Iceland Symphony Orchestra. Their monthly listeners were in the 33k range before this album, rising as high as 802.3k upon release.

While it is easy to relate this success to Laufey, who currently has 15.5 million monthly listeners, there are other pieces spread throughout the Iceland Symphony Orchestra’s discography that have millions of plays on their own. This suggests that there was already interest in the music; Laufey simply expanded it just as she surely did for the LA Phil at Coachella. 
Coachella has said that 125k people attend the festival per day, and in 2018, 41 million people reportedly watched the live streams on YouTube. While there is no way to measure exactly how many people saw the LA Phil perform at Coachella either live or on their computers, it is a fact that they broke into an entirely new audience with the help of the festival, and their Wikipedia views tripled on the day of their set. 
Another artist who has performed at Coachella throughout the years is deadmau5, and Garrity still remembers the audience’s reaction to his orchestral performance of Where’s The Drop:
“I was back in the booth, watching the show, watching the orchestra, and looking around the audience. They were so into it, and they were mostly young people. They were all pretty standard deadmau5 fans, but just watching them react and interact with a symphony orchestra was really cool,” Garrity says.
And then, according to Hodge, the result of more audiences loving it is more artists exploring the format:
“Artists’ managers and friends are bringing to their attention examples of live performances.  As they see the possibility of it live, it’s affecting how they approach the studio process,” Hodge says. “One side is impressing the other.”
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Get to Know Cristian Fascelli: DJ, Producer, and Emerging Tech House Talent

Cristian Fascelli is a DJ and Producer whose path into music began early, shaped by a strong passion and the cultural sounds of his upbringing. Starting to perform at just 12 years old, his relationship with Electronic Music grew steadily, leading to the release of his 2018 EP ‘Blackman,’ which placed him on the Tech House map internationally. Known for bass-driven grooves and subtle Hip-Hop influences, his music speaks to both the dancefloor and the deeper elements of club culture.  
We sat down with Cristian to learn more about how his journey started, what influences have shaped his sound, and his approach towards live performance. 
Hi! How are you doing? Thanks for joining us today! 
I’m good! 
You started performing at just 12 years old, can you share more about your origins?  
Yes, so I started at 12 years old with a lot of passion – I started by learning how to play music and then I started working with a lot of software like Traktor and Ableton. 
Can you describe the evolution of your relationship with music?  
Music has been a passion of mine since childhood, and as I grew up, I became heavily influenced by Neapolitan sounds and culture.  
What was the moment or experience that turned music from a personal passion into a serious artistic pursuit for you? 
When I met top artists, like Bushwacka! and David Morales.  
Which artists have had the biggest impact on shaping your sound over the years? 
The most influential artists have been Derrick May, DJ Spen, and Technasia.   
How would you define your signature sound? 
A solid style of groove and top-tier bassline sounds. 
Your 2018 EP, ‘Blackman,’ marked a major milestone for you, hitting the Top 10 in the Tech House international charts. What impact did that success have on your career at the time, and how have you continued to evolve and build on that momentum since? 
The track ‘Blackman’ bought me to Barcelona, playing a major event at Go Beach Club, with an amazing line up.  
Can you walk us through your typical approach when creating a new track?  
I tend to start with the groove, as that’s the most important part of a Tech House track, and from there I try to capture the bassline and blend the right frequencies until I’m left with a well-balanced mix.   
Can you tell us about your influences? 
My influences include a range of different styles, artists, and sounds from across the musical landscape.   
When you’re performing live, what do you focus on to create a fully immersive experience for the crowd? 
When I’m performing live, I’m always focused on the energy on the dance floor and trying to read the crowd to ensure they remain engaged in the sounds I’m offering.  
How do you craft a set that connects with the dancefloor? 
Usually, I prefer to prepare my tracklist ahead of time, but I’m always open to adjusting it to ensure it’s impressive and focused on the audience. 
Are there any particular tools or pieces of gear that you consider essential to your workflow? 
At the moment, I’m exploring new set ups and studio processes. 
Where do you see your sound evolving in the next year or two? Any new directions you’re excited to explore? 
I just want to be immersed in the sounds from around the world.  
Finally, for listeners discovering you for the first time – which track of yours should they start with, and why? 
They could be start with my track ‘Blackman’ – as of right now, I’d say that’s my most well-known song and showcases my sound best.  
Cristian Fascelli’s work reflects a steady commitment to his craft and a clear understanding of his creative direction, allowing him to continually evolve and explore his artistry to keep his approach fresh and engaging. As we wrap up our interview, we thank him for his time and look forward to seeing his journey continue. With new ideas in development and a desire to keep pushing his sound, Cristian Fascelli is steadily building on the foundations he has laid, carving out a promising path ahead. So, be sure to keep watch and follow him across social media for updates on his next releases and performances. 
Cristian Fascelli Online 
Spotify | Instagram | Website 
The post Get to Know Cristian Fascelli: DJ, Producer, and Emerging Tech House Talent appeared first on EDMTunes.
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DJ/producer ABSOLUTE teams up with synth polymath and multi-instrumentalist Dot Major of London Grammar

NIGHT manoeuvres · Genesis NIGHT manoeuvres – a brand new collaborative project that unites acclaimed DJ/producer ABSOLUTE., with synth polymath and multi-instrumentalist Dot Major – of the multi Platinum-selling band London Grammar. 
Having been introduced by mutual friend and fellow producer DJ Boring, the two artists swiftly joined forces. What soon followed was a symbiotic fusion of the duo’s disparate skillsets that saw ABSOLUTE.’s boundary-pushing production and dancefloor expertise blended with Dot Major’s experienced multi-instrumentalism, experimentation and classical training.
A combination of light and dark, NIGHT manoeuvres weave together with textural soundscapes, euphoric pads and ethereal vocal hooks, deftly showcasing their shared love for analog production and UK underground sounds, spanning bass/dubstep, left-field techno and house.
Of the collaboration, NIGHT manoeuvres say:
“We knew the first time we met that our second meeting would be at the studio. What we didn’t know was the immediate trust and openness there, which would take us on a musical journey to a realm neither of us had discovered before. Worlds of light and dark came together to create the start of something we’d never imagined.”
The duo recently marked their arrival with their debut show at the British Museum in London – the first show of its kind to be held at the prestigious location, which will be followed by an in-store at Phonica Records on 19th June. August will see them playing their festival debut at Flow Festival in Helsinki, with more live dates to be announced.
‘Genesis’ the debut single by NIGHT manoeuvres is out 29th May via fabric Records. More music will follow very soon.
The post DJ/producer ABSOLUTE teams up with synth polymath and multi-instrumentalist Dot Major of London Grammar appeared first on Decoded Magazine.
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RISE Festival 2025: 10 Years of Light, Music, and Connection

From October 3rd to 5th, 2025, attendees will once again come together at the Mojave Dessert, just south of Las Vegas, for an experience that goes beyond the conventional concept of music festivals. As RISE Festival celebrates its 10th anniversary, it does so with a renewed vision—elevating its light, art, and its sonic identity. While known for its lantern-lit sky and collective intention setting, RISE 2025 brings a deeper musical dimension this year, with an electronic lineup that speaks directly to the soul.
Artists of RISE:
While RISE Festival has always been about connection—through intention, through silence, and through release—music remains its heartbeat. For 2025, the lineup signals a confident step toward spotlighting electronic artists who balance euphoria with emotion. The curation speaks volumes, inviting artists whose sound blends the ethereal and the grounded, the cinematic and the kinetic.
RISE Lineup – October 3
Rüfüs Du Sol headlines Friday, October 3rd, and their presence would feel like a perfect alignment of energy and environment. With a sound rooted in deep emotion and atmospheric build-ups, the Grammy-winning trio has mastered the art of crafting communal catharsis with a track like ‘Innerbloom’. Their performance beneath the stars promises to be a defining moment of the weekend. They’ll be joined by Ben Böhmer, Berlin-based producer whose melodic house sets blur seamlessly into the desert air. LP Giobbi, known for her fusion of house beats and live piano, brings a powerful energy to the lineup. While Emmit Fenn’s emotionally rich soundscapes round out the night with cinematic depth.
RISE Lineup – October 4
Saturday, October 4th, raises the tempo with a more dance-forward bill. Calvin Harris, one of the world’s most recognizable producers, will bring a set that fuses commercial hits with festival-ready flair. While details remain under wraps, a special guest performance promises even more energy, mystery, and possibly a surprise crossover act. Dutch future house heavyweight Oliver Heldens adds punch and groove. While RY X, a rising artist in hybrid electronic sets, is set to offer a genre-fluid performance.
RISE Lineup – October 5
On Sunday, October 5th the festival pivots toward introspection—without abandoning its electronic undertones. Elderbrook, delivering a DJ set, will guide attendees through vocal-led, emotional electronica. While Patrick Watson’s dreamlike arrangements add warmth and wonder to close the weekend. Generally not traditionally associated with the electronic world, John Mayer’s inclusion is a reminder that RISE is a multi-genre celebration of artistic expression. His set will undoubtedly strike a chord with an audience gathered not just to dance, but to reflect.
A Festival Built Around Light, Art, and Letting Go
RISE is structured as a three-part journey—a ceremonial arc that elevates attendees from grounded self-awareness to a shared state of transcendence. It begins with The Path, an arrival space surrounded by massive art installations and desert lounges. Here, guests decompress, explore, and prepare themselves for the deeper layers ahead.
As the sun sets, the community transitions to The Compass. This is the festival’s ceremonial heart and the site of the world’s largest sky lantern release. Every attendee receives two lanterns to inscribe with hopes, memories, fears, or gratitude. Twice nightly, thousands of lanterns lift into the sky in a moment that’s as visually spectacular as it is emotionally grounding. Live music accompanies the ceremony, blending musical storytelling with one of the most powerful communal acts in festival culture.
The night culminates at The Horizon, where the energy releases through movement. This final phase transforms the desert into a natural dance floor, where sound systems fill the vast open spaces. In addition, performers shall guide the collective into a state of unfiltered joy. With stars overhead and music flowing through the air, RISE offers a closing ritual that’s both freeing and deeply connective.
Commitment to the Desert: RISE’s Sustainability Ethos
As thousands gather on the Jean Dry Lake Bed, the festival maintains a strong environmental focus rooted in the principle: “Leave it better than we found it.” That ethos guides every part of the experience, from materials to cleanup.
Each of the lanterns released during the ceremony is 100% biodegradable, made from sustainable materials designed to return safely to the earth. Beyond that, every item used on-site—from cups and plates to packaging—is compostable or designed to break down naturally. The festival also provides free water refill stations, digital tickets, and minimal packaging on merch to reduce overall waste.
Once the music fades and guests depart, RISE’s commitment continues. A dedicated team retrieves every lantern from the surrounding area—along with 1 to 2 tons of existing litter that was already scattered across the dry lake bed. This work is not only just cleanup—it’s about honouring the land that hosts this experience year after year.
Understanding that some environmental impact is unavoidable, RISE Festival also invests in carbon offsets to balance its footprint. Festival organizers encourage attendees to do the same when planning travel to and from the event. Whether through cleanup, waste reduction, or sustainable sourcing, RISE takes active steps to ensure the desert remains not just unharmed, but better for having hosted the gathering.
Tickets, Travel, and the Journey to the Desert
RISE Festival offers multiple ticket tiers for its 2025 edition, including Silver, Gold, Platinum, and Diamond passes, each tailored for different levels of access and comfort. Every pass includes entry to all three nights of the experience, two lanterns, and participation in the lantern release ceremony. Premium tiers offer perks such as express entry, elevated viewing areas, premium lounges, and exclusive food and drink options.
The festival takes place just 20 miles south of Las Vegas on the Jean Dry Lake Bed. A location which is a surreal natural setting that adds more texture to the entire experience. Attendees can fly into Las Vegas (LAS), then take designated rideshares or shuttles directly to the event site. Organizers strongly recommend arriving early to fully immerse in each phase of the journey.
Tickets are available now on their website, with early bird pricing offering the best deal to join one of the most emotionally resonant festivals in the world.
The post RISE Festival 2025: 10 Years of Light, Music, and Connection appeared first on EDMNOMAD.
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Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know

Apple has unveiled surprise updates to Logic Pro for macOS and iPad, with Logic Pro 11.2 and Logic Pro for iPad 2.2. New features include an enhanced Stem Splitter, Learn MIDI for iPad, a ChatGPT integration and a revamped feature that you probably never knew existed.
READ MORE: “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears
The new versions of Logic Pro are out now and available for current owners to update to immediately. But, before you head over to the App Store and click download, here’s a rundown of what you’re in for.
Logic Pro’s Stem Splitter gets an upgrade
Stem separation, once considered an impossibility, has made its way into Logic Pro and other DAWs such as FL Studio, much to the joy of many producers. However, Apple has gone even further with its Stem Splitter in Logic Pro 11.2 with improved audio fidelity and added support for guitar and piano stems.
Now, you can separate a track by up to six stem tracks: Vocals, Drums, Bass, Guitar, Piano and Other. The new submix feature also lets you export any part of the audio you want. That means you can easily extract an acapella, a bassline or other part to study or remix — just get permission to use the sample if you intend to release anything.
Flashback Capture records even when you forget to hit record
Did you know that in earlier versions of Logic Pro, you could restore MIDI performances when you forgot to hit record? It was previously called Capture Recording and was supposedly a mystery to myriad Logic users. Now, it’s in plain sight as Flashback Capture and comes with a few extra handy features.
Flashback Capture lets you recover any audio and MIDI performances with a click, even if you forgot to hit record. The new Cycle mode also captures multiple takes and automatically organises them into a take folder. Note that you’ll need to have a track armed with audio or MIDI signals coming through for Flashback Capture to pick it up.
This is available on both Logic Pro for macOS and for iPad, and will surely be a boon to many producers. Who hasn’t forgot to hit record when making some magic at least once?
Learn MIDI comes to Logic Pro for iPad 2.2
At last, the Learn MIDI feature arrives on Logic Pro for iPad. Now, you can easily map custom parameters to your MIDI controllers, letting you get hands-on with plugins, virtual instruments and other parameters in Logic. A new interface for the feature makes this a breeze, too. Easy.

New Sound Packs for electronic music
Apple has added a few new Sound Packs to the Logic Pro library on Mac and iPad. This includes over 400 samples for drum ‘n’ bass genres in the Dancefloor Rush packl; a progressive metal Sound Pack with Tosin Abasi; and Magnetic Imperfections, which brings “the raw, unpolished essence of analogue tape,” according to Apple.
ChatGPT in Logic Pro…?
One of the minor additions to Logic Pro 11.2 is the integration of Apple’s ChatGPT-powered Writing Tools into Logic’s notepad. This is to help producers explore musical ideas for song lyrics, chords, and generate other notes one might need.
In addition, Undo History is now saved within each project, and you can now send MIDI Clock data to Ableton Link. Elsewhere, Apple’s DAW sees tweaks to the Logic Mixer, Smart Tempo, Step Sequencer, and more.
How much does Logic Pro 11.2 and Logic Pro for iPad 2.2 cost?
For current Logic Pro owners, the upgrade path is free for both Logic Pro 11.2 and Logic Pro for iPad 2.2.
If you’re not an owner of Logic Pro, the price is £199/$199 for the macOS version — note that it’s not available on Windows, Linux, or any other desktop OS.
Logic Pro for iPad 2.2 is sold on a subscription basis at £5/$5 per month or £50/$50 per year.
Is Logic Pro any good?
In short, yes. Logic Pro is one of the world’s leading DAWs and is used by countless professionals. MusicTech checked out Logic Pro for macOS and Logic Pro for iPad last year, both of which were reviewed favourably. There are competitive alternatives, for sure, and your decision on a DAW will ultimately come down to your personal needs, but we certainly recommend it as a consideration.
Speaking on Logic Pro 11, we said: “Logic Pro offers an unbeatable combination of features and value.”
In our review of Logic Pro 2 for iPad, we said: “Logic for iPad is powerful enough that you really can use it for end-to-end music production, entirely on its own.”
Learn more at apple.com 
The post Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know appeared first on MusicTech.
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Win a double pass to Mallorca Live Festival

We are giving away to one lucky winner, a double entry pass for two people to this years Mallorca Live Festival taking place in Calvià on June 12, 13. The winner will be drawn Sunday 1st June, just enough time to arrange your flights and accomodation.
To enter, tag yourself and the one friend you’d like to join you, on our facebook page or our instagram
The Balearic Islands’biggest and most important music event, Mallorca Live Festival, has unveiled the full lineup for its eighth edition at a press conference in Madrid. Taking place in Calvià on June 12, 13, and 14, Mallorca Live will feature major international and Spanish artists including Massive Attack, Iggy Pop, Suede, Nathy Peluso, Bad Gyal, Rigoberta Bandini, Antònia Font, and Dorian, amongst others.   
Mallorca Live CEO Álvaro Martínez said: “Since our inception, we’ve understood that the festival goes far beyond music. The event positions the island as a cultural destination and promotes the music industry, and it’s a project we’re currently working on based on three pillars: sustainability, tradition, and quality of experience. We continue working to generate the lowest environmental impact on the destination, to showcase Mallorca’s culture and tradition, and to offer the best experience with improvements within the venue for our attendees, a local, national, and international audience with a high cultural level who love to travel, attracted by music and to enjoy the experience.”
Full lineup for eighth edition
Among the latest additions is the legendary New York band and emblem of American psychedelia, Mercury Rev whowill perform on Saturday, June 14th. Also joining the festival’s final day is an energetic show by DJ and producer duo Elyella and Mallorcan band Go Cactus. Friday 13th will see Galician electro-punk act Grande Amore, Ibizan cumbia band Flor d’Higuera, Swedish band The Family Men and Argentinian artist Maximiliano Calvo take to the stage. Ibizan band Niños Raros and young Palma-based artist Jordan Boyd will perform on Thursday the 12th.

The young Malaga-born artist Anadie is also confirmed for the Radio 3 Stage lineup after being chosen by the listeners of the Hoy Empieza Todo program.
La Plaza Electronic stage
La Plaza Electronic Stage is a space to create a community where some of the most current DJs and producers from different parts of the globe, will make the audience dance with their eclectic sets, ranging from house to techno, through Afro Tech or Turkish psychedelia. Already announced artists include Carlita, Chloé Caillet, Desiree, Kilimanjaro, Tsha and Tripolism, and other names such as Aqutie, Gina Jeanz, Mystery Affair and Yahaira. The decks will also spin with a Mallorcan accent from Discontrol and Enric Ricone B2B Un Southnormal and Senda Fatal from Madrid.
La Plaza Electronic Stage completes its lineup with renowned Ecuadorian producer and electronic pioneer Nicola Cruz set to headline Thursday 12th, along with the already confirmed Gina Jeanz and the recently added artists Aroop Roy, Jane Fitz, Brolorizo, Radioactive Man, and local artists Melohman B2B Los del Ficus. On Friday 13th, Argentine multidisciplinary artist Lourdes Lourdes will perform on Saturday 14th and Tony Caballeros completes the electronic lineup.
Music and art come together at Mallorca Live
Year after year, the festival organizers have made a significant commitment to positioning the event as a cultural hallmark of the island of Mallorca, based on providing attendees with the best experience after their visit to the festival.
Music and art come together in this eighth edition to showcase the island’s culture and traditions on the Balearic Islands Government – Mallorca stage. This stage will feature the signature of Mallorcan designer Pablo Erroz, who recently made the prestigious Forbes magazine’s list of “the most creative in the business world in 2025” and is the only islander to hold this title.
“It is an honor to be part of the new MLF stage design, a project I admire for its ability to reinvent itself, its roots in the island, as well as its commitment to culture, music, and now also design.” said Erroz “The brand is currently experiencing a moment of maximum transversality and exploration of new paths, which makes this creative challenge even more inspiring and exciting, coupled with the fact that I am working alongside a team that fosters great connections from the island to the world.”
In addition to the festival, the in-person professional conference will return on May 30 at Es Baluard Museu d’Art Contemporani in Palma, serving as a meeting point for music industry professionals. Panel topics and speakers will be announced soon. OFF Mallorca Live is a program of parallel activities, taking music beyond the Calvià with five special events in unique settings across the island. More info coming soon. 
Mobility and Sustainability Plan
The Mallorcan festival will continue its successful mobility plan this year, using a shuttle bus service to transport festivalgoers from different parts of the island and promoting environmental responsibility. This plan and the sustainability measures adopted by Mallorca Live Festival in 2024, was recently recognized at the prestigious Iberian Festival Awards, where the festival won the national award for Contribution to Sustainability.
Travel and Accommodation Packages
To improve the transportation and accommodation offering for all attendees from the Iberian Peninsula and other countries, the festival is once again launching special packages this year that include accommodation and a 3-day festival pass from €300 and the option to add a flight to the package.

All information about the different special packages can be found on the Logitravel website, allowing you to choose the experience that best suits your needs. 
Tickets
The last 3-day passes and day tickets are on sale from €63 on the festival website www.mallorcalivefestival.com and the official ticket office Entradas.com
The post Win a double pass to Mallorca Live Festival appeared first on Decoded Magazine.
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FREE DOWNLOAD – Aubrey Fry & Al Ashford reimagined version of Radiohead’s “Burn the Witch.”

Aubrey Fry · Burn the Witch (Aubrey Fry & abandoned technologies Interpretation) (FREE DOWNLOAD) Aubrey Fry has joined forces with close friend Al Ashford to deliver a reimagined version of Radiohead’s 2016 track “Burn the Witch.” This marks the first release under their new collaborative alias: abandoned technologies.
Together, they’ve been crafting a boundary-pushing album that refuses to be confined by genre. The concept? Fusing obsolete music tech with modern production techniques to create something completely unpredictable and raw.
This is just a glimpse into the sonic world they’re building — expect the unexpected.
Availbale to download here
The post FREE DOWNLOAD – Aubrey Fry & Al Ashford reimagined version of Radiohead’s “Burn the Witch.” appeared first on Decoded Magazine.
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Chinois Ibiza Presents PORTSIDE on Sunday 1 st June The Third Year of their Beloved Open – Air Party at Ibiza Port With Luciano, Bedouin, Adassiya and More

Chinois loves to thank, celebrate and unite island locals, authorities, businesses, workers and visitors with its free hugely popular open-air party at Ibiza Port, with world-class DJs on the decks. PORTSIDE, 6pm-midnight, is all about inclusion, celebrating the White Isle, its sense of community, its magic spirit… It’s Chinois’ free gift to the island each summer.
This will be the third year of this beloved party, celebrating the legacy of Ibiza’s old town and a true homage to the island and its spirit. Chinois and 3x PORTSIDE regular Luciano, Chinois residents and SAGA foundersBedouin, hypnotic French talent Adassiya, and local hero Bruz will soundtrack your dancing.

Danny Whittle, Chinois Ibiza Brand Director: ‘PORTSIDE has now become a much-anticipated annual opportunity for us to honour the community of Ibiza, the locals, the music scene, and all the people who make the island so special, with an incredible free party. It’s such a meaningful event for us at Chinois, and for the incredible DJs joining us, whilst also powering the local businesses in the Port. It’s always a really special day. Thanks to the Mayor, Town Hall and Port Authority for making this happen.’Chinois would like especially to thank Ibiza Town Council, Balearic Islands Port Authority, Ibiza Port Neighbours and Businesses Association, La Marina de IbizaBusinesses Association, Callede la Virgen Business Association, and Es Pratet Residents Association.
Bedouin says: ‘Playing PORTSIDE is something special…right in the heart of Ibiza, open-air, free for everyone. We’re really looking forward to sharing this huge moment with everyone before kicking off our SAGA residency just a few weeks later’The party continues after the Port at Chinois, a stone’s throw away at the Marina from 23:30, where you’ll get a second chance to see Luciano and Bedouin, this time in Chinois’ intimate club setting. Also on the lineup are fellow French producers Dorian Craft B2B Baron, and London-born Cameron Jack.
 
The post Chinois Ibiza Presents PORTSIDE on Sunday 1 st June The Third Year of their Beloved Open – Air Party at Ibiza Port With Luciano, Bedouin, Adassiya and More appeared first on Electric Mode.
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Techno Star Grace Dahl Unleashes ‘I Want To Dance’ On SDT Recordings

With her label Serial Disc Touchers steadily carving out its own lane, Grace Dahl steps into the spotlight with its third release, ‘I Want To Dance’. Coveted by fans as a frequent closer in her sets, the track now lands in the SDT Recordings catalogue, capturing the stripped-back yet confident ethos that has come to define GraceDahl’s beloved sound. Hit the floor on May 28 when the new single lands on streaming services everywhere.
Powered by a chugging rhythm and Dahl’s own looping vocal hook, ‘I Want To Dance’ wastes no time making its presence known. It’s a mature club track at heart, stripped back yet entirely self-assured. Subtle tension building synths concoct a sonic atmosphere that evokes long bouts wandering through both haze and strobes. Teetering on 135bpm, the resulting tune is an infectious House groover, likely to work its way into your mental soundtrack without any intention of leaving.
 
Arriving just days before her performance at Soenda Festival in Utrecht, the release follows a run of acclaimed shows, including a Boiler Room set that has etched the Dutch talent as one of the scene’s current must-see acts.With ‘I Want To Dance’ set for a May 28 release, it’s time to forgo deeper meaning and simply find your way to the dance floor.
Grace Dahl has emerged as one of the most exciting names in the circuit, with a flair for emotive, high energy techno. It combines emotional depth with an infectious high energy, creating a sound that resonates on both a personal and a collective level. Born in Budapest, Hungary and spending her early childhood in Spain before eventually settling in Amsterdam, her upbringing was as colourful as it was diverse. With a Hungarian Father and Finnish Mother deeply immersed in the European rave scene of the 1990s, it seems that her path was almost predestined. As a child, some of her earliest memories are watching her father playing records at home, being entranced by what was happening on the turntable and coming out of the speakers. From the very beginning she had a burning passion for music that was only fueled and enhanced by her colourful and diverse upbringing. Grace’s career began at 18, cutting her teeth at clubs and venues around Amsterdam. She soon became a resident at the iconic Vault Sessions party series, solidifying her reputation as a rising star. Since then she has gone on to play some of the most revered venues and festivals around the world, including Berghain, Awakenings, Boiler Room and Stone TechnoFestival. Her production journey began in 2018 with her first release on Coincidence Records aspart of a VA compilation, followed by her debut solo EP, Dark Side of Desire, on Khazad Records. Since then she has appeared on high-profile imprints such as Amelie Lens’sExhale and* Frenzy Recordings, further cementing her place among techno’s elite talents.Her productions are a balance of powerfully weighted percussion and rich, immersive soundscapes.In 2024 Grace launched her very own label Serial Disc Touchers (SDT Recordings),which is a testament to her vision of fostering high-quality, boundary-free music. Since then the label has already released two projects and boasts a roster of talented artists, including Alec Dienaar, Julian Muller, François X, and Onyvaa. The post Techno Star Grace Dahl Unleashes ‘I Want To Dance’ On SDT Recordings appeared first on Electric Mode.
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&ME Leads Vision Open Air at Ex Macella Milano

Vision Open Air returns to Ex Macella Milano on Saturday, May 24, 2025, with Keinemusik co-founder &ME headlining a four-hour set. The Berlin-based artist lands in Milan following appearances at Coachella, AlUla in Saudi Arabia, and ahead of upcoming shows in New York, London, Ibiza, and Berlin.
A defining force in contemporary house and techno, &ME has been central to Keinemusik’s rise as one of the most influential collectives in global electronic music. Since launching in 2009, the crew, made up of four DJs, a graphic designer, and a painter, has reshaped dancefloor dynamics with standout releases like “The Rapture Pt.III,” “Say What”and “Thandaza.”

Joining &ME are US selector Airrica, fresh from Time Warp Germany and a summer date at Hï Ibiza, and Rimaye, the rising French-German talent with growing international traction after sets in Miami and beyond.
Following the open-air session at Ex Macella, the night continues at Amnesia Milano for the official Vision aftershow and Amnesia’s season-closing party.
Find Out More & Follow
https://amnesiamilano.com/
 
The post &ME Leads Vision Open Air at Ex Macella Milano appeared first on Electric Mode.
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Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors to date?

Single-channel models: $699 / € 749 / £629
Dual-channel models: $1199 / €1299 / £1159
warmaudio.com
Warm Audio’s WA76 compressor/limiter has been performing stellar dynamic control duties in studios worldwide since its launch way back in the before-times of 2014. Indeed, your MusicTech correspondent here was one of the first to sing its praises; so much so, I bought a pair of them.
READ MORE: Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors? Now, WA head honcho Bryce Young and his team have expanded the range to include four new models. Two of them are inspired by traditional mono 1176s, while the other two have two channels. Of course, all of the WA76s are based upon the classic Urei 1176, launched in 1967 and revised several times throughout the 1970s and beyond.
The WA76-A (mono) and A2 (stereo) emulate the sound and style of the original ‘67 ‘Blue Stripe’ model, while the WA76-D and D2 mimic the ‘Blackface’ Rev D version from the early 70s. As the mono and stereo units of each model share the same sonic signature, I asked to check out the single-channel WA76-A and the dual-channel WA76-D2.
Both models are referred to as a Limiting Amplifier on the facia; however, the ‘Blue Stripe’ A model is described as a vintage-voiced discrete FET compressor, while Rev D is a clean gain discrete compressor.
In practice, this means A models offer the more obviously coloured, harmoniously saturated and aggressive performance of the original late 60s units. It’s a gloriously vintage vibe that seems to beef up audio processed through it, much like the early solid-state consoles of the era.
By contrast, D revisions sound cleaner, more transparent and, significantly, operate with less self-noise. It’s those attributes that made original Rev D units so revered from the mid-70s onwards, yet with modern ultra-clean recording mediums, the more characterful Blue Stripes are enjoying a resurgence in popularity.
Internally, each model has ‘built-to-vintage-spec’ input and output transformers from CineMag, with the Blackface models incorporating a lower-noise preamp stage.
For those unfamiliar with the classic mono 1176 design, these latest single-channel incarnations feature all the dynamic control of historic units, while incorporating extra features to facilitate modern recording practice. As ever, there are rotary controls for Input and Output as well as Attack and Release. Four push buttons allow the selection of compression ratios (4:1, 8:1, 12:1 and 20:1) and of course, the famous ‘all buttons in’ mode that engineers love for a smashed drum sound, for example. New to these units are selectable 10 kΩ input impedance, to better match for modern interfaces, a variable sidechain high-pass filter that operates between 30-300 Hz and a Wet/Dry mix control, which is particularly useful for parallel compression when using heavier compression.
A large back-lit VU meter shows either gain reduction or output level (+8 dB or +4 dB), while around the back, Input and Output can be used with either XLR or balanced jack cables. Stereo Link sockets and External Sidechain Access (for the single-channel units only) are also located there.
Dual-channel versions manage to squeeze two channels into the same-sized 2U chassis as the mono models, so if space saving is important, this is a great cost-effective way to get stereo 1176 dynamic control without using up double the rack space required for a linked mono pair.
There are three ways these two-channel models can be configured, two of them for stereo use and the third for dual-mono use on two separate sources. As there are no external side-chaining options available on these models, the way the compressor works with stereo or dual-mono signals is controlled by a toggle switch on the front panel. In standard stereo mode, the compressor reacts as you would expect, providing even compression determined by the fastest attack and slowest release settings. With the A>AB mode engaged, the left channel also controls the response times of the right channel.
A/B mode is for dual mono processing, however as there is only one set of ratio controls on the unit, you can’t select different compression ratios for each mono source, although you can of course set the response times to suit the separate input signals as well as independently adjust the input and output levels.
Used on a variety of mono and stereo signals, each model works to its own strengths. Although the Blue Stripe is a little noisier in operation, it does impart a real, classic analogue sound, thickening things up and adding unique sonic colour even with little (or no) compression taking place. Dialling up the input gain injects a lovely touch of saturation that mimics that slightly overdriven sound often heard on recordings from the late 60s. For tracking electric guitars, bass and hard-edged vocals, Bluey is hard to beat if you want hot, gritty glue. It’s also brilliant at breathing life into digital synth sounds that might otherwise appear flat and sterile.
On the other hand, Rev D is more transparent, but without losing any of the grippy compression characteristics I love about ‘76 type units. It does add a noticeable degree of analogue thickening to audio and, if you drive the unit hard with high input levels, welcome harmonic distortion provides a larger-than-life sound.
Used on a stereo drum bus, the sound pumps rhythmically, with little self-noise even at extreme compression levels. Here, the Wet/Dry control comes into its own, allowing for a continuously variable blend so that you can precisely achieve the right amount of parallel compression without the need to set up additional channels. This is a wonderful feature not available on vintage units.

Both the WA76-A and WA76-D (mono or dual-channel) exhibit the classic compression characteristics we all love about this type of unit. The many available response times that can be dialled in makes them fantastic dynamic controllers that can handle any audio signal with ease.
If you’re after an unmistakable vintage sound with bags of character and don’t mind a touch of extraneous noise, the Blue Stripe ‘A’ models are the ones to seek out. For a cleaner, less coloured and slightly more ‘hi-fi’ sound that still possesses that authentic ‘76 style from the mid-1970s, the Rev D models are hard to beat.
Warm Audio’s superb build quality and value for money is a given these days, so the additional flexibility of switchable impedance, high-pass filter and the Wet/Dry control makes either version a must-hear audition choice if you’re in the market for a classic 1176-style compressor.

Key features
Analogue, discrete FET design 100% wet/dry control Impedance switch (600 kΩ or 10 kΩ) 30 Hz – 300 Hz high-pass filter Active bypass 2 stereo linking jacks (mono unit only) External sidechain input and output (mono unit only) The post Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors to date? appeared first on MusicTech.
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Listen to “Erotic, and Mostly Empty” EP by Possibly Jamie

Emerging Scottish producer and singer-songwriter Possibly Jamie is making waves with the release of his captivating new EP, “Erotic and Mostly Empty.” This powerful body of work fearlessly explores themes of apathy and emotional fatigue, diving deep into the complexities of modern life. Jamie’s recent focus singles, “Want” and “DNR,” serve as poignant previews, vividly capturing the essence of disillusionment, struggle, and indecision. At the heart of this collection lies a raw introspection on topics of apathy, romantic disconnection, and the nuances of modern masculinity. Therefore, making it an essential listen for anyone navigating these turbulent emotions.
I have observed that in Possibly Jamie’s work, lyrical authenticity holds equal importance to his groundbreaking fusion of art-pop and experimental electronic sounds. Immersing myself in the “Erotic, Mostly Empty” EP reveals a rich tapestry of musical diversity. This is complemented by bold narratives that delve into queerness, modern masculinity, and the complexities of romantic relationships. This EP not only showcases his innovative artistry but also challenges listeners to reflect on contemporary themes with striking clarity and depth.
“Tuesday, Pity Sex” is a striking track that I’ve been eager to explore in the blog. Its electro-pop style stands in contrast to the more experimental sounds typically associated with Possibly Jamie. Yet it also successfully carves out its own distinct lane. Jamie’s characteristic speak-sing delivery brings an engaging layer to the song, effectively amplifying its poignant narrative. The lyrics delve deeply into the emotional landscape of intimacy. Moreover, showcasing the hollow routines that can easily ensnare individuals in a cycle of superficial connections. This haunting exploration of intimacy devoid of true meaning resonates on multiple levels. Thus making it a compelling listen that prompts reflection long after the final notes fade away.
Jamie’s music could very well be seen as an enriching experience for all of us. Bursting with daring hooks that challenge us to take a chance, these energetic pop bops break free from conventional formulas. Moreover, the EP “Erotic and Mostly Empty” is not just bold and self-assured; it’s unapologetically blunt. This creates a powerful sense of empowerment for Jamie’s listeners, making the urge to hit replay not just strong but utterly irresistible.
Listen/stream “Erotic and Mostly Empty” HERE
Connect with Possibly Jamie
X: https://x.com/possiblyjamie
Instagram:https://www.instagram.com/possiblypossiblyjamie/
The post Listen to “Erotic, and Mostly Empty” EP by Possibly Jamie appeared first on EQ Music Blog.
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Sam Feldt Releases Sophomore Album, Time After Time

International Dutch DJ, Sam Feldt, just released his second full-length album, Time After Time – a deeply personal and genre-evolving project that blends his signature tropical house roots with a bold new direction he calls Future Tropical. Listen here.
The album features collaborations with major artists like Anitta, JVKE, Justin Jesso, and Parson James, and explores themes of personal growth, fatherhood, and seizing the moment. With over 10 billion streams, 8.5 million monthly Spotify listeners, and global performances ranking him among the top Dutch acts internationally, Sam’s story continues to evolve—musically and personally.
Sam Feldt, born Sammy Renders, is a renowned Dutch DJ, producer, and entrepreneur, celebrated for reshaping tropical house with hits like ‘Show Me Love’. His music, known for its melodic richness, often features diverse collaborations, showcasing his explorative approach. Beyond the decks, Sam is a visionary in the business world. He founded Fangage, a platform for artists to connect with fans, and launched Heartfeldt Records, emphasizing talent development.
Beyond the music, Sam is also a successful entrepreneur and he leads the Heartfeldt Foundation, which is expanding in 2025 through a partnership with the United Nations, linking sustainability with the power of music. His entrepreneurial spirit extends to Hello World Investments, focusing on innovative startups, especially in sustainability and technology. He’s also a respected speaker, sharing insights on music, technology, and sustainability at global events. Balancing a successful career with a personal life, Sam is a role model in using his platform for positive change, blending musical talent with social responsibility and innovation. His journey is a testament to the power of artistry intertwined with entrepreneurial acumen and philanthropy.
The post Sam Feldt Releases Sophomore Album, Time After Time appeared first on EDMTunes.
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Martin Garrix & Lauv Join Forces for New Summer Anthem ‘MAD’

Debuted at Ultra Miami, the infectious collab is now available via STMPD RCRDS & Casablanca Records/Republic Records.
Dutch superstar DJ and producer Martin Garrix has officially teamed up with pop sensation Lauv for their long-awaited new single, ‘MAD’. Released via STMPD RCRDS and Casablanca Records/Republic Records, the electrifying track is poised to become a defining sound of the summer.
First previewed to thousands of fans during Garrix’s headlining set at Ultra Music Festival Miami, ‘MAD’ has been gaining traction ever since, thanks to its addictive drop, dancefloor-ready energy, and emotionally charged lyrics. It’s an undeniable fusion of Garrix’s euphoric production and Lauv’s signature introspective songwriting.
The single comes alongside an emotionally resonant music video directed by Mathias Norman, showcasing a visual narrative that matches the raw vulnerability and euphoric highs of the track.
Garrix Continues His 2025 Takeover
‘MAD’ follows Garrix’s recent collaborations with Arijit Singh, including ‘Angels for Each Other‘—his first-ever vocal performance on one of his own tracks—and ‘Weightless‘. Both releases signal Garrix’s growing range and fearless experimentation with his sonic identity.
Garrix also wrapped up an explosive weekend in Las Vegas, playing at OMNIA, TAO Beach Club, and headlining EDC, solidifying his place among the most in-demand DJs on the planet. Looking ahead, he’s set to make history in June as the first artist to perform three nights at the Los Angeles State Historic Park—selling out 40,000 tickets in record time and adding a third date due to overwhelming demand. He also sold out two back-to-back shows at the iconic Red Rocks Amphitheater in Colorado this October.
With ‘MAD’, Martin Garrix continues to push boundaries, merging pop and dance in a way that resonates worldwide. As festival season heats up, this collaboration with Lauv is already proving to be the soundtrack of summer 2025.

Listen to ‘MAD’ now. Watch the official music video, and stay tuned for more Garrix tour dates and festival announcements coming soon.
The post Martin Garrix & Lauv Join Forces for New Summer Anthem ‘MAD’ appeared first on EDMTunes.
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Julian Sacheli Highlights Percussive Melodies in ‘Be Alone’

Miami-based producer and DJ Julian Sacheli, who is also part of the duo Black V Neck, has released a new single called ‘Be Alone’ for Dirtybird’s 20th anniversary. This is the first solo release of Julian Sacheli in eight years, following Black V Neck’s track ‘Check My Brain’.
‘Be Alone’ is a double meaning title that marks a new chapter in the electrifying career of Julian Sacheli. The track shows his growth as an artist and highlights elements that set his sound apart from Black V Neck. It features melodic patterns, unique deep-tech beats, and clear percussion. The track is built around a thoughtful vocal sample that portrays loneliness as a way to escape. Additionally, this track offers a deeper, more personal perspective in the artist’s solo work. Click ‘Play’ on the Spotify link below to stream the track, it will allow all to deeply feel the melodies and deep soundscapes that are perfect for any kind of setting.
‘Be Alone’ marks a significant mark in the solo career of Julian Sacheli
Julian Sacheli has been active in the house music scene since 2008. His career began with the influence of his DJ father. He started producing music on Ableton and playing vinyl records by age 12. He continued to perform and release music while in high school. In 2017, he co-founded Black V Neck with Ian Beato. The duo gained recognition for their sound and performances at major festivals such as Coachella, Ultra, and EDC. Now, in 2025, Julian Sacheli is launching his solo career with the release of ‘Be Alone’.
Everyone can stream ‘Be Alone’ on all platforms. To receive updates on Dirtybird releases, events, merchandise, and more, please sign up through the provided link.
The post Julian Sacheli Highlights Percussive Melodies in ‘Be Alone’ appeared first on EDMTunes.
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Simina Grigoriu Unleashed Remix of ‘The Sound of the Future’

Simina Grigoriu had recently released her remix out on Phuture Wax Records, and it is her own spin on Tom Wax’s track, ‘The Sound of the Future’. Known for her sharp techno and catchy beats, she really shows why she’s a big name in the music scene. In her remix, you’ll hear tight percussion and a deep bassline.
Simina strips the original track down to its basics and builds it back up with cool rhythms, modulated synths, and effects that crank up the tension. The result is a driving track that’s perfect for late-night dance floors. It’s energetic and has a great vibe, making it just right for dark clubs.
The remix of ‘The Sound of the Future’ by Simina Grigoriu is a great modern take on a classic dance track
This remix is actually her second for Tom Wax; her first one was the 2023 rework of ‘Plur’, which she did with Dr. Motte. In fact, that track helped solidify her reputation for blending skillful production with dancefloor energy. For the past ten years, Simina’s carved out a unique space in the techno world. Her sound is both thought-provoking and physical.
As the founder of Kuukou Records, she promotes fresh music from well-known and up-and-coming artists, creating a lineup that reflects her passion for powerful, well-crafted techno. To summarize about her remix of ‘The Sound of the Future’, it is a great piece of music that stands out in her growing body of work. It pays homage to the original while turning it into a modern club anthem. For Simina Grigoriu, her dedication to quality and creativity on her remix of ‘The Sound of the Future’ is truly shaping the future of techno.
The post Simina Grigoriu Unleashed Remix of ‘The Sound of the Future’ appeared first on EDMTunes.
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Amsterdam Music Festival Announces Killer Lineup

Every October since 2013, the Amsterdam Dance Event (ADE) has occurred in venues across the city. The event is five days long, and the week’s highlight is always held on the Saturday of ADE—the big names and icons of EDM roll in on Saturday for the Amsterdam Music Festival (AMF).
AMF is being held this year on October 25, 2025. Taking over the Johan Cruijff Arena, they turn it into a massive nightclub, filling it with 40,000 fans ready to dance the night away. Performing on the decks this year are returning legends and new faces that might surprise you. Two heavyweight fan favorites leading the pack are Armin van Buuren and Hardwell. Joining them for their first AMF appearance are Afrojack and Gregor Salto, who will premiere together as AfroSalto.
AMF is breaking new ground this year by branching out beyond its signature EDM sound with a broad spectrum of music and artists. So, to complete their 2025 lineup for a wider range of genres, you will hear sets from John Summit, Sara Landry, KI/KI, Miss Monique, MORTEN, Oliver Heldens, and Sub Zero Project.
The event has an early access option at 7:30 PM, with a pre-show experience starting at 8:00 PM. Otherwise, regular access will be at 9:00 PM. The regular show begins at 9:00 PM and ends at 6:00 AM. Tickets start at €99, and you’ll have the option to choose between five different ticket types. You can secure your ticket at amf-festival.com.

The post Amsterdam Music Festival Announces Killer Lineup appeared first on EDMTunes.
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