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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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Levity, Sullivan King, Dr. Fresch, and NGHTMRE headline GRIDLIFE Midwest 2025

GRIDLIFE Midwest Festival will return to Gingerman Raceway from Friday, June 6 – Sunday, June 8, 2025 for its 12th edition, where it has annually welcomed thousands of adrenaline-seekers for the premier ‘Speed Meets Sounds’ experience.
The festival has revealed a star-studded lineup for the three-day affair including festival veterans like Chicago trio Levity, who will mark a full-circle moment at the 2025 event, returning as headliners after their 2022 performance on a side stage. Dubstep/heavy metal virtuoso Sullivan King will also return to GRIDLIFE Midwest after his unforgettable performance and high-speed ride-along in 2023.
GRIDLIFE Midwest will also usher in debut headlining performances from versatile party starter Dr. Fresch, and GUD VIBRATIONS label boss NGHTMRE.
The festival will feature a handful of support acts that will make their GRIDLIFE Midwest debut such as dubstep queen LAYZ, versatile trap artist Rossy, LA-based speed house act CHYL, experimental bass maestro Super Future, melodic bass wizard Dennett, and Atlanta-based bass artist OkayJake.
The 2025 lineup is rounded out by additional supporting artists including QLANK, Dino Munaco, Matty Cants, Flats Stanlie, QURL, Veronica Eileen, DEVA, Prim, RO LOW, N8 b2b Kacper Kawala, Lachjaw, Tarrow, Key Mitch, Choccy Milk b2b Hush, Lowke b2b Ronan, S’moores, Rob D’Shawn, Kavic, and INV3RTED.
Known for bridging the gap between music lovers and car enthusiasts, GRIDLIFE Midwest has showcased top-tier musical acts throughout its previous 11 editions, including Outkast rapper Big Boi, Grammy-nominated producer Kaskade, trailblazing trap artist Waka Flocka Flame, superstar indie prankster Oliver Tree, acclaimed DJ/producer A-Trak, dubstep virtuoso Subtronics and Canadian bass music legends Zeds Dead. These genre-bending lineups have been curated alongside breathtaking drift exhibitions, races, and artist ride-alongs, creating a unique fusion that distinguishes GRIDLIFE Midwest as one of the world’s most exceptional cross-cultural events.
For the festival’s 11th edition last year, they invited GRIDLIFE Midwest artist Mersiv to embark on a once-in-a-lifetime adventure in a 750HP ride-along with Formula Drift Veteran Justin Pawlak. Amidst the roar of engines and billowing smoke, the illustrious drifter and renowned bass artist shared an unforgettable ride-along, thrilling fans as this exhilarating journey was captured in stunning detail.
Fueled by the mission of motorsports inclusion and sparking car curiosity, GRIDLIFE organizes a series of annual motorsport events and festivals across North America, with GRIDLIFE Midwest Festival, GRIDLIFE Laguna, GRIDLIFE South Carolina and GRIDLIFE Summer Apex standing out as four weekends that include musical programming. At these four preeminent destination events, attendees range from music aficionados to car enthusiasts, and “car curious” individuals alike are welcomed to explore GRIDLIFE’s accessible celebration of car culture.
Whether you grew up on the track or are a complete car novice, GRIDLIFE Midwest attendees are guaranteed a weekend to remember, featuring world-class music from national headliners and local talent, hundreds of race cars on track, the world’s best drifters, E-sports, and car shows, as well as vendors, camping & amazing food all in an open all access environment. With three days of automotive enthusiasm, ‘The Music Festival At High Speed’ gathers hundreds of grassroots and professional drivers from around the country and fuses car and music cultures.
For attendees looking to transcend the high-octane spectator experience, GRIDLIFE on track presentation includes top-tier drifting featuring amateur and pro drivers, hair-raising sprint races with the GRIDLIFE Touring Cup (GLTC), and heavily-modified time attack race cars. Attendees can apply to exhibit their vehicle in the #GRIDLIFE Showcase, test their driving skills in the Virtual Racing Arcade, explore a wide array of vendors, see high-profile builds up close and personal, and so much more.
The best way to get the full GRIDLIFE Midwest Festival experience is to camp on-site. The festival offers multiple camping options, including reserved Trackside Camping between turns 2 and 3, which provides some of the best on-track viewing action throughout the weekend. The event offers Thursday early-access passes that allow attendees to start the weekend of fun early. VIP Packages include all GA amenities plus VIP access, including Thursday early-arrival, exclusive Trackside VIP viewing area, a VIP-Only bar, two free drink tickets, limited edition swag bag, a drift taxi raffle entry, and more. Camping prices start at $189 for GRIDLIFE Midwest 2025 – view more information on camping options here. 
GRIDLIFE Midwest ticket tiers currently start at $129 for General Admission and $269 for VIP. Secure your GRIDLIFE Midwest Festival tickets now! Explore all available ticketing options right here.
The post Levity, Sullivan King, Dr. Fresch, and NGHTMRE headline GRIDLIFE Midwest 2025 appeared first on EDMTunes.
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Your Ultimate Guide To Solo Raving

Hitting the rave solo? You’re not alone—well, technically you are, but solo raving by yourself can be an epic adventure. You get to dance to your own beat, discover new music, and meet awesome people without having to coordinate with a group. But flying solo means you need to be extra prepared to keep things fun and safe.
Here’s how to stay safe, have fun, and make memories that last forever.
1. Tell Someone Where You’re Going
Before you even leave the house, text a trusted friend your full plans—event name, address, time, and when to expect your check-in text. If something goes sideways, they’ll know exactly where you are and what steps to take. Solo raving doesn’t mean secret.
2. Pack Lightly
The goal is freedom, not fumbling through a heavy bag. Bring only what’s essential: ID, cash, hydration pack, portable charger, and earplugs. If you’re planning to partake in substances, pack drug test strips, like fentanyl test kits. A 10-second test could mean the difference between a great night and a dangerous one.
3. Bring Naloxone (Narcan)
This can be a life-saver for you or someone else. Narcan reverses overdoses in minutes and is legal to carry. You could be someone’s guardian angel. Be prepared, not paranoid.
4. Screenshot Important Info
You’re in a packed field, your phone has 3-percent battery, and suddenly there’s no service. What now? Having a screenshot of your Airbnb address, festival map, set times, or emergency contacts gives you peace of mind when tech fails. Never rely solely on apps, print or screenshot the things that matter.
5. Use the Micro-Crew Method
Make friends before the drop. Compliment someone’s fit, share a fan, or offer gum. That small connection can turn into someone watching your stuff while you hit the restroom or helping you find your footing if you’re overwhelmed. Finding micro-crews to vibe with can also help keep you safe in case anything unexpected happens.
6. Trust Your Gut
If someone gives you a weird vibe, don’t second-guess yourself—walk away. If a hallway or walking path feels sketchy, avoid it. Your intuition is your built-in alarm system. There’s always a good view, good people, and good energy somewhere else at the rave. Follow your frequency.
7. Stay Connected
Picture this: it’s 2AM, your phone is dead, and your ride home is nowhere in sight. Avoid the panic. Bring a portable charger, turn on low-power mode early, and screenshot what you can. Having your phone means staying connected to help, to home, and to safety.
8. Wear Comfortable Everything
Your outfit may be fire, but if by hour three your feet are bleeding and your glitter is melting, consider wearing breathable, comfy clothes and broken-in shoes you can dance in all night. You’ll move more, stress less, and still look good doing it. Pro tip: wear two pairs of socks for enhanced support!
9. Have An Emergency Contact
Set up an emergency contact in your phone. Someone who knows your medical history, allergies, and can make decisions if needed. Put this info on your lock screen, so first responders can reach them if you’re unable to communicate. It’s a small step that can make a big difference in critical situations. ​
10. Own It & Let Go
There’s a special kind of magic in doing what most people are too scared to try. When you’re solo, you’re fully in control—no chasing the group, no compromising your vibe. Let yourself dance freely, meet people organically, and leave with a story that was fully crafted from your own imagination.
You Got This
Solo raving isn’t just about music—it’s about self-trust, confidence, and freedom. Every time you step into that crowd alone, you’re proving you can show up for yourself. Be safe, have fun, and never stop dancing.
Featured image courtesy: Insomniac Events. Credit: Skyler Greene.
The post Your Ultimate Guide To Solo Raving appeared first on EDM Maniac.
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Your Ultimate Guide To Solo Raving

Hitting the rave solo? You’re not alone—well, technically you are, but solo raving by yourself can be an epic adventure. You get to dance to your own beat, discover new music, and meet awesome people without having to coordinate with a group. But flying solo means you need to be extra prepared to keep things fun and safe.
Here’s how to stay safe, have fun, and make memories that last forever.
1. Tell Someone Where You’re Going
Before you even leave the house, text a trusted friend your full plans—event name, address, time, and when to expect your check-in text. If something goes sideways, they’ll know exactly where you are and what steps to take. Solo raving doesn’t mean secret.
2. Pack Lightly
The goal is freedom, not fumbling through a heavy bag. Bring only what’s essential: ID, cash, hydration pack, portable charger, and earplugs. If you’re planning to partake in substances, pack drug test strips, like fentanyl test kits. A 10-second test could mean the difference between a great night and a dangerous one.
3. Bring Naloxone (Narcan)
This can be a life-saver for you or someone else. Narcan reverses overdoses in minutes and is legal to carry. You could be someone’s guardian angel. Be prepared, not paranoid.
4. Screenshot Important Info
You’re in a packed field, your phone has 3-percent battery, and suddenly there’s no service. What now? Having a screenshot of your Airbnb address, festival map, set times, or emergency contacts gives you peace of mind when tech fails. Never rely solely on apps, print or screenshot the things that matter.
5. Use the Micro-Crew Method
Make friends before the drop. Compliment someone’s fit, share a fan, or offer gum. That small connection can turn into someone watching your stuff while you hit the restroom or helping you find your footing if you’re overwhelmed. Finding micro-crews to vibe with can also help keep you safe in case anything unexpected happens.
6. Trust Your Gut
If someone gives you a weird vibe, don’t second-guess yourself—walk away. If a hallway or walking path feels sketchy, avoid it. Your intuition is your built-in alarm system. There’s always a good view, good people, and good energy somewhere else at the rave. Follow your frequency.
7. Stay Connected
Picture this: it’s 2AM, your phone is dead, and your ride home is nowhere in sight. Avoid the panic. Bring a portable charger, turn on low-power mode early, and screenshot what you can. Having your phone means staying connected to help, to home, and to safety.
8. Wear Comfortable Everything
Your outfit may be fire, but if by hour three your feet are bleeding and your glitter is melting, consider wearing breathable, comfy clothes and broken-in shoes you can dance in all night. You’ll move more, stress less, and still look good doing it. Pro tip: wear two pairs of socks for enhanced support!
9. Have An Emergency Contact
Set up an emergency contact in your phone. Someone who knows your medical history, allergies, and can make decisions if needed. Put this info on your lock screen, so first responders can reach them if you’re unable to communicate. It’s a small step that can make a big difference in critical situations. ​
10. Own It & Let Go
There’s a special kind of magic in doing what most people are too scared to try. When you’re solo, you’re fully in control—no chasing the group, no compromising your vibe. Let yourself dance freely, meet people organically, and leave with a story that was fully crafted from your own imagination.
You Got This
Solo raving isn’t just about music—it’s about self-trust, confidence, and freedom. Every time you step into that crowd alone, you’re proving you can show up for yourself. Be safe, have fun, and never stop dancing.
Featured image courtesy: Insomniac Events. Credit: Skyler Greene.
The post Your Ultimate Guide To Solo Raving appeared first on EDM Maniac.
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Mariah Carey Infringement Suit Turns Ugly Amid Legal Fees Dispute: ‘One Artist Should Not Push Another Artist to the Brink of a Financial Collapse’

A live performance from Mariah Carey, who, along with fellow defendants including Sony Music, is pushing to receive legal fees in an ‘All I Want for Christmas Is You’ copyright lawsuit. Photo Credit: Raph_PH
All I want for Christmas is everything you own: A copyright infringement lawsuit over Mariah Carey’s perennial holiday hit is turning ugly amid a legal-fees sub-dispute.
We first broke down that high-stakes sub-dispute closer to April’s beginning, after the presiding judge opted to toss the complaint in March. Long story short, the country-singer plaintiff, Vince Vance (real name Andy Stone), accused Carey’s “All I Want for Christmas Is You” of lifting from his own effort of the same name.
But the ruling in favor of the defendants – among them Universal Music, Sony Music, and Carey herself – set the stage for a massive attorneys’ fees demand. All told, the parties are looking to make the plaintiff cough up an astonishing $185,602 and change.
Unsurprisingly, the request isn’t sitting right with Stone, who, when opposing the bill in a new filing, described himself as “an elderly man now without vast resources.”
Elsewhere in the legal document, the plaintiff emphasized in more words that he’d pursued relief not on a whim, but only after “two of the most esteemed musicologists in the country” had independently identified alleged overlap between the two Christmas songs.
Not stopping there, Stone also underscored the belief that musicologists and artists know more about the subject matter than the court or attorneys in general.
“This is a lawsuit between a successful artist from one generation against another successful artist from a later generation,” Stone and his counsel wrote. “These musicians know more than any lawyer or the Court what they hear in another song.”
Evidently attempting to cover every angle, Stone proceeded to call out the defendants’ allegedly “unreasonable” legal-fees billing.
Furthermore, the plaintiff reiterated his own litigation expenses (purportedly including a $40,000 bill just to oppose summary judgement motions) and claimed that “forcing him to sell parts of his catalogue of music will accomplish nothing.”
Against the backdrop of a volume-heavy infringement-litigation landscape, the defendants’ counsel would probably disagree with the latter remark.
With all that said, how much should the plaintiff pay? While the best answer (from Stone’s perspective) is undoubtedly “nothing at all,” if the court is inclined to award legal fees, giving “the entire group more than $70,000 would be reversible error,” per the filing.
Under the current schedule, we won’t have to wait too long to see whether the judge agrees with Stone here; the courtroom confrontation’s next hearing is set for May 12th.
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You Can Now Place an Offer to Purchase Fyre Festival

Once pitched as an elite escape of music and luxury, Fyre Festival's notorious collapse in 2017 became a case study in viral hype gone wrong. Now, the ill-fated event that launched two documentaries in its wake is officially up for sale.
Fyre Festival founder Billy McFarland, who served four years in prison for wire fraud related to the 2018 debacle on the Bahamian island of Great Exuma, has announced he intends to step away from the brand while inviting potential buyers to place bids on its full intellectual property package. 
The announcement follows McFarland's attempts to mount a comeback in the Caribbean. Originally scheduled to take place in May 2025, Fyre Festival 2 was postponed indefinitely after contentious disputes with Mexican government officials in two separate municipalities, Isla Mujeres and Playa del Carmen.
While he claims to have since secured a new Caribbean-based destination willing to host Fyre Festival 2, McFarland says he's unwilling to risk another collapse. "For FYRE Festival 2 to succeed, it’s clear that I need to step back and allow a new team to move forward independently, bringing the vision to life on this incredible island," he said.
McFarland has now issued a new call to action: buy the brand and take the reins.
"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," McFarland said in a statement. "There is a clear path for operators and entrepreneurs with strong domain expertise to build FYRE into a global force in entertainment, media, fashion, CPG, and more."
Since relaunching the brand in 2023 after his release from prison, McFarland states Fyre has already been leveraged for developments in theater, streaming platforms and television.
While the name still carries a seedy reputation, it has continued to dominate headlines, leading McFarland to call it "one of the most powerful attention engines in the world." For prospective buyers, that attention could be a valuable asset, provided they've got the initiative to rewrite the brand's tumultuous legacy.
At the moment, the brand's official site is hosting an intake form where interested parties can place offers to purchase the Fyre Festival brand. The sale package includes the festival’s trademarks, marketing materials, domains, media assets, artist support lists and even the rights to its extensive documentary coverage.
Meanwhile, a separate but related Fyre-branded project is already underway under the leadership of media entrepreneur Shawn Rech. Rech, who recently acquired select Fyre IP, is launching a music streaming platform under the name, aiming to recast the brand into a fan-driven discovery tool for emerging artists.
Still, the main event remains up for grabs. And as McFarland steps away, Fyre's future ahead will be in the hands of the next bidder.
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Spotify Stock (NYSE: SPOT) Once Again Crosses $600 — Bullish Forecasts Continue Ahead of April 29th Earnings Release

Spotify stock once again topped $600 per share during today’s trading, and some analysts remain optimistic that the rebound will continue. Photo Credit: Gizmodo
Spotify stock (NYSE: SPOT) rebounded past $600 per share during today’s trading. But with the company’s Q1 2025 earnings release just days away, will the momentum continue?
That question is front of mind for investors and analysts, who, ahead of the first-quarter report’s April 29th release, are continuing to put out relatively bullish forecasts. We covered some of those optimistic target prices (and a couple more measured positions) earlier this week.
Since then, Benchmark has decreased its SPOT target to a still-substantial $700, pointing to high hopes for Super-Premium, podcasting profitability, and advertising revenue. Wolfe Research is banking on shares’ cracking $660 apiece, with UBS having settled on a $690 target.
In other words, the aforementioned “relatively bullish” descriptor appears apt here. And while broader market trends are certainly affecting SPOT’s trajectory, logic suggests that the company’s post-earnings positioning will be determined by key metrics including reported subscribers and profitability.
Keeping the focus on what we already know, Spotify execs and directors are continuing to cash in on company stock, shares in which topped $600 each this morning and were hovering around the $590 mark at the time of writing.
Though the market is evidently unconcerned, these sales are now nearing a cumulative $2 billion – with a substantial portion of the sum having resulted from transactions in 2024 and 2025.
To be sure, DMN Pro broke down execs’ and directors’ $1.8 billion in total SPOT sales in mid-April. But CEO Daniel Ek added to the figure – and kept the selloff trend going – by cashing in on $28.2 million worth of Spotify stock one week ago.
Next, Spotify’s recent job posts can provide valuable insight into the company’s strategic direction. That might seem obvious, but the details are often overlooked despite having offered a glimpse of the platform’s video and IRL event plans months beforehand, to name one major example.
Admittedly, the streaming platform’s openings to this point in April haven’t unlocked any particularly groundbreaking insights. But amid a well-documented licensing showdown in the music publishing world, the service is looking to bring aboard a publishing-licensing manager, one post shows.
Meanwhile, with its largescale advertising revamp in full swing, Spotify is also making multiple related hires, different posts indicate. Most noteworthy here (especially given ad-supported listening’s modest revenue and rumblings of a stateside ban on TV pharmaceutical adverts) is a professional tasked with selling advert space to pharma companies in particular.
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Groove Cruise Miami 2026 Sets Sail for Nassau Featuring A Brand New Beach Club Opening

Get ready for Groove Cruise Miami 2026 set for the fantastic destination of Nassau! Join the virgins, veterans, and all you call family from January 22-26, 2026. What’s more, the world’s largest floating music festival sets sail on Royal Caribbean’s incredible Wonder of the Seas. Currently the biggest cruise ship when it comes to staterooms. GC always finds a way to top their previous year, and 2026 is shaping up to be absolutely historic. Get ready for a whole new level of amazing with top-notch luxury, thrilling adventures, and world-class entertainment.
Eat. Spa. Rave. Repeat. The motto of Groove Cruise and why it’s a memorable experience for newcomers and GCFAM alike. Across 5 days and 4 nights, experience non-stop partying unlike any other. From themed stage takeovers, exhilarating workouts, power naps, and the serenity of Whet Oasis, attendees come hungry for music and leave as family. Stepping aboard Groove Cruise feels like joining a massive family gathering. It brings together individuals from all corners of the globe, forging a special bond that has affectionately become known as the #GCFAM. United by common passions, a deep love for music, and a welcoming atmosphere, this tight-knit community cultivates a strong sense of belonging, where “captains” forge lasting friendships and meaningful connections.
Wonder of the Seas
Launched in 2022, the Wonder of the Seas is designed with eight distinct neighborhoods, each with its own unique atmosphere, and boasts over 40 places to grab a drink or a bite. A standout is the brand-new Suite Neighborhood – a first for Royal Caribbean – offering an exclusive and upscale retreat for those looking for extra luxury and privacy. Here you’ll find the Ultimate GCFAM Suite, a truly opulent space that redefines cruising in style. Perfect for groups of up to 10 Groove Cruise fans, this suite features a private plunge pool, a fully stocked bar, a fun slide, and a huge living area, all designed for ultimate comfort and privacy, with personalized butler service to take care of everything.
Craving some Southern comfort food? Head to The Mason Jar restaurant and bar for classic dishes and exciting new flavors. Need brunch, dinner, or late-night snacks? The plethora of restaurants has you covered. And for thrills? Race down The Ultimate Abyss, the tallest slide at sea. Or try out the FlowRider surf simulator, twin rock climbing walls, and The Perfect Storm’s trio of high-speed waterslides. In addition, thrillseekers can soar across a 10-story-high zip line. If you need to relax, the beautiful Central Park neighborhood filled with over 20,000 real plants awaits you.
Royal Beach Club Paradise Island
The sailing comes just in time for the grand opening of the Royal Beach Club Paradise Island this December. Each year, GC makes its way to a tropical destination where attendees can stretch their legs but continue the party rocking. A unique element of the festival is an island takeover. For 2026, it is the first Royal Beach Club on the western end of Paradise Island near Nassau. This 17-acre destination is a club that blends beautiful beaches with Royal Caribbean’s signature experiences. Private cabanas, pools, Bahamian architecture, food, activities, live music, and local artisans. All while emphasizing environmental responsibility and community involvement.
Lineup
Funkos are out and the lineup is in! A lineup of GC All-Stars with familiar faces and fan-favorites and John Summit as their main headliner! Get down with tech house leader Cloonee, or dnb step to drum and bass queen Blossom. Party with UK heavy house producer Chris Lorenzo, or the king of Hood Politics DJ Susan. The iconic Green Velvet returns alongside melodic bass expert Jason Ross and GC trance legend Markus Schulz. Look forward to UK celebrity DJ Joel Corry, dynamic house artist Max Styler, UK vocalist Sarah De Warren, the funky bassline duo The Sponges, and so much more.
Now, fans can even look forward to sensational acts like Amy Wiles, Airicca, Azzecca, Blossom, Girl Math, Jackie Hollander, Leanna Punks, Lilly Palmer, Linska, Luci, ME N Ü, DREYA V, Sam Blacky, Sarah De Waren, Alleykay, Bella Renee, Ms. Behave, Max Low, Tara Brooks, Tyler Graves, and more. We are here for the prioritization of female acts, which only furthers Groove Cruise’s passionate spirit and influence in the music festival realm.
Groove Cruise 2026 is already 97% sold out, with prices going up May 2nd at 11:50pm EST. Check out the remaining staterooms and pricing details here.
The post Groove Cruise Miami 2026 Sets Sail for Nassau Featuring A Brand New Beach Club Opening appeared first on EDMTunes.
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Above & Beyond Springboards Coachella into North American Tour

Photo Credit: Amelia Troubridge
Electronic trio Above & Beyond are returning to North America for a 13-date amphitheater tour in support of their latest studio album, Bigger Than All Of Us.
Presented by Live Nation and spanning three months, the tour marks the group’s first full album tour in North America since 2018. It kicks off on August 15 in Vancouver and concludes on October 4 at the Shoreline Amphitheatre in Mountain View. Other stops include major cities such as New York City, Chicago, Toronto, Boston, and Atlanta.
Bigger Than All Of Us explores themes of reconnection—a message that will come to life on this tour both musically and visually. Debuted to tens of thousands of fans across two weekends at Coachella, the new stage production elevates the band’s live show experience like never before. The production features a spaceship-inspired DJ booth designed to immerse the audience in a fluid, circular environment.
Born from a vision by the band and further developed by longtime collaborators Dylan Byrne and Neil Marsh, the concept aims to break away from the rigidity of traditional stage design. A dynamic LED ring interacts with the screen behind it, creating a sense of movement, warmth, and connection.
“Our music has always been about togetherness, connection, and the shared emotional experience,” the band says. “This tour—and this stage—is a celebration of that feeling, brought to life in a new way.”
Pre-sales for the new tour open on Wednesday, April 30 at 10 am local time, with general on-sale beginning on Friday, May 2 at 10 am. New music from the album is already rolling out. The single “Quicksand (Don’t Go)” with Zoë Johnston is now available on Anjunabeats.
Above & Beyond North American Tour Dates — Bigger Than All Of Us
August
15 | Deer Lake Park — Vancouver, BC 16 | Cascades Amphitheater — Ridgefield, WA 22 | Huntington Bank Pavilion at Northerly Island — Chicago, IL 29 | Budweiser Stage — Toronto, ON September
05 | Forest Hills Stadium — New York, NY 06 | Lader Bank Pavilion — Boston, MA 12 | Orlando Amphitheater — Orlando, FL 13 | Lakewood Amphitheatre — Atlanta, GA 19 | Germania Insurance Amphitheater — Austin, TX 20 | Dos Equis Pavilion — Dallas, TX 27 | Fiddler’s Green Amphitheatre — Denver, CO October
02 | The Rady Shell at Jacobs Park — San Diego, CA 04 | Shoreline Amphitheatre — Mountain View, CA View the full article
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FYRE Festival 2: The Sequel No One Asked For Is Now on the Market

In a plot twist nobody saw coming- Billy McFarland has announced that FYRE Festival is FOR SALE. Yes, that FYRE. The one with the cheese sandwiches, disaster tents, and more lawsuits than wristbands. Turns out the man behind the disaster 2017 meltdown wants someone else to take the reins of his “attention engine.”
After two years of promising “honesty, transparency, and creativity,” McFarland says FYRE has outgrown him. Which is bold from a guy whose last big idea involved repurposed hurricane tents and an influencer apology tour.
Apparently, FYRE is going Hollywood. As stated in their ‘special announcement’ on Instagram, “Entertainment executives have already licensed the brand to develop properties specifically in for theatre , music streaming and free ad-supported TV,” whatever that means. Meanwhile, McFarland is eyeing a new Caribbean location for FYRE 2, but with an unexpected plot twist… he won’t be leading it. That’s right: Billy is stepping back and letting someone else take the wheel of this trust-fund Titanic. Growth? Accountability? Or just pre-emptive damage control? Who is he.
If FYRE can’t deliver music, at least it delivers content. Just remember to pack a tent, a granola bar, and all your expectations— so they can be crushed again in style.
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Carlos Santana Postpones San Antonio Concert After Being Hospitalized

Photo Credit: Carlos Santana by Eddie Janssens / CC by 4.0
Carlos Santana postponed his San Antonio concert after a dehydration scare saw him hospitalized out of an abundance of caution.
Carlos Santana was scheduled to perform at the Majestic Theatre in San Antonio last night (April 22). But the event was cancelled after Santana suffered from dehydration and was taken to a local hospital for observation.
“It is with profound disappointment that I have to inform you all that tonight’s show in San Antonio has been postponed,” wrote Santana’s manager, Michael Vrionis.
“Mr. Santana was at the [Majestic Theatre] preparing for tonight’s show when he experienced an event that was determined to be dehydration,” Vrionis continued. “Out of an abundance of caution and the health of Mr. Santana, the decision to postpone the show was the most prudent course of action.”
“He is doing well and is looking forward to coming back to San Antonio soon, and continuing his US tour,” Vrionis added, assuring fans that the show “will be rescheduled soon.” He instructed concert attendees to hold on to their tickets, as a new date would be rescheduled in San Antonio “as soon as possible.”
The 77-year-old Santana is still scheduled to perform at the Smart Financial Centre in Sugar Land tonight, but it’s unknown if this show will end up postponed as well. Since he was reportedly doing well, it’s expected that he will still hit the stage in Sugar Land tonight.
Santana has been traveling across the United States for his Oneness Tour 2025, named for a 1979 solo live album consisting primarily of instrumental guitar ballads. In June, Carlos and his band head to Europe for the summer, before returning stateside to play a series of shows as part of a Las Vegas residency.
Carlos Santana was the lead guitarist and founder of the group that bears his name, Santana, before he broke out as a solo artist. He and his former bandmates have reunited for performances and press appearances throughout the years, but his current tour bills him as a solo act.
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Jay-Z Rape Accuser Moves to Dismiss Countersuit

Photo Credit: Jay-Z by Alex Johnson / CC by 2.0
The woman who accused Jay-Z of sexually assaulting her in 2000 is asking a judge to dismiss the rapper’s countersuit against her.
Identified only as Jane Doe, the woman alleged in court documents back in December that Shawn “Jay-Z” Carter and Sean “Diddy” Combs raped her at an MTV Video Music Awards afterparty when she was 13 years old.
Although her attorneys voluntarily dismissed the case in February, Jay-Z filed a countersuit against Jane Doe and her lawyers, Tony Buzbee and David Fortney, in March. Now, Doe has filed a motion to dismiss Jay-Z’s lawsuit.
In his lawsuit against her and her attorneys, Jay-Z alleged malicious prosecution, abuse of process, and civil conspiracy. Notably, he also sued Doe separately, alleging defamation. But in her motion filed on Tuesday, Doe and her legal team say Jay-Z “fails to state a claim upon which relief can be granted.”
“Carter has not alleged facts that would support an abuse of process claim,” the filing states, arguing that Jay-Z’s malicious prosecution claim falls short, as he alleges that the lawsuit was initiated and prosecuted for malicious reasons, “not that any process was wrongfully used after issuance.”
Moreover, the filing says the civil conspiracy claim should also be dismissed, given that Doe’s lawyers “have shown that, as attorneys, they are not liable for civil conspiracy under these allegations.” A conspiracy, they state, requires more than one party; “Doe cannot be liable for civil conspiracy.”
Doe further claims that, based on Jay-Z’s own allegations, he was not damaged by any potentially defamatory statements. He claimed that an NBC News piece “disproved” her claims against him, and that “no person of ordinary care and prudence” would have believed the allegations against him in the first place.
Jay-Z’s countersuit seeks assumed, actual, and punitive damages.
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The MLC Puts Feelers Out for New Board Members, Advisory Committee

Photo Credit: Bennie Bates
The MLC has announced it is accepting suggestions of Publisher candidates to join its Board of Directors, Dispute Resolution Committee, Operations Advisory Committee, and Unclaimed Royalties Oversight Committee.
Under the Music Modernization Act (MMA), certain governance positions within the MLC are reserved for representatives of Publishers. The terms of several Publisher seats on the Board and the organization’s advisory committees are slated to end later this year.
Elections to determine who will fill the open Board seats will be held this summer. Board and committee members sit for three-year terms and may be re-elected. Seats are filled according to the MLC’s Bylaws. Currently, there are two openings on the Board of Directors for two Publisher representatives. Under said Bylaws, a ‘Publisher’ means a music publisher to which songwriters have assigned exclusive rights of reproduction and distribution of musical works with respect to covered activities.
‘Covered Activities’ means the making of digital phonorecord deliveries of music works, including in the form of permanent downloads, limited downloads, or interactive streams. The openings for the MLC’s advisory committees are as follows:
One Publisher seat on the Dispute Resolution Committee | Recommends policies and procedures to the MLC’s board for the processing of royalties related to works that are subject to disputes of ownership. Two Publisher seats on the Operations Advisory Committee | Makes recommendations to the Board concerning the operations of the MLC, including the efficient investment in and deployment of information technology and data resources. Two Publisher seats on the Unclaimed Royalties Oversight Committee | Recommends policies and procedures to the MLC’s board related to the distribution of unclaimed accrued royalties. The MLC’s Board of Directors and advisory committees meet regularly, and all meetings allow for virtual participation such that travel is not generally required. Members are expected to devote sufficient time to prepare for and participate fully in all meetings. More information on the MLC’s Board of Directors and its advisory committees can be found here.
Suggestions for these seats should be made no later than May 22. To suggest a candidate for a Publisher representative seat, complete the suggestion form available here.
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IMS Business Report Highlights EDM's Rising Dominance in Global Festival Lineups

EDM artists now comprise 18% of lineups across the top 100 festivals worldwide, according to the 2025 IMS Business Report, the annual study of the electronic music industry by MIDiA Research.
That figure marks a steady upward trajectory with a two-point increase since 2023 and a five-point bump since 2021. Nearly 10% of the top 100 festivals are now exclusively dedicated to electronic music, per the report, a testament to its robust market demand and loyal fanbase.
EDM.com last week reported that dance and electronic artists took the lion's share of this year's Coachella lineup, underscoring the genre's ascendent cultural footprint and commercial viability. It commanded 39% of the legendary festival's 2025 billing, nearly doubling the festival's next most-represented genre grouping: 21% for indie, rock and alternative acts.
EDM is also erupting off the stage. In 2024, TikTok videos tagged with #ElectronicMusic globally garnered over 13 billion views, a 45% increase from the year prior, far eclipsing content with indie and alternative music tags.
Elsewhere in the 2025 IMS Business Report, the electronic music industry grew 6% year-over-year in 2024, reaching a global valuation of $12.9 billion. Mark Mulligan, MIDiA Research's Managing Director, credits a rise in genres like Afro house and drum & bass as well as major advancements in fan engagement, among other catalysts.
"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," Mulligan said, "Electronic music however, continued to increase its share of both revenues and culture... electronic music finds itself at the start of a brave new era of culture resonance."
You can download the full 2025 IMS Business Report here.
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Diplo Inks Global Admin Deal With Warner Chappell: ‘One of the Most Accomplished Artists and Music Pioneers’

Diplo (real name Thomas Pentz), who’s inked a worldwide admin deal with Warner Chappell Music. Photo Credit: Maria Jose Govea
Warner Chappell Music (WCM) has officially signed “visionary creative” Diplo to a global admin deal.  
Warner Music’s publishing unit and 46-year-old Diplo formally announced that high-profile pact this morning. In the appropriate release, Warner Chappell took the opportunity to emphasize the Major Lazer member’s commercially prominent catalog, with a particular focus on collaborations involving Morgan Wallen, Justin Bieber, and others.
(Most recently, Diplo wrote and produced Blackpink member Jennie’s “Like Jennie.” Fellow Blackpink member Rosé signed a worldwide deal with Warner Chappell in November 2024.)
Meanwhile, the Mad Decent and Higher Ground owner Diplo in a statement touted WCM’s “immensely skilled, forward thinking staff.”
“The Warner Chappell team is uniquely set up to address my many endeavors and projects whether it be producing for other artists, releasing my own music, or collaborating on records,” the three-time Grammy winner said.
“They have an immensely skilled, forward thinking staff that I feel can help complement how I approach making and placing music,” the LSD member concluded. “In addition, I am excited to bring it full circle with [WCM COO] Carianne Marshall who played such an integral role in my early success.”
And in remarks of his own, Warner Chappell SVP of A&R for North America David Goldsen praised the HonkyTonk curator “as one of the most accomplished artists.”
“Diplo has already cemented himself as one of the most accomplished artists and music pioneers on the planet,” the close to two-decade Warner Chappell exec communicated.
“His bold approach to art, culture, and songs is what we want to align with at Warner Chappell. There’s lots to continue to look forward to, and we’re thrilled to work together with him alongside his management team, Andrew McInnes and Renee Brodeur,” Goldsen finished.
Now with a Spotify direct deal in place, Warner Chappell has scored several other signings in and around the EDM space on the year. That includes agreements with Mau P (inked specifically via Warner Chappell Benelux) and Empire of the Sun’s Luke Steele, to name a couple.
And fresh off a Sphere residency, EDM vet Anyma closed out March by signing a publishing pact of his own, this time with Kobalt.
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60 Million People Used AI to "Create" Music in 2024: IMS Business Report

The line between "I made this" and "an algorithm made this while I watched TikTok" continues to blur as the latest IMS Business Report reveals a startling 10% of consumers used generative AI to create music in 2024.
AI-powered music apps attracted a combined total of 60 million users last year, according to the annual study of the electronic music industry by Mark Mulligan and MIDiA Research.
The data highlights an increase in the use of audio modification tools, with tempo adjustment emerging as the most requested feature. Others include creating songs sung in their voice and even swapping vocals from one artist to replace them with another.
This trend of democratization, which many argue bastardizes the art of music composition, builds upon a growing desire among music fans to participate in music creation rather than simply listen passively.
In spite of AI's doom and gloom, the electronic music industry grew 6% year-over-year in 2024, reaching a global valuation of $12.9 billion.
"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. Electronic music however, continued to increase its share of both revenues and culture," Mulligan said. "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."
You can download the full 2025 IMS Business Report here.
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Above & Beyond Announce Amphitheater Series, First North American Album Tour in Seven Years

After lighting up Coachella from a stunning spaceship stage, iconic trance trio Above & Beyond are preparing for liftoff again, this time for an expansive North American tour.
The beloved group will launch a 13-date summer tour in support of their long-awaited fifth studio album, Bigger Than All Of Us, due out July 18th on Anjunabeats. It will be Above & Beyond's first North American album tour in seven years, according to a press release shared with EDM.com.
They're bringing along their new custom stage, the production of which features a spaceship-inspired DJ booth. Designed to "immerse the audience in a fluid, circular environment," the structure features a dynamic LED ring that interacts with the screen behind it.
Brandon Densley/DNZ Media
If their Coachella performances were any indication, this won't be your average Above & Beyond show. The tour's spectacular production is aimed at turning their signature message of unity into an immersive visual experience.
"Our music has always been about togetherness, connection and the shared emotional experience," the trio said in a statement. "This tour—and this stage—is a celebration of that feeling, brought to life in a new way."
The tour is scheduled to kick off August 15th in Burnaby, British Columbia before sweeping through a slew of high-profile outdoor venues, including New York's Forest Hills Stadium, Toronto's Budweiser Stage and San Francisco's Shoreline Amphitheatre.
Pre-sale access for the tour opens Wednesday, April 30th at 10am local time, with general ticket sales beginning Friday, May 2nd at the same time. Fans can now pre-order vinyl of Bigger Than All Of Us here.
Follow Above & Beyond:
Instagram: instagram.com/aboveandbeyond
X: x.com/aboveandbeyond
TikTok: tiktok.com/@aboveandbeyondofficial
Facebook: facebook.com/aboveandbeyond
Spotify: spoti.fi/3fHhX1z
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