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Electronic Music Industry Hits $12.9 Billion In Value, Says IMS Business Report 2025

The electronic music industry has reached a landmark valuation of $12.9 billion, according to the newly released IMS Business Report 2025, unveiled at the opening of IMS Ibiza on April 23rd. This marks a 6% year-on-year growth, following a 9% increase in the previous year, signaling a continued, albeit slightly slower, upward trend in the global scene’s economic impact.
Now in its 11th edition and authored by Mark Mulligan of MIDiA Research, the report offers what it calls a “definitive snapshot of the global electronic music economy.” While streaming revenue growth is beginning to mature and the post-Covid live boom is leveling out, the report paints a picture of an industry thriving through innovation, evolving tastes, and a new generation of fans.
A Genre Rising Against the Odds
Despite an overall slowing in global music industry growth, electronic music has increased its cultural and economic share. Mulligan attributes this resilience to the rise of dynamic new subgenres such as Afro-house and amapiano, as well as a revival of drum & bass, jungle, and UK garage — all fueled by young creators redefining the genre’s identity.
“Electronic music finds itself at the start of a brave new era of cultural resonance,” Mulligan said, noting that this generation of artists is building something uniquely its own.
Streaming Soars — But Artists Feel the Squeeze
The report highlights a significant increase in global streaming subscribers — up 12% to 818 million, with most of the growth coming from the Global South. However, artists aren’t necessarily benefitting equally. Platforms like Spotify (which leads with 32% market share) have introduced streaming royalty thresholds that have hurt self-releasing artists, limiting payouts for tracks with fewer than 1,000 streams.
While independent labels have grown to claim 30% of the market, the consolidation of major labels and their distribution networks means a portion of that market share still indirectly benefits the majors. As Mulligan warned, the same pressures hitting independent artists are set to affect smaller electronic labels in 2025, potentially sparking widespread discontent.
Live Sector Hits Record Highs — But Faces Tough Realities
The live music market has doubled in value compared to pre-pandemic levels, but much of this growth is attributed to skyrocketing ticket prices, not increased attendance. While top-tier acts and mega tours are thriving, small and mid-sized venues and festivals are struggling with rising costs and financially strapped audiences.
“In Ibiza and among the top 100 global tours, the number of tickets sold was actually down in 2024,” Mulligan noted. “But higher ticket prices ensured revenues were still up.”
He also pointed to a spending clash between live music and physical formats like vinyl, which have become collector’s items and status symbols for superfans. With ticket prices reaching unsustainable levels, physical sales may continue to feel the squeeze.
Global Reach, Local Impact
Listenership for electronic music surged in 2024, particularly in markets like Mexico (+60%), Brazil, and India. Across platforms like Spotify, TikTok, and YouTube, the report tracked 566 million new fans engaging with electronic content. TikTok views of electronic music posts rose by 45%, surpassing indie music content with 13 billion views.
Still, Mulligan warns that the concept of “global music trends” is becoming obsolete. As streaming spreads, regionalization is growing, with audiences in non-Western markets favoring local talent over global hits. This duality — where music both localizes and crosses borders — is reshaping the industry’s landscape.
The AI Revolution Is Coming Fast
Perhaps the most forward-looking section of the IMS Report focuses on artificial intelligence, which is rapidly embedding itself in music creation, curation, and business operations. Around 60 million people used music creation apps in 2024, with 10% of consumers using generative AI to create tracks or lyrics.
But AI’s impact won’t stop at creativity. According to Mulligan, AI is set to automate A&R, manage royalties, optimize catalogues, and redefine how labels maintain their sonic identity. While it may flood streaming platforms with “best-fit” algorithmic tracks, it also presents tools to empower artists — if they can adapt.
“AI will find its way into all aspects of the music business,” Mulligan emphasized. “But unless streaming services create lanes for AI-generated content, real music fans may start looking elsewhere.”
As IMS Ibiza continues at Cala Llonga this week under the theme of Intergenerational Exchange, the electronic music industry stands at a powerful crossroads. Between record-breaking global engagement, AI-fueled innovation, and the urgent financial challenges faced by smaller players, the IMS Business Report 2025 makes one thing clear: electronic music’s future is as complex as it is promising.
The full IMS Business Report is available to read now on IMS’s official website.
The post Electronic Music Industry Hits $12.9 Billion In Value, Says IMS Business Report 2025 appeared first on EDMTunes.
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Groove Cruise Unveils 2026 Lineup With John Summit, Green Velvet, Lilly Palmer and More

The open sea is calling, and it sounds like techno, trance and house beats deep enough to anchor a cruise ship.
Whet Travel's beloved floating festival, Groove Cruise, just dropped the lineup for its 2026 sailing. It's once again taking place on Wonder of the Seas, the kind of ship that looks like a small city and somehow fits a nightclub on every deck.
John Summit leads the bill, followed by a slew of influential house artists the likes of Chris Lorenzo, Cassian, Green Velvet and Cloonee. The lineup also features a trio of EDM.com Class of 2025 inductees: Max Styler, Layton Giordani and Wakyin.
Advancing their commitment to booking female talent, this year's billing features a total of 36 women, comprising nearly a third of the total lineup, a Groove Cruise representative confirmed to EDM.com. Attendees can catch performances by Lilly Palmer, Azzecca, Blossom, Luci and Sarah de Warren, among others.
A particular highlight will come with a punk-infused DJ set by Girl Math, the collaborative alias of Nala and VNSSA.
"There's this implied thing with girlhood that's like, we're great at everything and we hold it all down, and sometimes that goes without credit," Nala told EDM.com in a recent interview. "So girlhood is about getting shit done, even if it means not totally getting acknowledged for the work that went into it."
The festival will depart from Miami on January 22nd and head to Nassau before returning five days later. You can check out the full Groove Cruise 2026 lineup below and purchase passes here.
Lilly Palmer, VNSSA, c/o Press
Follow Groove Cruise:
Instagram: instagram.com/groovecruise
TikTok: tiktok.com/@groovecruise_official
X: x.com/GrooveCruise/whettravel
Facebook: facebook.com/groovecruise
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Studio Survival: LaMeduza 

Neumann TLM 103
One of the most important pieces of gear in my home studio is definitely the Neumann TLM 103 mic.
I’ve been using it for all my vocals in the last few years. It’s a great condenser microphone which gives a lot of warmth to my voice especially in the higher frequencies. Combined with the Apogee Duet preamps, it records my voice and all its details beautifully.
In terms of digital software, my go-to for vocal recordings and vocal production is Logic. It’s the DAW I’ve been using from the very start of my music career. Editing & selecting takes in Logic has become a second nature as I work not only for my personal project LaMeduza but also vocally produce (record/vocal coach, comp & post prod) artists for over 15 years.
I’ve also been obsessed lately with all of the Valhalla DSP’s plugins, most notably Valhalla Delay and Valhalla VintageVerb. The ducking capabilities of the delay and its various modes help me build great vocal chains for all types of tracks. When delivering vocals I always send both my own processed version and the dry (but comped) takes, as this gives the producers I work with a clear idea of how I imagine the vocals to sound within the track. Other plugins like Valhalla Shimmer are FX I use occasionally when doing the more operatic ad-libs or whispered vocals, since it gives that endlessly trailing bright reverb which cushions the track pretty nicely.
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Marten Hørger DJed After Breaking His Foot Chasing a Pizza Delivery Guy

Some DJs drop bangers. Meanwhile, Marten Hørger dropped everything to save a pizza.
The Beatport chart-topping DJ and producer recently revealed that he broke his foot, not jumping behind the decks or crowd-surfing, but chasing down a pizza delivery guy. According to the "hangry" Hørger, the employee was about to walk into the wrong hotel, so he sprinted to intercept him and ultimately paid the price by fracturing foot.
The silver lining? "Yes, I saved the pizza," he wrote in an Instagram post, proudly sharing the evidence in the final slide of a carousel. The irony? The slogan on the pizza box was: "Your slice of ambition is served."
Marten Hørger/Instagram
Despite the injury, Hørger isn't pumping the brakes. Cast-clad and crutch-assisted, he headed straight from the emergency room to his DJ set that night. Maybe someone told him to "break a leg" before the show—if so, mission partially accomplished.
"I'll just have to wear this cast for a few weeks," Hørger added, noting that doctors gave him the green light to keep traveling and performing.
It's not the first time electronic dance music has seen an artist soldier through broken bones. PEEKABOO DJed with one arm after breaking his shoulder back in 2021 and just a few months later, Hannah Wants broke her leg in a scooter accident on the island of Ibiza.
Hørger's tale, however, stands out for its relatability. After all, who among us hasn’t risked it all for a good pizza?
View the original article to see embedded media.
Follow MARTEN HØRGER:
Instagram: instagram.com/marten_horger
X: x.com/martenhorger
TikTok: tiktok.com/@marten_horger
Facebook: facebook.com/marten.horger
Spotify: spoti.fi/3lF4Lm9
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Cody Chase Drops Banging Techno Single ‘Acid Rain’

Producer and DJ Cody Chase returns, offering his latest Techno track, ‘Acid Rain’ via Mavic Music. Known for delivering music that is both well-crafted and dancefloor-ready, Cody Chase’s new release leans into darker tones while maintaining the rhythmic focus and intensity that define his productions.
‘Acid Rain’ introduces listeners to a steady beat and robust bassline, setting a solid foundation from the start. As pulsating patterns weave into the mix, adding a gritty edge, choppy melodic synths and filtered textures help build momentum, driving the track forward with hypnotising energy. Throughout, the track retains its flow, progressing with energy as breakdowns raise the tension further, elevating ‘Acid Rain’ with layers of fresh sound. 
Throughout the track, Cody Chase’s attention to detail is evident; with carefully placed sonic hooks and powerful transitions that keep the arrangement evolving, his thoughtful approach has resulted in a production poised to make an impact — showcasing his signature style and clear creative direction.
As with his recent releases, ‘Acid Rain’ reflects Cody Chase’s focus on developing his approach while keeping his work grounded in his unique vision and trademark style. The track’s balance of atmosphere and energy suggests a Producer who continues to refine his style, adding depth to his catalogue to ensure his work keeps resonating with the global Electronic Music community.  
With his journey progressing, Cody Chase continues to push forward with passion, determination and commitment, bringing fresh ideas that reflect his evolving artistry and continued focus on quality. As he upholds the consistency of his release schedule, he keeps working to build his presence in the Electronic Music space, aiming to share his craft, skills, and talent and establish himself as a recognised figure on the scene. 
So, be sure to take note and keep up with Cody Chase and his journey by following him across social media. 
‘Acid Rain’ is out now via Mavic Music and is available to stream and download across all major platforms.
Listen and Buy ‘Acid Rain’ Now:    
Cody Chase Online:
Website | Instagram | Soundcloud    
Mavic Music Online:
Beatport | Instagram
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Arturia V Collection 11: New plugins, price, V Collection Intro, and everything else you need to know

Arturia has released V Collection 11, the latest instalment of its revered suite of plugins that emulate classic analogue synthesizers and acoustic instruments. Along with a handful of new emulations, V Collection 11 also introduces new additions to Arturia’s Augmented series and a new synth, Pure LoFi. Also new is the V Collection Intro bundle, which offers a slimmed-down version of the library at a lower price.
READ MORE: Best free plugins 2025: 15 free synths that you didn’t know you needed Speaking to MusicTech about V Collection 11, Arturia explains: “As the market and contemporary music production evolve, one of our main challenges is to come up with new types of instruments to bring more versatility and complementarity for music makers, while remaining true to our identity…We take pride in the fact that our products are not simply content-based. They are the result of meticulous engineering, built to deliver pristine audio and long-term value.”
Here’s everything you need to know about the update.
What’s new in V Collection 11 at a glance
Seven new instruments arrive in V Collection 11, bringing the total number of instruments up to 45. The new instruments are:
Jup-8000 V SEM V MiniBrute V Synthx V Pure LoFi Augmented Mallets Augmented Yangtze In addition, the entire Augmented Series lineup receives a major update, as does the MiniFreak V (an emulation and companion synth to Arturia’s MiniFreak hardware).
The Jup-8000 V, SEM V, Synthx V and MiniBrute V are all emulations of hardware synths. Meanwhile, Pure LoFi, Augmented Mallets and Augmented Yangtze are all new, original instruments. Why did Arturia opt to create these particular instruments?
“Certain instruments have played a crucial role in shaping musical eras and cultures,” Arturia tells MusicTech. “These instruments remain indispensable for musicians today, whether producing music that adheres to established aesthetics or forging innovative musical paths…The new original instruments allow us to infuse the pure DNA of the brand.”
Truthfully, only four of the seven new additions are truly ‘new’. The SEM V is a remake, while the MiniBrute V and Synthx V were released in 2025. Still, there’s a lot to unpack — check out a breakdown of each instrument later in this article.
V Collection Pro and V Collection Intro — how much do they cost, and what’s the difference?
V Collection Intro is a new tier for Arturia’s plugin suite.
As expected, V Collection Intro is a “compact, carefully curated” suite of 10 V Collection plugins. This comes at a lower price of €199/$199 and gives you Analog Lab Pro, Mini V, Jun-6 V, Prophet-5 V, DX7 V, PureLofi, MiniFreak V, Stage-73 V, Augmented Grand Piano and Augmented Strings.
Meanwhile, the full suite — now sold as V Collection Pro — is  €699/$699.
Speaking to MusicTech, Arturia says V Collection Pro is “aimed at contemporary music producers, beatmakers and nostalgics,” boasting instruments that “cover the whole spectrum of the music era.” The brand adds that V Collection Intro is better viewed as “a starting point for [producers] beginning their journey with our instruments.”
But, hang on — isn’t Analog Lab already a sort of V Collection Intro? Not exactly, Arturia says.
“Analog Lab and V Collection have always taken different approaches,” a spokesperson says. “Analog Lab prioritises efficiency, providing access to a wide variety of sounds in one place and encouraging creativity by simplifying preset exploration. V Collection, on the other hand, offers a deeper, more focused experience.”
All the new V Collection 11 instruments in detail
Jup 8000-V
Arturia’s Jup-8000 V is an emulation of Roland’s JP-8000 analogue modelling synth, first released in 1996.
The plugin packs seven synthesis engines, a surgical filter, a multi-arpeggiator and a melodic sequencer. Arturia also says it reverse-engineered every detail in the circuitry of the JP-8000, making sure to replicate the powerful Supersaw oscillator that the original synth was celebrated for.
The Jup-8000 V also has an expanded, modernised effects section with 18 effects, including a new Trance Gate.
SEM V
The Oberheim SEM was one of Tom Oberheim’s first synth creations. Released in 1974, the monophonic synth became the foundation for the legendary synth maker’s most celebrated instruments. Arturia brings this to your DAW as the SEM V.
Here’s the thing — the plugin itself is not new. Arturia’s been flogging the SEM V since 2012, but this iteration is remodelled from the ground up. It sports a sleeker, more modern interface, but also has some additional quirks.
The SEM V has a 12dB/oct state variable filter, just like Oberheim’s original, that Arturia claims is “smooth, musical and endlessly expressive.” Elsewhere, dual oscillators, two ADS envelopes, and eight voices of polyphony make up the synth’s sound engine, letting you move beyond the monophonic nature of the original. In addition, an Advanced Panel offers access to a deep modulation engine, an effects rack, a multi-arpeggiator and expressive tools.
MiniBrute V
Arturia’s MiniBrute has become a modern classic in the synth world. The brand’s software recreation, which reimagined it from monophonic to polyphonic,  was released in May 2024, but only as a standalone synth for €199. Now, it comes bundled into the V Collection.
You can check out our news story to get the full lowdown on the MiniBrute V.
Synthx V
Another synth that was released standalone before V Collection 11 is the Synthx V. This emulation revives the coveted Elka Synthex polysynth released in 1981.
Touted by Arturia as a “stereo dream machine”, the Synthx V is a multitimbral synthesizer that boasts the same dual-engine architecture that combines two layers of synthesis. There are also two digitally controlled oscillators (DCOs) for “lush, warm and characterful analogue sounds,” says the brand, and a multimode filter based on the CEM 3320 multimode filter in the original. Plus, the beloved Chorus effect from the original Synthex has been emulated here, too.
Again, you’ll get the same multi arp function, modulation page, expanded effects, and more in the Advanced Panel found in other V Collection instruments.
Pure LoFi
This unexpected addition is an Arturia original. Pure LoFi is, unsurprisingly, all about giving you lo-fi sounds. It’s a polyphonic synthesizer that has nine different hardware modes to emulate the sound of vintage samplers, which include tape-focused samplers like the Mellotron, digital samplers like the Akai MPC60 and E-Mu SP-1200, and VHS-style samplers similar to modern plugins used in lo-fi hip-hop.
READ MORE: The E-mu SP-1200: How one sampler ushered in a revolution
Pure LoFi also has six different lo-fi modes for a variety of gritty, degraded textures, plus three sound design engines that let you combine acoustic instruments and samples with digital synthesis.
Augmented Series
New to the Augmented series (Arturia’s sample-based synths) are Augmented Mallets and Augmented Yangtze.
Mallets is focused on bringing you the sound of the marimba, vibraphone, celeste and tubular bells. You can blend these sounds with a built-in synth engine for hybrid sounds, and get expressive with the plugin thanks to MPE support.
Yangtze, meanwhile, offers a palette of traditional Chinese instruments, again combined with a synth engine to get creative. This plugin boasts six instruments, 38 articulations and 30 process and multisample articulations, plus MPE support.
Arturia has updated the entire Augmented range with a new interface and workflow, a host of new features, plus new sampled content and factory banks for Augmented String and Voices.
Should you buy Arturia V Collection 11?
We awarded the V Collection X a 9/10 score in our 2024 review, but the price has jumped up by $100 since then. Is it worth the extra expense?
We’ve been working on a review of the V Collection 11 over the past few weeks and will be sharing our critical thoughts with you soon. Sign up for the MusicTech newsletter for weekly product reviews, features and guides.
In the meantime, we asked Arturia why producers should consider the V Collection 11. The brand responded:
“We’ve been 25 years in the making, refining our skills to deliver premium instruments.
We consistently push the boundaries to elevate the user experience by improving our engine sound quality, expanding extra features, refining interfaces and workflow, and adding presets and content. This allows us to keep our product portfolio up to date and continue to catalyse the creativity of music makers.”
Learn more about V Collection 11 at arturia.com. 
The post Arturia V Collection 11: New plugins, price, V Collection Intro, and everything else you need to know appeared first on MusicTech.
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GRiZ's Sold-Out Seven Stars Festival Offers Free Admission for Volunteers

The new Seven Stars Festival, the brainchild of electronic music superstar GRiZ, is seeking volunteers in exchange for admission to the sold-out event.
Scheduled for October 10-12 in Arrington, Virginia, the festival has partnered with Clean Vibes, a sustainability-focused event services company, to provide waste and recycling management services. The organization is now recruiting individuals to volunteer during and after the three-day event in exchange for access, according to its onsite coordinator.
The inaugural Seven Stars Festival sold out shortly after tickets went on sale, so the volunteer opportunity stands as one of the only remaining ways to secure access. The festival will feature three sets by GRiZ as well as performances from Subtronics, Disco Lines, Levity, Wooli and EDM.com Class of 2025 stars ALLEYCVT and Tape B, among others.
Prospective volunteers can apply for one of several available positions, including morning cleanup and table bussing roles during the event, or post-show cleanup shifts. Each of the mid-festival roles requires a commitment of three five-hour shifts and volunteers will assist in clearing debris from the venue, helping maintain the grounds between each day of programming. Those who opt for the post-event option will check in on Monday, October 13th and work full-day shifts on Tuesday and Wednesday to help return the grounds to their pre-festival state.
In return, volunteers receive a general admission wristband granting access to all GA areas, a Clean Vibes volunteer shirt and a camping vehicle pass, with participants expected to bring their own camping gear. Post-festival volunteers will also be provided with breakfast, lunch and dinner during their workdays and can remain onsite through noon on Thursday.
A refundable deposit and a small signup fee are required to confirm a spot through Clean Vibes' VolunteerLocal system. The deposit will be returned after the successful completion of all volunteer responsibilities.
Details and the volunteer application form are available on Clean Vibes' website and you can find the original call for volunteers on the r/GRiZ subreddit.
Follow Seven Stars Festival:
X: x.com/sevenstarsfest
Instagram: instagram.com/sevenstarsfest
Facebook: facebook.com/sevenstarsfestival
Follow GRiZ:
X: x.com/griz
Instagram: instagram.com/griz
TikTok: tiktok.com/@mynameisgriz
Facebook: facebook.com/mynameisgriz
Spotify: spoti.fi/3hEXfjz
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Alison Wonderland Returns to Trap Music With Unapologetic New Single, "Get Started"

Alison Wonderland makes a welcome return to trap music with her new single, "Get Started."
Out now on Casablanca Records, the track reintroduces the high-intensity sounds that first put her on the map. Only this time, it hits even harder.
"Get Started" will appear on a new album dropping this fall, according to a press release shared with EDM.com. It opens with a pulsing arpeggio sequence atop Wonderland's intoxicating, layered vocals before plunging into a drop driven by heavy kick drums and distorted synths.
It’s intense and unapologetic, expertly balancing chaos and control in a way that feels like classic Wonderland. There's a ferocity within “Get Started” that leans heavily into the trap roots she'd been teasing while still delivering a sound that feels fresh and uniquely her.
"Get Started" arrives alongside an official music video directed by Connor Pritchard, the award-winning co-creator and executive producer for Comedy Central's iconic series Workaholics.
You can watch the music video below and find "Get Started" on streaming platforms here.
Follow Alison Wonderland:
X: x.com/awonderland
Instagram: instagram.com/alisonwonderland
TikTok: tiktok.com/@alisonwonderland
Facebook: facebook.com/awonderdj
Spotify: spoti.fi/3clhKRg 
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“Labels have found a new way to put artists in a position where they seem to be making a lot of money, but they essentially own nothing”: Rick Beato and Anthony Fantano discuss the impact of Spotify and streaming

Music critic and content creator Anthony Fantano has shared his thoughts on the streaming model in a new in-depth conversation with Rick Beato.
With artists making less than a penny per stream on most streaming platforms, the business model is continually brought under fire, with the largest platform, Spotify, facing the most criticism. In its Loud & Clear annual report for 2024, Spotify spoke of the “paradox” of the modern music industry, where it said “the sheer volume of uploaders” to its platform “means the fraction who find success appears smaller over time”.
READ MORE: Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill Spotify has also said it doesn’t pay artists directly, but pays rights holders instead. In general, it says it pays them roughly two thirds of every dollar it makes from music. To support its report, it also released a video on “how the money flows” – you can watch it below:

In his discussion with Beato, Fantano explains his frustrations with Spotify in particular: “We’ve done lots of videos about Spotify that deal in the ongoing monetary squeeze that they’re doing on artists. The fact that they kind of sit there and continue to act like, ‘We’re paying artists as much as we can, we can’t pay them anymore.’ They pass the buck over to the labels as well.”
He adds, “Meanwhile, [Spotify CEO] Daniel Ek and other people who are at the top at Spotify are cashing out their stock to the tunes of 10s of millions of dollars multiple times a year. The major labels have an investment in Spotify as well, so they have a monetary interest in the platform succeeding.”
Fantano also refers to a book he’s been reading on the life of rapper MF DOOM, which gives insight into how the music industry used to work back in the 1990s: “It discussed the first deal he and his brother had gotten when they were in this rap group called KMD. Their deal was, like, hundreds of thousands of dollars.
“As you know, back in the day when you would get those kinds of deals, it would be a lot of money up front, but then simultaneously, you’re getting charged for the studio time. You’re getting charged for this by the label. And essentially you get nickel and dime to the point where you don’t recoup anything. This is just like the new version of that,” he says of streaming.
“It’s like the labels have found a new way to put artists in a position to where it seems like they’re making a lot of money up front, they’re getting a lot of access, there’s a lot of potential there. But then they turn around and they essentially own nothing, and they’ve made nothing.” He later concludes, “The only people at this point who could do anything and shut off the faucet are the rights holders, and they’re not saying no. They’re fully on the train, they’re throwing coal into the steam engine.”
You can watch the full video from Beato and Fantano below:

When faced with criticism over its payout model, Spotify has, on numerous occasions lately, blamed the amount of money that artists receive on the deals they have signed with rights holders. When Kate Nash recently said, “We’re paid very, very, very poorly and unethically for our recorded music,” the company told the singer to look at the payment terms she has with her label and other rights holders.
“Spotify has no visibility over the deals that Kate signed with her rights’ holders. Therefore, we have no knowledge of the payment terms that were agreed upon between her and her partners,” it said.
“We do know that British artists generated revenues of over £750 million on Spotify alone in 2023, a number that is on the rise year on year. So it’s disappointing to hear that Spotify’s payments are not making it through to Kate herself.”
Take a look at Spotify’s full Loud & Clear Report.
The post “Labels have found a new way to put artists in a position where they seem to be making a lot of money, but they essentially own nothing”: Rick Beato and Anthony Fantano discuss the impact of Spotify and streaming appeared first on MusicTech.
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Electronic music industry is now worth $12.9 billion, with large festivals and tours driving revenue

A new report has revealed that electronic music has risen in worth by six per cent, totalling at $12.9 billion in 2024.
The data comes from the newly published IMS Business Report 2025 with assistance from MIDia Research. It shows the majority of revenue was created by festivals and clubs, as well as things like merch and sponsorships.
READ MORE: “I needed a big name people would remember, even if it’s attached to infamy”: Someone’s bought some Fyre IP – and plans to launch a streaming service later this year Across last year, electronic music continued to steadily become a bigger part of the global festival landscape, with 18 per cent of line-ups of the top 100 festivals being electronic artists in 2024 – up two points from 2023 and five points from 2021. Nine of the top 100 festivals across the globe were electronic music festivals.
The report also says that “the post-Covid recalibration is done”, and that revenue growth for live music normalised in 2024, with revenues more than double what they were pre-Covid. Growth was boosted by pre-sales for 2025 tours, however higher ticket prices were the main driver of growth, rather than the volume of tickets sold.
The higher end of live events did best, like big tours at large venues, while the lower end of the market continued to face venue closures and face a lower willingness and ability to spend by many consumers – these concerns are continually being raised by owners of grassroots music spaces and artists across the UK.
Also in the UK, dance music was subject to the “brat summer” effect – 2023 and 2024 were years of growth for dance music in the UK, with its share of consumption in the albums market increasing in both years. Dance tracks in the year-end UK Top 100 Official Singles Charts were up in 2024 after a fall in 2023.

As for music labels, the majors grew revenue by six per cent in 2024 (with Sony being the fastest growing major last year), but non-majors saw a growth of eight per cent to reach $10.7 billion. Independent labels such as Believe and Concord are carving out market share gains, while many Global South labels are on the up as streaming growth surges in their home markets.
Consumers also show an increase in wanting to participate in music, not just listen. The trend of speeding up or slowing down music is continuing to be hugely popular, and 2024 is also described as “the year that generative AI kicked into gear”. 10 per cent of consumers have used generative AI to make music or lyrics, and there is also a combined total of 60 million users of music AI apps.
To find out more and download the full report, head over to the official IMS website. 
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EMERGING ARTIST: Orlando Kallen

I am absolutely delighted to introduce the incredibly talented rising Australian pop star, Orlando Kallen, on the blog today! Born in Australia and enriched by his Greek, Egyptian, and Croatian roots. This diverse cultural heritage profoundly shapes his artistry, infusing his music with unparalleled depth and authenticity. As a true triple threat – singer, songwriter, and producer, Orlando is making waves and rapidly establishing himself as a force to be reckoned with in the music scene. His powerful, emotive lyricism resonates deeply, perfectly paired with his sultry, heartfelt vocals.
Building on the success of his debut EP “Leave Me Bleeding,” Orlando is ready to captivate audiences with a bold new direction as he embarks on his sophomore era. His latest single, “Don’t Worry Baby,” showcases his evolved musical artistry, delivering an irresistible pop sound that resonates with deep emotional authenticity. Drawing parallels to trailblazers like Lauv and JORDY, while incorporating the polished flair of Justin Bieber.
A specific intention was behind the writing of the song “Don’t Worry Baby“. Orlando explains…
It is undeniable during challenging times and periods of adversity, music emerges as a powerful remedy, guiding us through our darkest moments. Moreover, music helps unburden our souls and lightens the weight of our emotional struggles. As Orlando insightfully points out in “Don’t Worry Baby,” the true strength of music lies in its extraordinary ability to forge deep connections within us, offering solace when we need it the most. Each melody and lyric serves as a comforting embrace, reminding us that we are never truly alone in our battles. Whether it’s a poignant ballad that stirs our heart or an uplifting anthem that ignites our spirit. It is music that inevitably resonates with our shared experiences. It delivers a resounding message of hope and resilience. In these times, let the power of music be our unwavering companion on the healing journey.
Based on what I’ve gathered, the essence of Orlando Kallen’s mastery lies in his meticulous attention to detail, especially so in arrangement and production. He prioritizes emotion in his lyrics, skillfully employing vulnerability to create a profound impact. While Orlando may project a compelling vision. Above all deeper examination reveals that he infuses his music with a vibrant spirit, breathing life into truly captivating pop.
Connect with Orlando Kallen
Instagram: https://www.instagram.com/orlandokallen/
The post EMERGING ARTIST: Orlando Kallen appeared first on EQ Music Blog.
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World’s First Interactive Donnie Darko Party Experience Goes Global

International fans of the cult classic Donnie Darko will soon have the chance to enter the eerie world of the Tangent Universe, as a global series of immersive events kicks off this year. Following its sold-out debut in London, the experience heads to Australia this June, with the Melbourne Pavilion set to transform into a full-spectrum, Halloween-themed rave for one unforgettable night.
The buzz surrounding the Donnie Darko House Party has been steadily gaining momentum across social media, stoking excitement for its next otherworldly chapter. This June, the critically acclaimed sensory experience makes its long-awaited Australian offering, following a sold-out premiere in London and marking the official kickoff for its international tour which will include London, Melbourne, Tokyo, Osaka, Seoul, Bangkok, Shanghai, Berlin, Paris, Prague, Athens, Paris, Amsterdam, Reykjavik, Los Angeles, and New York City.

With the timeline fractured, Melbourne has been revealed as one of 13 interdimensional portals where Frank is set to reappear at the stroke of midnight. For one night only, Friday, June 6, 2025 the Melbourne Pavilion will be transformed into a mind-bending fusion of cinematic chaos, 80s nostalgia, and rave-fueled surrealism.
For fans of Richard Kelly’s 2001 cult classic, this is an open invitation to enter the Tangent Universe. The venues will be transformed into a multi-room, interactive world inspired by Donnie Darko, complete with intricately designed sets, high-tech audiovisual installations, and characters straight from the film’s hauntingly beautiful aesthetic. Select nights will also feature a rare live appearance by James Duval, the actor behind the film’s infamous Frank the Rabbit, giving attendees the opportunity to engage with the enigmatic character like never before.

Each night, the production and sensory experience will immerse guests in a pop culture metaverse where cinema, music, and interactivity collide, creating an unforgettable journey into the world of the cult classic. This 80s-style house party meets modern day rave, promises a one-of-a-kind fusion of film, music, and theatrical storytelling, inviting guests to dive deeper into Donnie Darko’s twisted universe.
Attendees will enjoy elaborate themed bars, mind-bending audiovisual installations, and an immersive atmosphere that includes a live screening of the film, all crafted to blur the line between reality and the movie’s provocative, time-bending world. Clubbers and guests are encouraged to come in Halloween costumes and themed attire, fully embracing the scenes that captivated millions of people and transitioned the film into a globally revered cult favourite.
“This isn’t just a screening” says Jamie Mcsweeney, the event organiser. “It’s a full-blown 80s-style interactive House party inspired by the Donnie Darko film”
With its succinct fusion of nostalgia, cinematic spectacle, and interactive storytelling, the Australian debut and its series of international dates rolling out, the Donnie Darko experience is set to be a must-attend event for film lovers, ravers, and pop culture enthusiasts alike. Given its immediate history of selling out in record time, fans are actively encouraged to secure tickets in advance via their website. As the re-ignition of this critically acclaimed film and event gains momentum, it’s quickly emerging as one of the must-experience cultural moments of the year.

James Duval, the actor behind Frank the Rabbit, confirms, “Frank is here… and I’ll be waiting for you.”

Advance Tickets

Melbourne Event June 6th Here
Worldwide Register Now

More Information
Donnie Darko House Party Website | Instagram
 
The post World’s First Interactive Donnie Darko Party Experience Goes Global appeared first on Electric Mode.
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UK’s Sold Out Donnie Darko Interactive Party Experience Comes To Melbourne, Australia This June

Fans of the cult classic Donnie Darko film will have the chance to step into the alternate reality of the Tangent Universe this June, as the Melbourne Pavilion transforms into a full sensory, Halloween-themed rave experience for one night only.
A Halloween house party. In June. In Australia. Something’s fractured the timeline, and Melbourne has become one of 13 interdimensional portals where Frank is set to reappear at midnight. The critically acclaimed sensory ‘Donnie Darko Halloween House Party’ lands in Australia for the first time. Following a sold-out debut in London, Melbourne kicks off their international tour. This one-of-a-kind event will take over Melbourne Pavilion on Friday, June 6, 2025, for an unmissable night of cinematic chaos, 80s nostalgia, and rave-fueled surrealism.

For fans of Richard Kelly’s 2001 cult classic, it’s an invitation to enter the Tangent Universe. The venue will be transformed into a multi-room, interactive world inspired by Donnie Darko, complete with intricately designed sets, high-tech audiovisual installations, and characters straight from the film’s hauntingly beautiful aesthetic. The night will also feature a rare live appearance by James Duval, the actor behind the film’s infamous Frank the Rabbit, giving attendees the opportunity to engage with the enigmatic character like never before.

A dedicated screening room will loop Donnie Darko throughout the night, enhancing the sensory experience and drawing guests deeper into a pop culture metaverse where cinema, music, and interactivity merge for an unforgettable journey into the cult classic’s universe.
Promising a unique fusion of cinema, music, and theatrical storytelling, this 80s-style house party will take guests deeper into Donnie Darko’s twisted world. Expect elaborate themed bars, mind-bending audiovisual installations, and an atmospheric setting with a live screening of the film, all designed to blur the boundaries between active reality and the classic’s provocative, time-warped domain. Clubbers are actively encouraged to arrive in Halloween costumes to become fully immersed, within the scenes that have captivated millions of people and transitioned the film into a revered cult favourite.
“This isn’t just a screening” says Jamie Mcsweeney, the event organiser. “It’s a full-blown 80s-style interactive Halloween house party where fans can live and breathe the Donnie Darko world.”
With its blend of nostalgia, cinematic spectacle, and interactive storytelling, this Australian debut of the Donnie Darko experience is set to be a must-attend event for film lovers, ravers, and pop culture enthusiasts alike. Given its history of selling out in record time, fans are encouraged to secure tickets in advance. As the re-ignition of this critically acclaimed film and event takes hold, it’s rapidly gaining global traction as one of the crucial experiences this year.
“What are you doing on June 6, Melbourne? Maybe I’ll see you at the next one… Frank is here… and I’ll be expecting you.”

— James Duval (Frank the Rabbit)


Find Out More & Follow 
Donnie Darko Halloween Party Instagram | Website 

The post UK’s Sold Out Donnie Darko Interactive Party Experience Comes To Melbourne, Australia This June appeared first on Electric Mode.
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“Designed not to deliver perfect results, but to encourage exploration”: Sampleson’s Predictor plugin generates new notes and voicings from any MIDI file

Sampleson has launched a brand new plugin that learns from any MIDI file, and generates new melodic and harmonic content.
Aptly named Predictor, the tool analyses cadences, note relationships, velocity patterns, structural position, modulations, and other features from your file, and then predicts upcoming notes and voicings. Users can trigger these predictions in real-time via mouse clicks, computer keyboard, or a MIDI controller.
READ MORE: Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere” You can simply feed it your MIDI files through a drag-and-drop interface, but it already hosts a curated library of 600 MIDI files for an easy start. Integration with any DAW is described as “seamless” by the independent developer (though Pro Tools is not supported), but it also works as a standalone app.
Sampleson also says that Predictor is designed not to deliver perfect results, but to encourage exploration instead. This means some of its suggested paths will work, and some won’t – “and that’s the point”, according to the brand.
“Predictor isn’t about control. It’s about momentum. About breaking through creative blocks and discovering musical ideas you might never have imagined,” explains Sampleson in a press release. “You control the rhythm, Predictor takes care of the notes. Each input you give it triggers a prediction, letting you shape the outcome of the phrase in real time.”
Take a look at the videos below for a better idea of how it works:


Last year, Sampleson launched Scaper, a plugin that promised to turn absolutely any audio signal into an ambient soundscape – even a sneeze. It works “by extracting essential attributes from dropped audio files and incorporating them into the creation of atmospheric soundscapes”, and is capable of generating “hours” of audio, with a generative algorithm creating slightly different compositions each time.
Predictor is available now for an introductory price of $29 (standard $49). You can find out more or download now via Sampleson.
The post “Designed not to deliver perfect results, but to encourage exploration”: Sampleson’s Predictor plugin generates new notes and voicings from any MIDI file appeared first on MusicTech.
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“I don’t have to clear any samples and I’m also getting original music”: Why Will Clarke writes entire songs just to sample them later

Sampling has been the bedrock of electronic music for decades – but Will Clarke is putting his own spin on it.
Speaking on the first episode of MusicTech’s My Forever Studio Season 7, the British DJ, artist and producer reveals his unconventional method of writing entire tracks just to resample them, noting that the approach helps him stay creative and legally stress-free.
READ MORE: Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill “So the way I wrote the album and the way I write now is I go into a studio, I’ll write a disco song, or I’ll write like a ballad or I’ll write something that’s just completely a rock song,” Clarke says. “Then I’ll go back to my studio and just completely resample it and treat it like a sample so I don’t have to clear any samples. I don’t have to worry about that but I’m also getting original music.”
“If you look at all the records [that] as house music producers we sample previously, they weren’t perfect records,” he adds. “They weren’t recorded in the best studios in the world because the best studios weren’t even around then.”
This lo-fi charm is something the musician embraces fully: “You get artifacts in the recordings which sometimes is really annoying,” he admits, “but with technology nowadays you’re like ‘okay it is what it is’. You can take those artifacts out or sometimes leave them in. It’s for me just trying to write the best record, not sonically the best record.”
“When you’re making a record, if you’re trying too hard to make it sound good at the time, you just lose everything.”
“We still want grit and sand in the records and I think by having the most perfect mic setup, preamps, all of that – yes it sounds great but I’m not writing pop records.”
The same philosophy extends to the producer gear’s choices too. Instead of relying on industry staples like the Roland TR-808 or 909, Clarke says he prefers using the AVP ADS-7, a somewhat obscure Russian drum machine, when crafting beats.
“It’s not a clean sound,” he says. “But I’m not looking for a clean sound. I’m looking for something gritty. I’m looking for something to get textures that you wouldn’t get from a sample.”

You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
The post “I don’t have to clear any samples and I’m also getting original music”: Why Will Clarke writes entire songs just to sample them later appeared first on MusicTech.
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“I find it crazy when people on the internet make a song in an hour – I’m like, ‘Clearly it won’t be that good!’”: Dan Nigro on the pros of cons of taking longer on songwriting

Producer Dan Nigro believes you can make a good song in a short amount of time, but to create a truly great song, you’ll need to slow right down.
Known for his work with Olivia Rodrigo and Chappell Roan, Nigro won Producer Of The Year (Non-Classical) at the 2025 Grammy Awards. His production career shot to new heights with the success of Rodrigo’s debut Sour album, which saw tracks like Driver’s License and Good 4 U top charts across the globe.
READ MORE: “We need more listeners and dancers and less DJs”: JKriv says DJs should have “more anonymity” when performing In a new video with Universal Audio on its YouTube channel, Nigro reveals that for him, slow and steady wins the race when it comes to building a truly great piece of music that will stand the test of time: “I always find it crazy when people are on the internet like, ‘make a song in an hour!’ Clearly it won’t be that good, you know?” he says.
“You could write a good song in an hour for sure, and because writing songs is so expressive, sometimes the shorter period of time it takes to write it actually does mean it’s better, but in terms of making a great song, I feel [that] takes a long time to figure out.
“When you look back at records, all the best records that we all love, you’re talking about 10 songs or 12 songs that were made over two or three years. You’re talking about a ratio of like three good songs a year for a band. If I can make four really good songs in a year, that’s all you need, really. I know that sounds crazy but that’s what it really takes to make, I think, music that’s going to last forever. You want your songs to be played 20, 30 years from now, and that takes time.”

Also in the video, Nigro looks back on the success of Rodrigo’s smash hit, Driver’s License. He found that the success propelled him to another level, where he ended up working with huge artists with super-packed schedules.
“It took us 17 days before we made Driver’s License in the studio… but [now] we only have like five hours and then one of us has a dinner. How are we going to make a song this good?” he says of navigating the experience.
“Just because you think an artist is great doesn’t mean that you should work with them. I was told that early on but I didn’t really believe it until I experienced going through it and working with people that I thought were amazing artists, but then not having great results.”
You can watch the full video below:

The post “I find it crazy when people on the internet make a song in an hour – I’m like, ‘Clearly it won’t be that good!’”: Dan Nigro on the pros of cons of taking longer on songwriting appeared first on MusicTech.
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Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere”

Views of electronic music videos on TikTok have overtaken those from the indie genre for the first time in the app’s history.
According to The Guardian, posts tagged with #ElectronicMusic attracted more than 13 billion views in 2024 — a 45 per cent jump from the previous year, which itself had seen a 100 per cent increase compared to 2022.
That breakneck growth has outpaced both the “indie and alternative” and “rap and hip-hop” categories, marking a significant moment for the genre’s presence online.
READ MORE: Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill TikTok says electronic music, including popular subgenres like techno and house, has become the go-to soundtrack for creators posting content related to sports, fitness, fashion, travel, and summer holiday recaps. Artists like Joel Corry and Disclosure are among those who’ve seen viral success on the platform.
Toyin Mustapha, TikTok’s Head of Music Partnerships for the UK and Ireland, says of the genre’s surge in popularity: “TikTok users tend to tag the genres of music, especially genres like electronic music. It shows the community they are trying to build and are part of, and electronic music is very much a community-led thing.”
“Dance music has become more accessible and big in the commercial sphere,” he adds. “We are seeing the breaking down of boundaries for artists, and TikTok is part of that. It’s not just reflected in festival bookings, you can see it in the official charts as well.”
Notably, recent figures published by the International Music Summit’s Business Report for 2025 reveal that global electronic music generated $12.9 billion over the last 12 months — a 6 per cent increase.
The report, authored by MIDiA Research’s Mark Mulligan, notes that while this is a slowdown from the 9 per cent growth seen the previous year, it reflects a return to more stable, post-Covid rates, especially in the live sector.
“Global music industry revenue grew again in 2024, though at a slower rate than in 2023 due to maturing streaming revenues and the post-Covid live resurgence lessening,” says Mulligan. “Electronic music however, continued to increase its share of both revenues and culture.”
“Driven by the rise of new genres like Afro House, a renaissance for genres like Drum & Bass, and the rise of a new generation of fans, creators and scenes remaking electronic music in their own image, electronic music finds itself at the start of a brave new era of culture resonance.”
The post Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere” appeared first on MusicTech.
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“The constant ‘no’s make you tough. They make you say, ‘f**k everybody, I’m still gonna do it’” Claude VonStroke on building a career on his terms

After over 20 years of touring the world, producing music festivals, and running record labels, Claude VonStroke is living his life of leisure. He is now a 100% independent artist, releasing the music he wants the way he wants.
Broken down individually, “the music he wants” could mean everything from wacky house music as Claude VonStroke, or hard-hitting beats under his birth name, Barclay Crenshaw.
READ MORE: JKriv: “A finished track is better than a perfect track, every single time” “How he wants” relates to his staggered release plan. The Detroit-born producer shared his latest EP, I Was the Wolf, first with his pay-to-access website, Claude’s Club. Next, he put up the tracks as a Beatport exclusive for DJs wanting to play them live. The final tier, or rather, “the mass-consumption tier” as he describes it, is for Digital Streaming Platforms (DSPs), which will get the EP on 25 April, the same day his Life of Leisure tour begins.
“Life of leisure is my overall philosophy now,” says Crenshaw. “I call it my Moodymann phase. Maybe I’m a little harder to get hold of. Maybe I’m not answering all the emails. I’m only playing shows that I actually want to play. I’m just living my life. I’m not trying to get any gig, be in some crew, or be in some movement of hot trends. I’m just making songs, and that’s how I started.”
Crenshaw may have started his career that way, but he was forced to hustle for many years. From 2005 until 2023, he oversaw the musical vision for his record label Dirtybird, personally A&Ring over 300 releases and signing culture-shifting artists such as Julio Bashmore, Hannah Wants, FISHER and John Summit in the earliest years of their projects.
“I find [artists] before they figure out the formula; I find them in their raw state. I’m trying to get back to that raw state myself,” Crenshaw says.
Under the Dirtybird name, Crenshaw also organised events across the US. He curated two music festivals: an outdoor camping weekend, Dirtybird Campout, and the resort event, Dirtybird CampINN. He also launched the Dirtybird BBQ tour, a run of single-day events in cities like Los Angeles, Denver, Detroit, and New York.
Then, after selling Dirtybird to the San-Francisco-based distribution company, EMPIRE, in 2022, he set his crosshairs on the Barclay Crenshaw project. Under this name, he released the album Open Channel and played major US festivals such as Lightning in a Bottle and Shambhala.
As proud as he is of everything he’s accomplished, at this point, he realises he can continue making music and touring without nearly as much stress.
“There was a little bit too much riding on every decision back in the day. Everything was like, ‘If we don’t sell these festival tickets, we’re gonna have to sell our house.’ I had that mentality for so long,” Crenshaw says. “If you’re always freaking out you can make it happen. But I did that for so long that I almost thought that was normal. Now I’m realising everything doesn’t have to be full panic mode. You can take four months off, make really cool music, and then go out and do the dates you want.”
Having broken through in the early 00s, starting with throwing free parties in San Francisco’s Golden Gate Park, Crenshaw acknowledges that artists beginning their path today are entering a vastly different landscape. One where new aspects, such as social media, are required for growing a project. When he was growing Barclay Crenshaw, he did what artists are “supposed to do.”
“I was posting [to social media] almost every day,” he says. “It kind of works, and eventually way more people are looking at your stuff, but it totally fucking sucks. It’s not even making music. It has nothing to do with anything. It’s stupid.”
One strategy that works for him — and that he recommends to other producers — is stockpiling. Spend the time making tons of music to hone your skills, but then only put out the best tracks you have at a staggered pace. Get them on the right label or get a bigger artist to do a remix if possible, but overall, it’s better to have a release catalogue of your best music.
“People think that the consistent output is better than the good output. Just keep hammering until something catches,” Crenshaw says. “You might win over a really long period of time. But it’s just a bunch of garbage. Why would that work? It’s not gonna stick out.”
Quality over quantity drove his release rhythm even before his Life of Leisure phase, and now he’s applying it as he’s making music as well. Having spent the last 18 months immersed in bass music for Barclay Crenshaw, he brought an entirely new point of view back to the house music he’s making as Claude VonStroke. His primary solution for making tracks used to be layering new elements until everything sounded right. Now he’s using as few sounds as possible, but dialling them in until the mix is at its absolute best.

“The quality of the sounds that you pick in the beginning is so much higher. You have a box,” Crenshaw theorises, “and there are only so many things you can fit in this box. After things start falling out of the box the sound starts squishing and sounding shitty. If you can put three things in the box, it just sounds amazing,”.
This less-is-more approach doesn’t limit the sonic quality of the track, either. Both tracks on I Was the Wolf harbour a minimalist feel, allowing each of the few sounds he used to live and breathe. But this method can support thicker tracks as well. It’s not about whether a track is minimalist or maximalist; it’s about specifically refining each minuscule element as much as possible to where they exist in perfect harmony.
“Before, I would just put in a disco loop and EQ out all the bass and be like, ‘Okay, that sounds cool.’ The other way of doing it is actually making sure every transient is in lockstep with every bass transient,” Crenshaw says. “Let’s make sure that all the swing is completely lined up together. It still has to sound fucked up and a little bit off to have this swing, but [it’s about] putting things in the right spots instead of just putting a layer on.”
Sometimes this process isn’t conducive to his vision for the track, and he’ll rely on his prior methods of stacking as many layers as he needs. But as a fully independent artist, he can make tracks that sound exactly the way he wants and put them out as he pleases.
Crenshaw admits that being signed to a major label will get your music heard by many more people, despite the greater amount of oversight. “They have tentacles that spread across the world,” he says. But at this phase of his life, the freedom to make weird beats is what’s most important to him.
Besides, while a contract with Warner, UMG, or Sony was never on his radar, he did try to get signed at revered labels such as Ninja Tune, but it never worked out. Crenshaw faced many rejections on his path, but those were essential to the journey.
“The constant ‘no’s make you tough. They make you resilient, and they make you just say, ‘fuck everybody, I’m still gonna do it.’ So many people will give up at those ‘no’s. The people who don’t give up, who stay around and keep going, make it. If you’re out there, just keep going because everyone else is gonna give up. I promise,” Crenshaw says. “The rejection creates the diamond.”
Now he’s cashing in those diamonds to live his life of leisure.
The post “The constant ‘no’s make you tough. They make you say, ‘f**k everybody, I’m still gonna do it’” Claude VonStroke on building a career on his terms appeared first on MusicTech.
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Radio Group Cumulus Media Officially Delisted from NASDAQ After Repeatedly Dipping Below $1

Photo Credit: Cumulus Media
Radio group Cumulus Media is set to be delisted from the NASDAQ after repeatedly dropping below $1 and rapidly burning through cash.
Prominent radio broadcasting group Cumulus Media is set to be delisted from the NASDAQ Global Market after a notification of noncompliance with the exchange’s listing rules. The company, which reports annual revenues of $827 million, operates with a significant debt burden of $797 million. According to data, it has rapidly been burning through cash. Cumulus opted not to appeal the decision, and the delisting takes effect at the start of business on May 2, 2025.
The notice, which Cumulus Media received on Monday, cited the company’s failure to meet the minimum bid price and market value requirements. Its stock has fallen 90% over the past year, with shares repeatedly dropping below $1, and currently trading at $0.27.
That said, Cumulus Media has already secured a spot on the OTCQB market tier, operated by OTC Markets Group, to ensure seamless trading of its Class A common stock. Shares will trade under the same ticker, CMLS, starting May 2.
While the company’s transition from the NASDAQ does not directly impact Cumulus Media’s business operations, CEO Mary G. Berner has earlier pointed to declining revenue and an unstable advertising market. Radio stocks such as Cumulus are encountering significant decline, driven primarily by a reduction in both traditional radio listenership and advertising revenue.
Cumulus Media reported a $283.3 million net loss in 2024—more than double its 2023 loss—driven by both headwinds in the industry and challenges unique to the company. As a result, Cumulus has been aggressively cutting costs, including layoffs and contract re-negotiations.
Over-the-air radio revenues have continued to decline, and are expected to maintain a downward trajectory, while digital revenue growth has been unable to fully offset losses. Contributing factors include the removal of AM/FM radios from newer vehicles and increased competition from streaming and podcasts.
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Decoded Magazine & Saturday Social Boat Party

This winter, we have team up with Saturday Social in Queensland Australia to celebrate 11 years of Decoded Magazine and what better way to mark over a decade of underground culture than a floating session with our friends on the stunning Broadwater, Gold Coast, for an unforgettable boat party featuring a heavyweight DJ lineup and a soundtrack that dives deep into the essence of electronic music.
Founded in the UK in 2013, Decoded Magazine has become one of the industry’s most respected and essential voices in the global underground scene. Known for its broad underground music coverage, deep-dive features, and no-hype attitude, we’ve featured interviews with legends like Sasha, John Digweed, Carl Cox, Nicole Moudaber, Hernán Cattáneo, and Ben Böhmer, to name just a few over the years, alongside emerging artists shaping the next wave. From club culture and mental health to global music travel and production masterclasses, Decoded is where real conversations and proper music journalism live.
Over the past 11 years, we’ve hosted showcases, parties and panels at ADE, Miami WMC, Sonar, IMS Ibiza, and beyond, always with one mission: to support the sounds of the underground. This party is for our readers, our community, our fellow heads.
LINE-UP:GRAHAM DUNN
Veteran DJ, producer, and the mind behind Saturday Social, Graham has spent decades crafting deep, progressive soundscapes that transcend the dancefloor. From his UK club roots to his revered Sonder show on Frisky Radio, expect emotional depth, melodic nuance, and grooves that pull you in.
KRAFTA
Gold Coast local Krafta is known for bringing the heat. His sets are a fusion of tech house, driving techno, and gritty electro, tailored for late-night energy and early-evening build-ups alike. A rising talent with a loyal following, Krafta’s boat set will be one for the heads.
GIGGS
A genre-blending selector with a broad musical palate, Giggs delivers unpredictable, story-driven sets. Whether it’s a dark techno roller, a sun-soaked deep house gem, or a nostalgic banger from a forgotten crate, his ability to shape a journey through sound makes him a standout behind the decks.
DAMION PELL (Decoded Magazine)
Editor, promoter and DJ, Damion Pell is the heartbeat behind Decoded Magazine. With a background in global events, interviews with the world’s biggest DJs, and sets that reflect a love for deep, intelligent club music, Damion brings a wealth of experience and a passion for sonic storytelling to this rare Gold Coast appearance.
This is more than a party—it’s our 11th birthday. We’re bringing the music, the vibe, and the history. Extremely limited capacity. no sponsors, no commercial clutter, just the music
Tickets available here
Departing from Broadwater, Gold Coast. Location and boarding info sent to ticket holders.
Proper sound. Serious selectors. Wide open water. Can’t make the boat? Don’t stress, A secret after-party is in the works. Stay tuned!
The post Decoded Magazine & Saturday Social Boat Party appeared first on Decoded Magazine.
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Warner Music Group Files $24 Million Lawsuit Against Crumbl Cookies Over Alleged TikTok and Instagram Infringement

Photo Credit: Crumbl
Warner Music Group sues Crumbl Cookies for around $24 million, alleging copyright infringement on social media—including TikTok and Instagram.
Warner Music Group (WMG) filed a complaint in a US District Court in Utah on Tuesday, April 22, alleging cookie chain Crumbl used at least 159 of WMG’s music in promotional videos posted to Instagram and TikTok. WMG says those works include recordings or compositions from artists and songwriters like Ariana Grande, Beyoncé, Bruno Mars, Dua Lipa, Lizzo, Mariah Carey, and Taylor Swift, without proper authorization or licensing.
“Defendants have misappropriated at least 159 of the most popular and valuable sound recordings and musical compositions in the market, using those creative works to build [Crumbl’s] brand profile and drive massive sales to Defendants without any compensation to [WMG],” the lawsuit reads.
“The audio track generally runs the full length of the Crumbl Videos and includes the most familiar portion of the sound recording and underlying musical composition, such as the hook or chorus,” WMG claims. The music giant cites examples such as Lil Mosey’s “Blueberry Faygo” played over a video promoting blueberry cheesecake cookies, another promoting yellow sugar cookies to Coldplay’s “Yellow,” and a third promoting Kentucky butter cake to BTS’ “Butter.”
Further, Warner’s lawsuit asserts that in addition to creating and posting infringing videos directly, Crumbl partnered with social media influencers who then received “perks and rewards” such as “paid initiatives” in exchange for promoting Crumbl products.
“Crumbl draws each of these influencers’ followers to Crumbl’s social media pages and to the Crumbl Videos. Crumbl recruits these individuals — including, upon information and belief, those featured in the Crumbl Videos — to ‘collaborate’ with Crumbl, whereby participants are rewarded for promoting Crumbl products,” the lawsuit reads.
WMG claims that Crumbl continued posting infringing content even months after the company sent the cookie chain a cease-and-desist letter in 2023. “Crumbl’s willfulness is further evidenced by its very own statements,” WMG continues, citing a TikTok video from January 2024 in which Crumbl said, “We were gonna make a funny video to promote Mystery Cookie, but legal said we can’t use any trending audios.”
Warner Music Group is seeking up to $150,000 in statutory damages for each infringed work, potentially resulting in damages of up to $23.85 million. The company is also seeking a permanent injunction prohibiting Crumbl from further infringement.
Founded in 2017 with a single store in Utah, Crumbl now has over 1,000 locations worldwide, with more than 29,000 employees. According to Reuters, the company has been exploring a sale since January that could value the business at $2 billion.
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Days After Licensing the Fyre Name to a Media Company, Billy McFarland Puts ‘Fyre Festival’ Up for Sale

Photo Credit: Web Summit / CC by 2.0
Billy McFarland is looking for a buyer for the Fyre Festival name after cancelling his second attempt at hosting a destination festival. He recently licensed the ‘Fyre’ name (in perpetuity) to a media company that will run free, ad-supported music television channels later this year.
McFarland officially announced the cancellation of Fyre Festival 2 after indefinitely postponing the festival. It was supposed to be hosted in Playa del Carmen from May 30 to June 2—but permits shared by McFarland and Co. highlighted that the live music festival was little more than a hotel permitted to play recorded music for a gathering of around 250 people. Anyone who purchased a ticket to Fyre Festival 2 will be refunded.
Fyre Festival was the subject of two documentaries after the much-lauded beach bash turned out to be little more than refugee tents and cheese sandwiches in styrofoam boxes. Announced acts like Blink-182 and Migos dropped out, while guests arrived to find naked mattresses stacked in igloo-looking tents spread out on the sparse beach. The whole event landed McFarland in prison for four years on federal fraud charges.
Now in an official statement on the Fyre Festival website, McFarland says he’s seeking a buyer of the Fyre Festival name—calling it the “most powerful attention engine” in the world.
“Over the past two years, we’ve poured everything into bringing Fyre back with honesty, transparency, relentless effort, and creativity. We’ve taken the long road to rebuilding trust. We rebuilt momentum. And we proved one thing without a doubt: Fyre is one of the most powerful attention engines in the world.”
“Since 2017, Fyre has dominated headlines, documentaries, and conversations as one of the world’s most talked-about music festivals. We knew that Fyre was big, but we didn’t realize just how massive it would become. That wave has brought us here, to a point where we know it’s time to call for assistance.”
“This brand is bigger than any one person and bigger than what I’m able to lead on my own. It’s a movement. And it deserves a team with the scale, experience, and infrastructure to realize its potential. We have decided the best way to accomplish our goals is to sell the Fyre Festival brand, including its trademarks, IP, digital assets, media reach, and cultural capital—to an operator that can fully realize its vision.”
Billy McFarland still owes $26 million in restitution to victims of the first Fyre Festival debacle. While he’s right that Fyre Festival attracts eyeballs and is very talked about, none of the attention is positive attention. The brand ‘Fyre Festival’ has now become synonymous with failure, with some live music fans branding this year’s Coachella ‘worse than Fyre Festival’ after lengthy delays and technical issues. (But hey, at least Coachella did have all the live music you could enjoy with actual luxury accommodations to boot.)
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Billy McFarland Says Goodbye To Fyre Fest 2, Offers Brand For Sale

We have finally reached the last chapter of Fyre Fest 2. Just a week after the event’s organizers postponed it with no clear new date, Billy McFarland released an official statement in which he admitted he would be selling the brand. After multiple attempts to find a suitable location and a media battle between local officials and McFarland, the organizers are ready to pass the torch to a new administration.
The End of Fyre
Per the official statement, the brand has grown too big for him and his team to handle. He continues explaining that in the last two years, he has tried to lead the brand with dignity and honesty. However, the festival ran with no clear lineup, no host venues, and ticket packages that reached up to $1 million.
It got worse for the brand as the two supposed locations where Fyre would’ve taken place released official statements denying any involvement with the event, and contradicted all of Billy’s attempts to legitimize Fyre Fest 2. In the end, after DJs rejected his offers to play at the event, and multiple statements later, McFarland is now ready to pass the torch and sell the brand to a brave new group.
The statement also reads that multiple Caribbean destinations approached Fyre to finally host the event. It seems that they have already decided on the perfect location for the festival. However, McFarland claims that he can’t risk a repeat from Playa del Carmen, and that he needs to allow for a new team to take over for him and see the plan through.
He expressed the need for the festival to have new leadership to follow through with his dream of a “global entertainment brand”.
What do we think? Will someone take over and follow in McFarland’s steps, or will this be the end of the Fyre era?

The post Billy McFarland Says Goodbye To Fyre Fest 2, Offers Brand For Sale appeared first on EDMTunes.
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Mistress Moon Slows Down Time With Release Of Timeless Single ‘Playing Games’

Mistress Moon, the lo-fi collaboration of Joey Francis (Bad Nonno) and John Anthony DeJoria, has unveiled their newest introspective single, ‘Playing Games.’ Based between Los Angeles and Austin, the duo invites listeners on an introspective journey through atmospheric soundscapes and nostalgic melodies.
‘Playing Games’ combines uplifting melodies with rich, immersive soundscapes, the duo crafts a profoundly emotional experience for listeners. The project personifies Mistress Moon as a celestial muse, guiding listeners through a universe of feminine energy and moods, with each track representing a unique planetary experience. Rooted in warmth and nostalgia, ‘Playing Games’ blends introspection with immersive lo-fi textures, creating an escape route for many that feels intimate and otherworldly.
With their talent for creating deeply emotive and atmospheric sounds, Mistress Moon is reshaping the lo-fi genre, bringing a captivating live music experience to a wide audience. ‘Playing Games’ is just the start of what this gifted duo has in store. Make sure to check it out below!
The post Mistress Moon Slows Down Time With Release Of Timeless Single ‘Playing Games’ appeared first on EDMTunes.
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Tomorrowland Winter Drops Aftermovie and 2026 Dates

Just over a month ago, more than 22,000 People of Tomorrow celebrated in the beautiful French ski resort of Alpe d’Huez. They explored some of the most breathtaking worlds within Paperworld. Marking the fifth edition of Tomorrowland Winter, this week was a milestone anniversary with a mesmerizing mix of music, mountains, and adventure. Relive this year’s most magical moments with the Official Tomorrowland Winter 2025 Aftermovie and start dreaming of a new adventure at the 6th edition of Tomorrowland Winter from March 21-28, 2026.
The aftermovie is a phenomenal recap of the 5th winter edition of the iconic dance festival and takes people back to the milestone anniversary. Festivalgoers were treated to legendary performances from over 150 artists across 7 iconic stages, including AFROJACK, Agents Of Time, Alok, Amber Broos, Amelie Lens, Armin van Buuren, Axwell, Dimitri Vegas, Henri PFR, HUGEL, Indira Paganotto, Lost Frequencies, MANDY, Miss Monique, Netsky, Nina Kraviz, Steve Aoki, Vintage Culture, and many more.
Tomorrowland Winter’s 5th edition was full of surprises, from Steve Aoki snowboarding down the mountain after his set to pop-up performances in unexpected spots. Andromedik, B Jones, Henri PFR, and Netsky turned a quiet bakery into a wild party, while Amber Broos and Juliet Fox transformed a ski shop into a mini rave. At Brasa’s terrace, AFROJACK, Dimitri Vegas, Joris Voorn, Lost Frequencies, and more jumped behind the decks for an unforgettable spontaneous set.
The post Tomorrowland Winter Drops Aftermovie and 2026 Dates appeared first on EDMTunes.
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