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Breakaway Festival Rolls Into Philly With a Liberty Bell-Ringing Lineup

Breakaway just announced the lineup for its Philadelphia debut, and let's just say the festival is more stacked than a proper Wawa hoagie.
Scheduled for September 12-13 at the Festival Grounds at Subaru Park, the fest marks another milestone for Breakaway, the nation's fastest-growing traveling music festival. Philly now joins the brand's growing roster of locations, proving that when it comes to good electronic music, the city doesn't mess around—much like Eagles fans climbing greased streetlight poles during Super Bowl celebrations.
Presented by CELSIUS, this two-day extravaganza will feature headlining performances by Excision, Zedd, Two Friends, Cloonee and EDM.com Class of 2024 star Of The Trees. Two Friends, the creators of the beloved "Big Bootie Mix" series, are stepping outside of their typical performance style to throw down an exclusive Breakaway set focused on heavy-hitting bass music.
The undercard is also impressive, featuring ACRAZE, Disco Lines, Dombresky, Eptic, ROSSY, Trivecta, EVAN GIIA and Night Tales, among others.
Tickets are on sale now, including 2-Day GA, VIP, Ultimate VIP and Space Deck Terrace tickets and Space Deck tables. You can check out the full lineup below.
Follow Breakaway Music Festival:
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Instagram: instagram.com/breakaway
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Facebook: facebook.com/breakawayfestival
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Web3 Ticketing Upstart XP Announces $6.2 Million Raise, Doubles Down on ‘Mission to Build the Most Fulfilling Ticketing Experience’

Ticketing platform XP has announced a $6.2 million raise. Photo Credit: Jessica Christian
Web3 ticketing platform XP has announced a $6.2 million raise and doubled down on plans “to build the most fulfilling ticketing experience for fans.”
The year-old ticket-resale marketplace unveiled the funding in a blog post as well as a formal release. Founded and led by former Grubhub exec Michael Saunders, XP says it “puts fans first with transparent, fair-market prices and tech-forward ticketing innovations.”
Now, the company has a cool $6.2 million at its disposal to continue expanding those innovations, among them an AI-powered price-comparison extension.
New York City-based Blockchange Ventures, which per its website backs “founders with visions as big and bold as the Blockchain itself,” led XP’s latest raise. Additionally, the round drew support from crypto-minded investment manager L1D and David Kalk’s Reflexive Capital.
Addressing his business’s raise, the XP head Saunders called out the many competitors operating in the evidently lucrative ticketing space.
“Buying tickets shouldn’t feel like you’re getting taken advantage of,” said Saunders, who’s also at the helm of Captain Labs, the Solana-focused tech studio behind XP.
“Fandom is an integral part of a person’s identity, and yet most platforms treat fans like transactions. We believe fans deserve better—and that starts with recognizing and rewarding fans’ loyalty and passion,” concluded Saunders, whose platform is said to boast “millions of dollars in annualized ticket sales.”
While there’s certainly something to be said for rewarding fans, logic suggests that lowering prices is the best way to stand out in the increasingly crowded live-entertainment arena. On this front, XP indicated that its model means customers can “save up to 30%…compared to the same seats listed on other resale marketplaces.”
As things stand, these resale marketplaces aren’t limited to well-entrenched players like Live Nation’s Ticketmaster, SeatGeek, the possibly-for-sale Vivid Seats, and StubHub.
Back in August 2024, TickPick scored a cool quarter of a billion dollars in funding, and the U.K.’s Seat Unique announced a close to $20 million extended Series A. Then, Amsterdam’s Celebratix in November pulled down about $1.2 million and emphasized a goal of bringing its blockchain tech to several international markets.
In other words, competition is fiercer than ever in ticketing, where regulatory scrutiny isn’t letting up. Most conspicuously, that refers to the DOJ’s apparently ongoing antitrust lawsuit against Live Nation and Ticketmaster.
But the same companies are also the subject of at least one government crackdown across the pond. Returning to the States, a DOJ inquiry into “unfair and anticompetitive” live/ticketing practices is in full swing, and not-so-subtle anonymous sources have pointed to a possible criminal antitrust probe targeting Live Nation and AEG alike.
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Music Festival Attendees Face Hurdles Testing Substances Despite Overdose Crisis, Study Finds

A new study published in the Harm Reduction Journal examining drug-checking practices at music festivals has revealed a complex web of barriers preventing attendees from testing substances for safety.
The research surveyed 227 attendees of Sonic Bloom, a four-day EDM festival in Colorado, about their use of drug-checking tools, including reagent test kits and fentanyl test strips. Approved by Colorado State University's Institutional Review Board, the findings suggest that while drug-checking tools represent a promising harm reduction strategy, multiple systemic challenges limit their effectiveness in real-world settings like music festivals.
The study highlights a lack of education about testing procedures, which has led to "a critical need to reduce barriers" for the "at-risk population" of festival-goers despite an increase in public health campaigns about substance contamination.
Financial barriers emerged as a primary concern, with nearly 8% of participants citing the cost of reagent test kits as prohibitive, while about 7% found fentanyl test strips too expensive. More significantly, roughly one in four participants struggled to obtain testing materials at all.
"No access to free test strips in my entire county," said one 28-year-old woman surveyed in the study.
Even when attendees possessed testing materials, the festival environments themselves created obstacles. Weather conditions, particularly wind, made outdoor testing especially difficult for powdered substances. More than 11% of participants cited festival restrictions as barriers, noting that many events prohibit drug-checking services or ban testing supplies entirely.
"Some festivals do not allow testing kit sales or the entrance of them—this should be allowed to curate a better experience," said one respondent.
The lack of secure, sterile testing locations at festivals further complicated efforts to check substances safely. Several participants expressed frustration with having to conduct testing in exposed, unsanitary conditions.
Legal concerns also deterred some festival-goers from using testing tools. Participants reported confusion about the legality of possessing reagent kits and fentanyl strips, with some believing the materials could be classified as drug paraphernalia.
"In some states it's a felony to carry test kits," noted a 31-year-old participant, though the legal status of testing materials varies significantly by jurisdiction.
You can find the full study in the Harm Reduction Journal.
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Tomorrowland 2025’s Orbyz Theme Comes to Life In New Fantasy Novel

Tomorrowland has always pushed boundaries, but now it’s really doing something no other music festival has attempted: releasing a full-length fantasy novel tied directly to its theme. The Odes of Orbyz is the third installment in Tomorrowland’s growing literary universe, and it’s more than just a backstory—it’s a portal into the icy world of Orbyz, the festival’s new theme for 2025.
Set in the icy subterranean city of Nymbuz, The Odes of Orbyz follows Tybla, a warrior turned Adept of the Order of the Mane. When a mysterious explosion and a series of disappearances disrupt her community, she sets out to uncover the truth. Facing ancient rivals and dark secrets lurking beneath the surface, Tybla’s journey leads to an unexpected alliance that could save their world.
The integration of The Odes of Orbyz into the festival experience means that elements from the book will appear throughout the festival grounds. From stage designs to interactive installations, the story comes alive, offering attendees a deeper connection to the theme. Even those who can’t attend in person can immerse themselves in the world of Orbyz through the novel.
Building on its expanding literary universe with The Spirit of Life and The Great Library of Tomorrow, Orbyz marks a major evolution. This 300+ page limited-edition hardback features festival artwork, an illustrated glossary, and two detailed maps of the realm. With sprayed edges and collector’s item quality, it offers a tangible piece of the Tomorrowland experience.
Tomorrowland Belgium 2025 will unfold over two weekends—July 18–20 and July 25–27—in the scenic De Schorre park in Boom, welcoming 400,000 People of Tomorrow from across the world. Since its inception in 2005 by brothers Manu and Michiel Beers, Tomorrowland has evolved into one of the world’s most iconic electronic dance music festivals, renowned for its elaborate stage designs, immersive storytelling, and diverse lineup across more than 15 stages. 
Get the book and more info about Tomorrowland at tomorrowland.com.
The post Tomorrowland 2025’s Orbyz Theme Comes to Life In New Fantasy Novel appeared first on EDMTunes.
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DJ Snake Unveils New Hybrid Single ‘Reloaded’

Hard rock and electronic dance music have always been worlds apart, but that was before DJ Snake decided to bridge the gap. The Paris-based music producer and DJ has taken the audacious step of remixing the rock classic ‘This is the New Sh*t’ by Marilyn Manson into a pulsating dance track. The result? ‘Reloaded‘. A track that is as edgy as it is danceable, and as defiant as it is catchy.
For those of you who are not familiar with the original song, ‘This is the New Sh*t’ was a hit from Marilyn Manson’s 2003 album The Golden Age of Grotesque. It was a track that epitomized Manson’s brand of shock rock, with its aggressive guitars, pounding drums, and confrontational lyrics. DJ Snake has taken this raw power and woven it into a hard-hitting dance track that showcases his innovative production techniques.
‘Reloaded’ is a taste of DJ Snake’s forthcoming album Nomad. If this track is anything to go by, we can look forward to an album that is not afraid to push boundaries and venture into new territories. But let’s not get ahead of ourselves. Let’s dive into ‘Reloaded’ and explore what makes it such a standout track.
Historic Premiere: The Wall of Death
The first time ‘Reloaded’ was heard by the public was at DJ Snake’s sold-out show at Stade de France. With over 80,000 fans in attendance, the track was an instant highlight. The crowd’s reaction to the track was nothing short of phenomenal, with the track’s raw energy sparking the largest Wall of Death ever seen in EDM history.
For those not in the know, the Wall of Death is a concert phenomenon where the crowd splits into two, then charges at each other when the music drops. It’s a spectacle that’s usually associated with heavy metal concerts, but DJ Snake managed to bring it to the world of EDM with ‘Reloaded’.
It was a fitting premiere for a track that blurs the lines between genres and challenges preconceived notions about what dance music can be. ‘Reloaded’ is a track that dares to be different, and it’s clear that fans are more than ready to embrace this new direction.
A Sneak Peek into ‘Nomad’
‘Reloaded’ is more than just a standalone single; it’s a taste of what’s to come on DJ Snake’s upcoming album ‘Nomad’. If this track is anything to go by, we can expect an album that explores new sounds and pushes the boundaries of what dance music can be.
While we don’t have a full tracklist or release date for ‘Nomad’ yet, we can be sure that it will be an album that’s worth waiting for. After all, DJ Snake has never been one to take the safe route, and ‘Reloaded’ is proof that he’s not about to start now.
Whether you’re a fan of hard rock, dance music, or just love a good tune, ‘Reloaded’ is a track that demands your attention. It’s a bold step into new territory for DJ Snake, and we can’t wait to see where he takes us next.
The post DJ Snake Unveils New Hybrid Single ‘Reloaded’ appeared first on EDMTunes.
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Gracie Abrams Is Getting Broiled by TikTok’s ‘Propaganda’ Trend

Photo Credit: Justin Higuchi / CC by 2.0
A new TikTok trend is turning the concept of ‘propaganda’ on its head — and singer-songwriter Gracie Abrams finds herself squarely in its crosshairs.
The trend is known as ‘propaganda I’m not falling for’ and sees Gen Z TikTok users creating lists of things, people, or concepts they’ve labeled propaganda—or things they refuse to buy into. The lists are often set to a remix of Charli XCX’s single “I think about it all the time” featuring Bon Iver and can be mundane things like oat milk, Teslas, or even marriage.
The trend is less about the literal definition of propaganda and more about expressing skepticism or ironic detachment from mainstream tastes, cultural norms, or internet hype. The word ‘propaganda’ has thus become a Gen Z codeword for anything that is over-hyped or simply not for them. Whereas older generations would use the term ‘industry plant’ to describe an artist they feel is foisted upon them in popular culture—Gen Z have created their own label.
Much of the Gen Z cohort feels as though Gracie Abrams’ music and branding represents a certain ‘mainstream indie’ aesthetic that is widely promoted and inorganic. They’re labeling her ‘propaganda’ to describe the concept of an industry plant—a way to resist what they perceive as algorithm-driven popularity. For Gen Z, it’s a way to label things cringe while poking fun at the mainstream for enjoying the music.
Some Gen Z users have admitted that placing Gracie Abrams in their lists of ‘propaganda’ items is a way to poke fun at the trend itself. Abrams’ status as widely discussed figure in pop culture has led to her being in the crosshairs for Gen Z—though the effort isn’t necessarily a coordinated campaign of genuine dislike against the singer-songwriter. Nearly anything that the Gen Z cohort feels is over popularized can receive the label—Gracie Abrams just happens to be the current target.
Gracie Abrams herself has not directly commented on the trend, though she has defended herself against haters and addressed rumors on TikTok.
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Beyoncé Pre-Sale Fans Feeling Buyer’s Remorse as Ticket Prices Plunge — Sometimes by More Than $1,000

Photo Credit: Parkwood Entertainment
Superfans who dished out thousands to secure Beyoncé tickets during the pre-sale are experiencing buyer’s remorse that on-sale prices have been significantly less.
Tickets for major acts like Lady Gaga, Kendrick Lamar, and Beyoncé are known to go fast, so fans are accustomed to acting accordingly during pre-sales in order to avoid being shut out. But things have been different for Queen Bey’s Cowboy Carter tour, in which many tickets are winding up available for the general on-sale or the resale market—often for a fraction of the pre-sale prices.
That’s a far cry from how things were during Taylor Swift’s Eras Tour, where fans didn’t even get a chance at the general on-sale, with tickets long gone by the time the pre-sales dissipated. The whiplash in pricing is frustrating fans who paid top dollar for tickets to see Beyoncé during the Beehive pre-sale, only to find the same seats available for a third of that price after the fact.
“I bought Cowboy Carter pre-sale tickets for $1700 for Sweet Honey Bucket Pit at MetLife on the 22nd,” one fan complained on social media. “The same tickets are now $600. I’m f—ing pissed.”
“F Ticketmaster, the tickets that are right next to me are now $1500 cheaper!!!” lamented another. “Hell, I could go to a different city and see another show for less than that. I’m thankful for getting to see Beyoncé front row, but damn my wallet hurts.”
“I’ve gotten to a point that I’m no longer going to compete in a pre-sale,” said Annie Rodriguez, a concertgoer who paid around $860 for her ticket, after which seats fell as low as $500. “As a fan who is signing up for the pre-sale so that you can guarantee a seat, you’re hoping that the artist will be kind to their true fans.”
Rodriguez doesn’t blame Bey for her buyer’s remorse. As a veteran concertgoer, she blames “dynamic pricing,” in which face value fluctuates based on demand. But despite artists like Oasis claiming ignorance over the use of dynamic pricing for their tickets, conventional wisdom in the industry is that artists choose to utilize the feature—and should be well aware they’ve done so.
In general, fans are quick to blame Live Nation and Ticketmaster, the merger of which has come under additional scrutiny by federal lawmakers. That’s largely thanks to the debacle with Swift’s Eras Tour ticketing two years ago. Last year, the Justice Department sued Live Nation over its monopoly in the live entertainment industry, asking a court to break up the conglomerate.
But the broader resale market is under scrutiny too, and has been for a while now. “The Coalition for Ticket Fairness believes that a transparent and open resale market is essential to restoring balance and fairness in the ticketing ecosystem,” begins a statement from Jason Berger of the Coalition for Ticket Fairness. “When fans are allowed to freely buy, sell, or transfer tickets across platforms, it creates competition, drives prices down, and gives fans the flexibility they deserve.”
“During recent high-demand events, including Beyoncé’s Cowboy Carter tour, many fans discovered that secondary marketplaces offered tickets at prices substantially lower than the so-called ‘presale’ prices on primary platforms,” Berger explains. “These real-world examples prove that an open market doesn’t hurt fans—it helps them. It introduces real choice and breaks the monopoly that often drives up prices under the guise of exclusivity.”
“Restricting resale or locking tickets to a single platform only benefits a few dominant players—not the fans. An open and transparent resale market ensures fairness, affordability, and freedom for consumers,” he concludes. “Fans want choice. Choice drives competition, and competition drives fairness.”
Ultimately, so-called superfans who pay top dollar for first dibs on tickets shouldn’t be too surprised when tickets beyond the pre-sale drop in value. The industry has made clear that as long as superfans are willing to pay any price to secure tickets, pre-sales for the hottest shows will continue to cost a pretty penny. Buyer’s remorse in this case isn’t applicable to you since the jacked up prices were the cost for first dibs on tickets rather than attending at all.
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ATLiens' Remix of Creed's "One Last Breath" Melds Bass With Grungy Anguish: Listen

ATLiens have released a massive official remix of Creed's 2002 alt-rock hit, "One Last Breath," a track once synonymous with emotional overload in the post-grunge era. 
Known for their otherworldly bass drops and mysterious persona, the masked duo's rework reimagines "One Last Breath" for festival stages, twisting the knife into its internal despair with pulsating bass.
Bridging the gap between the angst of late-'90s post-grunge and 2020s maximalism, the remix preserves the soul of Scott Stapp's anguished vocals, which hang heavy before ATLiens unleash a bass drop that feels like gravity finally giving out. Their aggressive edit amplifies the original's existential dread while simultaneously offering what feels like a solution: a cathartic injection of heavy bass that lends itself perfectly to the conclusion of a live set.
What started as a viral TikTok teaser gained further traction during performances at Ultra Music Festival and Red Rocks, where the remix became a highlight of ATLiens' sets. For longtime Creed fans and bass-heads alike, it serves as a cultural handshake, forged in nostalgia but delivered with modern production teeth.
You can listen to ATLiens' remix of Creed's "One Last Breath" below.
Follow ATLiens:
Instagram: instagram.com/atliensofficial
X: x.com/atliensofficial
TikTok: tiktok.com/@atliensofficial
Facebook: facebook.com/atliensofficial
Spotify: spoti.fi/3MM6nEj
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Lilly Raye and Warner Chappell Music Extend Strategic Partnership

Photo Credit: Lilly Raye Music / Warner Chappell Music
Warner Chappell Music extends its strategic partnership with management company and publisher Lilly Raye Music.
Warner Chappell Music, the publishing arm of Warner Music Group, has extended its strategic joint venture partnership with Lilly Raye Music, the management company and publisher run by founder Edward Matthew and A&R Manager Justin Martinez.
Established in 2020 and expanded in 2023, the partnership is focused on supporting collaborations between creatives across Asia, Europe, and the US. Lilly Raye Music has continued to gain industry recognition for its growing influence. It was nominated for Publisher of the Year at the MMF Awards Sweden 2024.
The partnership is stepping up activity in Germany and the Netherlands with a sharp focus on the dance and electronic scenes. Further, it’s building its A&R firepower in the UK to support the careers of talent in that market.
Recent successes include: Grammy recognition for their work on Summer Walker’s CLEAR 2: SOFT LIFE EP and Janelle Monáe’s The Age of Pleasure; elevating local talent in Sweden, helping deliver 10 No. 1 singles in the market over the last three years; and artist collaborations, including Doechii, GloRilla, and FLO. Achieving major global sync placements and growing their presence in Asia by 40% are also among the partnership’s successes.
The Lilly Raye management team also continues to make waves behind the scenes, contributing to breakout successes for artists like Ayra Starr, Cian Ducrot, RAYE, and Renee Rapp.
“We’re delighted to renew our deal with Warner Chappell, which has expanded so much in scope over the past few years,” said Edward Matthew and Justin Martinez. “Connecting creative talent across three continents is as exhilarating and inspirational as ever, and Warner Chappell’s combination of global firepower, local knowledge, and cultural curiosity makes it an essential partner for us.”
“I’m so pleased that we’re renewing our collaboration with Edward, Justin, and the whole Lilly Raye crew,” added Lars Karlsson, Managing Director, Warner Chappell Music Nordics. “They bring a passion and an energy to their work that is unrivalled, and they have an uncanny ability to spot talent and partner compatible creatives together.”
Guy Moot, Co-Chair and CEO of Warner Chappell Music, concludes, “We’re built a really solid relationship with Edward and Justin over the past few years. I trust their A&R instincts and their strategic nous. They have an infectious enthusiasm for forging cultural connections between writers and producers from different parts of the world. The amazing results speak for themselves, so I’m excited that we’re extending our partnership.”
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Ferry Corsten Revisits Mythical Gouryella Alias For ‘Marama (Moon & Stars)’

You’ve sung this one. I know you have.
Yes, I know I’m arriving a bit late to the party, but I can’t let more time go by without me letting you know about this piece of news. Ferry Corsten, the legend of Dance music, revisited one of his many magical aliases from yesteryear, Gouryella, for its second vocal track, ever, ‘Marama (Moon & Stars)‘.
The single marks Gouryella’s twenty-fifth anniversary, an occasion Corsten commemorated at the twentieth anniversary of Transmission Festival. The name “Marama”, which translates to “moon” in Māori, offers a poetic and moving journey that intertwines cosmic imagery with human vulnerability.
Featuring a captivating vocal performance from Saskia Lie Atjam, ‘Marama’ upholds Gouryella’s legacy of harmonising melody, feeling, and significance with a distinctive outer space feel. We’re so happy to see the Gouryella moniker pop back up on our radars, and with a track that sounds so reminiscent of the Gouryella we all know and love.
PS: If you were a fan of Way Out West’s ‘The Gift’ from 1997, this one will be a warm and friendly throwback…
Listen to Gouryella‘s brand-new ‘Marama (Moon & Stars)’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Ferry Corsten Revisits Mythical Gouryella Alias For ‘Marama (Moon & Stars)’ appeared first on EDMTunes.
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Black Tiger Sex Machine and Hairitage Unleash Relentless Dubstep Fury with ‘Ricochet’

Following their collaborative hit ‘Cheatcode,’ which has already amassed over 12 million streams on Spotify, Hairitage and Black Tiger Sex Machine have reunited to detonate another sonic bomb: ‘Ricochet.’ This highly anticipated track is their brutal follow-up forged in the intense mashup between their two dubstep styles. The track is out now via Kannibalen Records.
From its opening moments, ‘Ricochet’ builds a palpable cinematic tension, a coiled spring ready to unleash havoc-wreaking drops and earth-shattering low-end frequencies. It’s a seamless fusion of BTSM’s signature cybernetic heaviness and Hairitage’s raw, unfiltered intensity. Hyro The Hero lends his bold vocals on this one, packaging the track to be a lethal dancefloor weapon.
About BTSM
Over the years the Canadian group Black Tiger Sex Machine have established themselves as key figures in the bass music scene. Along with their music BTSM pushes the boundaries of what a live show can be, implementing an extremely immersive experience where visuals, lights, music and their signature Tiger Helmets are all controlled live. Their grassroots approach has fostered an extraordinarily faithful fan base called the BTSM Church.

BTSM are world-traveling artists having played hundreds of international shows across the US, Canada, Asia, Europe and Africa, as well as major festivals including Lollapalooza Chicago and Paris, EDC Las Vegas, Shambhala, Electric Forest, Osheaga, TomorrowWorld, Ultra and more. Their Futuristic Thriller Tour debuted the Movie Experience, which wove live action cinema and storytelling into their show. The following year, BTSM shared Chapter 2 through an equally impressive tour. The entire Movie Experience sold out at such venues as Bill Graham, Red Rocks and more.
About Heritage
Hairitage has established himself as one of the most recognizable spectacles in dubstep. Since his breakout single “The Movement,” Hairitage has consistently delivered massive tracks in collaboration with esteemed labels such as Kannibalen Records, Monstercat, Deadbeats, Never Say Die Records, and more. He solidified his place in the scene with the chart-topping “40 Cal” on Never Say Die Records, which has racked up over 25 million Spotify streams since 2019.
What sets Hairitage apart is his refreshing blend of hip-hop and bass, resulting in intense yet colorful compositions that have captivated audiences. His collaboration with Shaquille O’Neal (DJ Diesel) on “BANG YOUR HEAD” became a festival anthem in just a month, grabbing over 8 million streams on Spotify – and counting. Hairitage boasts a dedicated fanbase of 350K monthly listeners and millions of streams worldwide on tracks like “Cheatcode” and “Hustle.” He’s also known for his many viral remixes, including Gorillaz’s “Feel Good Inc” and “Paul’s Dream” from the Dune Soundtrack.

The post Black Tiger Sex Machine and Hairitage Unleash Relentless Dubstep Fury with ‘Ricochet’ appeared first on EDMTunes.
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DVBBS Join Ace Agency Roster for Worldwide Bookings

Ace Agency has announced the addition of DVBBS to its artist roster, representing the Canadian electronic music duo worldwide.
With a string of Platinum-certified hits including “Not Going Home,” “IDWK” and “Tinted Eyes,” DVBBS have firmly established themselves among Canada's most successful dance music exports. The signing marks a new chapter for the globally recognized brothers, Chris and Alex van den Hoef, as they continue to evolve both creatively and professionally.
Hailing from Toronto, DVBBS skyrocketed to international acclaim with their 2013 smash hit "Tsunami," a track that became one of the defining anthems of the big room house era. While their fame initially blossomed via big room productions, they have experimented with different sounds over the years, touching upon genres like trap, future bass and house, among others.
Their accolades include four Juno Award nominations alongside high-profile collaborations with artists ranging from Martin Garrix and Galantis to Wiz Khalifa and 2 Chainz. Known for their high-energy performances, DVBBS have played over 1,000 shows in more than 75 countries, including headlining slots at world-renowned festivals like Tomorrowland, EDC and Ultra. 
Follow DVBBS:
X: x.com/dvbbs
Instagram: instagram.com/dvbbs
TikTok: tiktok.com/@dvbbs
Facebook: facebook.com/dvbbs
Spotify: tinyurl.com/yc48twem
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Four Tet and William Tyler Announce Collaborative Album, "41 Longfield Street Late '80s"

Kieran Hebden, more commonly known as Four Tet, has teamed up with guitarist William Tyler to reveal a new album, 41 Longfield Street Late '80s, due out in September.
The album's announcement came via social media, where Hebden shared that the pair began recording over three years ago during sessions in Los Angeles. Alongside a collection of studio photos, he announced that the first single, a cover of Lyle Lovett’s "If I Had a Boat," is out now.
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The project brings together two distinct musical voices, pairing Hebden’s textured production with Tyler’s expressive guitar work to explore new territory. Tyler, who previously played in Lambchop and Silver Jews, has since built a solo career defined by his contemplative blend of ambient folk and instrumental Americana. He finds an unlikely yet fluid match in Hebden’s ever-evolving palette.
Hebden said the albums primary influence was he and Tyler "discovered a shared deep connection to ‘80s American country and folk music—artists like Lyle Lovett, Nanci Griffith, and Joe Ely."
"I think we both in our own specific ways want to recontextualize a lot of music that we grew up with, regardless of the genre, and I think that’s what this album reflects," Tyler added. "It’s a lot of nostalgia but it’s also very forward focused. I don’t even know what genre I’m supposed to be in at this point, but I trust Kieran and I love what we’ve done together. He’s become a dear friend and I can’t wait to see what’s ahead for us."
The lead single offers the first look into that world. Their take on "If I Had a Boat" trades Lovett’s country tone for something more atmospheric and spacious. Tyler’s guitar takes the lead while Hebden surrounds it with ambient textures that slowly stretch and reframe the song’s emotion.
You can listen to "If I had a Boat" below and pre-order 41 Longfield Street Late '80s here.
Follow Four Tet:
X: x.com/fourtet
Instagram: instagram.com/fourtetkieran
Facebook: facebook.com/fourtetkieran
Spotify: spoti.fi/37kV2Id
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Young Thug Calls Kid Cudi A ‘Rat’ After ‘Explosive’ Diddy Testimony

Photo Credit: Chief Fashionista / CC by 2.0
Young Thug has ignited controversy over his take on Kid Cudi’s testimony during Diddy’s sex trafficking and racketeering trial in New York.
The Atlanta rapper posted “Dam cudi a rat lol” on X/Twitter shortly after Kid Cudi’s appearance in court. The rapper quickly deleted the message, but it has sparked controversy in the hip-hop community over the ethics of testifying in criminal cases involving fellow artists. Kid Cudi—real name Scott Mescudi—took the stand yesterday to deliver testimony about Diddy’s actions.
Prosecutors believe Cudi’s testimony was necessary in seeking to establish a pattern of violence and intimidation by Sean ‘Diddy’ Combs. During his testimony, Cudi spoke of several events involving the rap mogul. He testified that in 2012, his Porsche was destroyed in a Molotov cocktail attack that he believed to be a warning from Diddy. Cudi says the warning was due to his brief relationship with Cassie Ventura, Diddy’s ex-girlfriend and another witness at the trial.
Kid Cudi described receiving a call from his dog sitter about the car being on fire and later saw photos showing the top of the Porsche had been cut into for the Molotov cocktail to be placed. Cudi also alleges that Diddy broke into his Los Angeles home in 2011 after discovering that Cudi was dating Cassie Ventura. During that break-in, Cudi said his dog was confined to the bathroom and Christmas presents were left opened in the kitchen.
Young Thug’s ‘rat’ comments underscores ongoing tensions in the hip-hop community over the code of silence and what is perceived as ‘snitching.’ The rapper himself was recently released from prison after a RICO case and has previously criticized artists who co-operate with the authorities in any capacity. Young Thug also criticized fellow rapper Gunna for co-operating with authorities during the YSL RICO case, in which Gunna accepted a plea deal.
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Billy Joel Cancels All Shows Following Brain Disorder Diagnosis

Photo Credit: Billy Joel by slgckgc / CC by 2.0
Billy Joel cancels all scheduled concerts in North America and England due to a diagnosis of a brain disorder, normal pressure hydrocephalus (NPH).
Billy Joel has been diagnosed with normal pressure hydrocephalus (NPH), a brain disorder in which excess fluid accumulates in the brain’s ventricles. As a result, the star has cancelled all concerts on his itinerary—17 shows in total, across stadiums in North America and England.
“I’m sincerely sorry to disappoint our audience, and thank you for understanding,” said Joel, whose last concert took place on February 22 in Connecticut. Near the end of the performance, after throwing his microphone stand to a crew member, Joel fell flat on his back. But he quickly stood up and was able to finish the set.
A month later, he announced that he was taking a four-month break from touring due to a “medical condition” that he said required surgery and physical therapy. Joel planned to return to the stage on July 5 in Pittsburgh.
“While I regret postponing any shows, my health must come first,” he said in a statement at the time. “I look forward to getting back on stage and sharing the joy of live music with our amazing fans. Thank you for your understanding.”
It’s unknown if his medical issues at the time were related to his NPH diagnosis, though that seems likely. NPH affects around 0.2 percent of people in their seventies (Joel is 76), and can cause walking issues, bladder control issues, and cognitive problems. Most commonly, it’s addressed with a surgery where a device is implanted to remove the excess fluid.
“This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision, and balance,” his team explained in a statement. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period. Billy is thankful for the excellent care is he receiving and is fully committed to prioritizing his health.”
Normal pressure hydrocephalus (NPH) “can affect several brain-related abilities, including thinking and concentrating, memory, movement, and more,” reads a description from the Cleveland Clinic. “The symptoms of NPH look very much like those of dementia, but NPH is sometimes reversible.”
“NPH is unusual among dementia-like conditions because it’s often reversible,” the clinic explains. “However, the chances of reversing this condition are highest with early diagnosis and fast treatment. Delays in diagnosis and treatment make it more likely that the damage to your brain from the pressure will be permanent, severe, or both.”
Billy Joel finished his decade-long residency at Madison Square Garden in July last year. Afterward, he continued to tour across America and England with around two shows a month.
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Fired Copyright Office Head Shira Perlmutter Sues Trump Administration Over ‘Blatantly Unlawful’ Dismissal

Fired Copyright Office head Shira Perlmutter, who’s challenging her dismissal in a lawsuit. Photo Credit: USCO
Axed Copyright Office head Shira Perlmutter is suing the Trump administration over her “blatantly unlawful” dismissal – and seeking, among other things, a court order allowing her to remain in the post.
Perlmutter submitted that straightforward complaint yesterday, after she was fired as Register of Copyrights earlier in May. One component of a wider Library of Congress and Copyright Office showdown – more on this in a moment – Perlmutter’s ordered exit arrived days following the firing of Librarian of Congress Carla Hayden.
In turn, Deputy Attorney General Todd Blanche (one of multiple defendants in the action) was named as Hayden’s replacement on an acting basis. From there, as described by Perlmutter’s action, Blanche “sent two Justice Department officials to the Library of Congress” to begin as the acting Deputy Librarian and acting Register.
Specifically, those DOJ officials are Associate Deputy AG Paul Perkins, tapped to serve as the acting Register of Copyrights, and Blanche’s Deputy Chief of Staff, Brian Nieves (acting Deputy Librarian).
But as the plaintiff sees things, President Trump doesn’t have the “authority to name a temporary replacement Librarian of Congress, much less name a high-ranking DOJ official whose presence offends the constitutional separation of powers.”
“In short, the President’s attempt to name Mr. Blanche as acting Librarian of Congress was unlawful and ineffective, and therefore Mr. Blanche cannot remove or replace Ms. Perlmutter,” the filing party summed up of her position.
Meanwhile, though Perlmutter’s complaint contains several requests for relief, the most noteworthy is that mentioned above, concerning her staying aboard as Register.
The court should “[e]nter a preliminary and permanent injunction ordering that Plaintiff Shira Perlmutter may not be removed from her office as Register of Copyrights and Director of the U.S. Copyright Office,” the legal text spells out.
Regardless of how Perlmutter’s legal challenge unfolds, it’s safe to say that the broader battle for Copyright Office control involves more than a few moving parts.
In its latest weekly report, DMN Pro broke down the multifaceted situation, which is still replete with unknowns when it comes to policy and, in turn, the optimal approach to lobbying.
Besides the legal questions (and lawsuit) surrounding the shakeup, it remains to be seen whether the aforementioned DOJ officials will stick around in their new posts or soon make way for non-acting replacements.
The timing here is certainly important. Despite the widespread idea that “tech bros” facilitated the Copyright Office and Library of Congress overhaul – Perlmutter’s firing directly followed the release of an AI training report – evidence suggests that the acting replacements are hardly Big Tech proponents.
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Eats Everything Masterfully Revamps Sara Parker’s ‘My Love Is Deep’

We’ve got a reimagined gem for you today.
Talk about a song full of history today! Toolroom‘s latest will have you reminiscing about yesteryear this time. They always deliver, but this time they brought out the big guns for a combo designed to mark the dancefloor: Sara Parker‘s rendition of a 30-year-old classic, icon Eats Everything, and irresistible beats.
‘My Love Is Deep‘, a timeless composition originally released in 1995 on the Sharp Boys’ own ‘Sharp Recordings’ imprint, took the scene by storm back then — and Eats Everything and Sara Parker aim to achieve the same level of engagement three decades later. The original track’s enduring legacy is inextricably linked to the late, venerated DJ Tony De Vit, who famously championed it on the dancefloor of London’s Trade nightclub.
Fast forward to the present, and the iconic track receives a scorching “Reebeef”. This reimagining arrives hot on the heels of Eats’ debut album, We Lost Ourselves and Found A Family, released in March 2025. With 15 years of experience, Daniel Pearce, the man behind the alias, he has garnered widespread acclaim for his adaptable productions and electrifying DJ sets, which showcase his broad musical spectrum that encompasses House, Bass, and Tech House.
Listen to Eats Everything’s Reebeef of Sara Parker’s ‘My Love Is Deep’, by hitting the ‘Play‘ button on the Spotify player below. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
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Melon Bomb Unveil New Label Honouring A Decade Of Ibiza Influence

Here are two tracks to kick off your weekend in style.
Ibiza’s beloved DJ collective, Melon Bomb, is reaching a new summit this year, with the launch of their very own imprint, Melon Bomb Records. The new label is set to officially drop on May 30th, coinciding with the group’s 10th anniversary to the day, marking a decade spent cultivating some of the island’s most iconic dancefloors.
The inaugural release on Melon Bomb Records will be a two-track EP, whose A-side is appropriately titled ‘Sunshine‘, and it also happens to be the collective’s debut single. The track serves as a heartfelt tribute to the White Isle’s inviting weather, warmth and vibe. Meanwhile, the B-side, ‘Underground‘, is meant to resemble the collective’s late-night vibe.
This release is particularly timely, since it’s one of the first events the Isle is having this year, just after the International Music Summit, and ahead of the summer season. On a more personal note, ‘Sunshine’ is pure bliss, even though both releases are great, the A-side is just so radiant and full of joy, I’m loving it.
In addition to the label launch, Melon Bomb is embarking on a fresh series of residencies for 2025. They’re making a welcome return to their spiritual home at Pikes and are set to kick things off with a highly anticipated set at the Hï Ibiza opening party.
Listen to Melon Bomb‘s debut release, the Sunshine EP, by hitting the ‘Play‘ button on the Spotify player below. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
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Dancing Astronaut’s New Music Friday: Mary Droppinz, Clüb De Combat, Blonde Maze, and more (May 23, 2025)

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg.
Alison Wonderland – Get Started (Mary Droppinz Remix)
Mary Droppinz has returned to the release radar with her signature brand of bass music, this time offering an undertaking of Alison Wonderland’s “Get Started.” The remix from the Dancing Astronaut Artists to Watch in 2025 arrives just ahead of her set at Lightning in a Bottle, where she plays the Thunder stage just two years after serving as a stage opener at the very same festival.
Arcando & A Little Sound – Stars
Arcando’s upholding of his Dancing Astronaut Artist to Watch in 2025 status has been well documented over the past five-plus months. Following the official release of his “Limitless” drum ‘n’ bass reimagining, Arcando has returned with his fourth offering of the year in “Stars,” teaming up alongside UK talent A Little Sound for something on the slightly more lighthearted side of the drum ‘n’ bass spectrum.
ATFC & Lisa Millett – Bad Habit (Clüb De Combat Remix)
Clüb De Combat — the second of Dancing Astronaut‘s Artists to Watch in 2025 releasing this week — have reimagined ATFC and Lisa Millett’s iconic 2000 Defected release, “Bad Habit.” Channeling classic house with a contemporary edge, the remix originally gained traction after Solomun, Four Tet, Chloe Caillet, and Mau P closed Ultra’s Resistance stage with it. And the duo’s remix marks a bold new chapter in the legacy of “Bad Habit,” blending a throwback temper with modern production muscle.  
Hayden James & AR/CO – We Could Be Love (Rivo & Mark Hoffen Remix)
Rivo — the fourth and final release Dancing Astronaut‘s Artist to Watch in 2025 to appear on this week’s release radar — joins Mark Hoffen on a remix of Hayden James and AR/CO’s standout single, “We Could Be Love.” Rivo originally burst on to the scene in 2023 with his afro-house rendition of Disclosure’s “You & Me,” which exploded across the social media landscape and made waves in the club and festival circuit alike. And on the live side, the Parisian producer has an upcoming date with Eric Prydz as part of his residency at Ibiza’s newest club, UNVRS.
Blonde Maze – Second Sight
New York-based producer Blonde Maze has delivered her sophomore album Second Sight via Enhanced Chill, showing off her signature blend of indie-electronic and melodic bass soundscapes. The 10-track LP tells a cohesive story evoking feelings of heartbreak, clarity, and catharsis, featuring collaborations with Lizzy Land, Polar Inc., Attom and more.
OCULA & Syon – Where You Are
If we’ve said it once, we’ve said it a million times: OCULA is physically incapable of producing a forgettable song. After a pair of This Never Happened releases to start the year, OCULA has returned to Lane 8’s home with “Where You Are” alongside Syon. Having initially come across Syon’s vocal and instantaneously falling in love with it, OCULA continues to stretch his ever-expanding production depth within melodic house.
LAYZ & Calcium – LIGHTS OUT
What started as a weapon of a live opener — dating back to LAYZ and Calcium‘s debut back-to-back sets at Rampage Belgium and Tomorrowland in 2023 — has now received an official release under the title of “LIGHTS OUT.” After seeing fans’ reaction — both at shows and online clamoring for the tracks release — the duo knew they had to finish the hard-hitting dubstep crossover. And two years after its initial debut, “LIGHTS OUT” has officially landed on streaming platforms.
OMNOM & Marco Strous – Everyone’s Your Friend
OMNOM and Marco Strous have been behind a highly anticipated ID over the past few months, and have now turned in their new single, “Everyone’s Your Friend.” The Insomniac Records-backed release brings together two standout talents in today’s house music landscape in OMNOM — the Los Angeles native known for his distinctive sound design — as well as Marco Strous, an artist whose sound reflects both his Portuguese-Dutch roots and international influences. Backed by Insomniac and arriving just a week removed from the former’s EDC Las Vegas appearance, the release taps into a more unconvential side of house that’s defining the genre’s path forward.  
Featured image: Envision/IG

The post Dancing Astronaut’s New Music Friday: Mary Droppinz, Clüb De Combat, Blonde Maze, and more (May 23, 2025) appeared first on Dancing Astronaut.
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Spotify Executives Continue To Sell Shares — Co-Founder Martin Lorentzon Unloads Over $665 Million In One Go

Spotify’s leadership continues to cash out significant amounts of company stock, with co-founder Martin Lorentzon recently selling more than $665 million worth of shares in a single transaction. Despite more than $2 billion already sold by insiders, executives and board members are still offloading their Spotify holdings.
Lorentzon Joins $1.8 Billion Insider Selloff Trend With Over $1 Billion in Recent Stock Sales
The recent stock sales were disclosed in regulatory filings, confirming Lorentzon’s divestment from Spotify (NYSE: SPOT). These transactions are part of a broader trend of insider selloffs, which have continued even as Spotify shares reached an all-time high of $669 earlier this week. According to analysis by DMN Pro last month, Spotify insiders — including top executives and board members — have collectively sold around $1.8 billion worth of stock. Most of these sales have occurred during the stock’s recovery since its sharp drop into the $70s range in 2022, with activity concentrated in 2023, 2024, and so far in 2025.
Lorentzon’s latest selloff began on May 16, when he sold 11,275 optioned shares for approximately $7.31 million, according to filed documentation. Though significant, this sum was dwarfed by a much larger transaction just days later. On May 21, Lorentzon, through his investment entity Rosello Company, sold founder’s shares valued at $658.61 million. Together, both transactions total $665.92 million in stock sales. When combined with another major selloff in November 2024 — also via Rosello and totaling $384 million — Lorentzon has liquidated over $1 billion in Spotify stock within the past six months.
Spotify Stock Soars Despite Executive Selloffs — What Do They Know That We Don’t?
These ongoing insider sales have sparked speculation. Chief among investor concerns: Do these Spotify insiders know something that the general market does not? There’s no clear answer, and for now, speculation remains just that. Despite the selloffs, market sentiment has held steady. At the close of trading yesterday, Spotify stock stood at $636.75 per share — off the recent peak but still 113% higher than it was in late May 2024.
Spotify’s recent stock surge has been driven by its push to grow its subscriber base, reduce operational costs, and improve profitability. While the platform has introduced new features, its core model hasn’t changed dramatically from when its valuation was much lower.
With analysts tying optimistic forecasts to continued growth in paid subscribers, the key question going forward will be how Spotify’s user numbers hold up in Q2 2025.
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Ex-Cop Charged for Faking $600,000 Head Injury While Partying at Music Festival

A former Westminster, California police officer is facing 16 felony charges after she was seen partying at a music festival despite claiming a debilitating head injury left her unable to work, according to press release issued by the Orange County District Attorney's Office.
From 2022 to 2023, Nicole Brown allegedly attempted to bilk the California’s workers’ compensation system out of $600,000, citing a diagnosis of "severe concussion syndrome" sustained in the line of duty. She complained of various ailments like headaches, dizziness and an inability to work on the computer.
But her dance moves told a different story. Fellow attendees of Goldenvoice's Stagecoach Festival, a number of whom knew Brown was off work on Total Temporary Disability (TTD), saw her drinking and dancing her way through the event in April 2023 before reporting their findings to the Westminster Police Department.
A subsequent investigation revealed Brown's romp through the Empire Polo Club—where Goldenvoice's Coachella festival also takes place—wasn't her only activity during her time off. She also allegedly visited Disneyland, ran in a pair of 5k races and went skiing.
According to the Orange County District Attorney's Office, Brown has been charged with nine felony counts of making a fraudulent statement to obtain compensation, six felony counts of making a fraudulent insurance benefit claim, and one felony enhancement of committing an aggravated while collar crime over $100,000. She faces a maximum sentence of 22 years in state prison.
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NUSONIDO Isn’t Just Calussa’s Next Chapter—It’s The Whole Story Now

Calussa unveils a new label, NUSONIDO, signaling more than a sonic shift—it’s a reset after the creative limits of Hurry Up Slowly. The Miami-based duo, made up of brothers Andrew and Gino Gomez, built their name by blending Afro and Latin rhythms with global house grooves. But success brought constraints. Over time, their label no longer reflected their evolving identity. In this EDMNOMAD exclusive interview, we speak to Calussa about the future of new sound under NUSONIDO.
Calussa Curates New Sound Without Closing Doors via NUSONIDO
The duo, Calussa didn’t just want a new label—they needed a new mission. After years building Hurry Up Slowly into a respected name, they found themselves outgrowing its structure. Their sound had shifted, their energy had evolved, but their label no longer reflected that change. NUSONIDO was born from that tension: a bold return to instinct, freedom, and full creative alignment.
“We had events that did not completely revolve around the label and the label artists,” the duo admits. “Now we really want our showcases and events to revolve around the artists releasing on our label.” For Calussa, NUSONIDO became a vehicle to get back to their purpose. “It became clear we were boxed into one ‘genre’ when we started to feel that our own records did not fit our own label,” they explain. “Considering how much time and energy we put into Hurry Up Slowly and the amazing ecosystem we helped build, it was not an easy choice. But we felt our heart and soul were somewhere else.”
Rather than committing to a single genre, NUSONIDO opens the door to new rhythms, textures, and eras. Afro House remains foundational, but no longer defines the label’s boundaries. “Afro House is definitely still deeply rooted inside us,” the brothers share. “However we’re just finding ways to take elements from it and merge with the new sound we’re into.”
This new direction begins with the White Tiger EP, created with Ben Miller, part of Chris Lake’s creative circle. The project draws inspiration from early 2000s house and reflects the polished, percussion-heavy identity that will define NUSONIDO’s catalog. “These tracks show the side of us we want people to hear more of,” they add. Built for clubs, not categories, the label reflects Calussa’s refusal to be musically boxed in again.
The Machine Behind the Music
Launching a label is one thing. Running it at the pace they’re aiming for is another. Calussa plan to move toward a weekly release schedule, an ambitious timeline that requires more than passion. “Getting to a point where you are releasing music weekly definitely takes a well-run system and team behind it,” Calussa explains.
That momentum comes from experience. “We are lucky that from years of running another label we understand how important it is to have a dependable and experienced team to be the backbone of the engine,” they say. “That way we can focus on purely signing bangers and quality music without getting too stressed in the nuances of the daily label management.” With a team they trust, Calussa can zero in on A&R and artist development. “We have an all-star team we have assembled for this NUSONIDO and they are ready to absolutely crush it.”
NUSONIDO: Global Vision, Local Roots
While Calussa has foundations rooted in Miami, NUSONIDO was designed with a global ear. The brothers have always believed their music spoke to international audiences. “Honestly, while being rooted in Miami, I have always felt our music was global and attracted a lot of different audiences,” the duo reflects. The new label aims to make that global vision official. “We aren’t just ‘one thing’ or ‘one sound.’”
Their approach to curation is equally intentional. Not every track makes the cut. “Even if we think a track is a banger, if it does not match with the palette we are creating, it is a pass,” Calussa echoes. But when a track fits, they go after it. “There are some records we have hunted down and signed by some of our favorite producers that specifically fit the new label sound and cannot wait to share them with everyone.”
Staying Grounded, Building Meaning
Behind the scenes, Calussa’s growth has been shaped by the humility of their peers. “Hanging out with artists that we look up to and just seeing how passionate they still are and how they help mentor/grow other artists,” the Miami duo shares. That passion fuels their perspective and deepens their approach to leadership.
Success, for Calussa, doesn’t hinge on the metrics most labels chase. “Success is actually the hardest thing to gauge in this industry and I think it’s actually something that is internal,” they reflect. What matters more than numbers is resonance. “For us, I think success is being able to move crowds in any given market of fans that are there to listen to your music.” For NUSONIDO, meaning will always matter more than hype.
Setting the Record Straight, Then Setting the Standard
NUSONIDO gives Calussa a platform wide enough to hold all their influences. It also clears up a common misconception. “It would go back to the perception that we are only ‘one thing,’ whether people think that’s Afro or even Latin,” Calussa explains. “Our range of music is so wide and we have inspirations from all forms and genres of music.” Their long game isn’t about fleeting trends. It’s about endurance. “Five years from now I want NUSONIDO to be one of the only labels that can take you through generational eras of sound through timelessness,” Andrew and Gino share. With a clear identity and a restless drive NUSONIDO is already on that path.
The White Tiger EP by Calussa & Ben Miller is out now on all platforms via NUSONIDO. This is the first step in a long game—and one that promises to keep evolving.
The post NUSONIDO Isn’t Just Calussa’s Next Chapter—It’s The Whole Story Now appeared first on EDMNOMAD.
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Some Glastonbury Attendees Left Without Tickets As Luxury Tent Company Goes Bankrupt

Festival-goers who booked high-end “glamping” packages, which included accommodation and hospitality tickets, for this year’s Glastonbury Festival have been left in the lurch after the provider, Yurtel, went into administration.
The Corsham, Wiltshire-based company informed customers earlier this month that their bookings, with prices ranging from £10,000 to £16,500, will not be honored due to the company’s financial collapse. Currently, refunds are unavailable, and affected individuals have been told that information regarding the claims process for recovering their money will be shared with creditors once liquidation proceedings formally begin.
Glastonbury Festival expressed disappointment for those impacted but clarified that it has no operational involvement with Yurtel and therefore cannot provide replacement tickets. The festival also stated that Yurtel had not secured any tickets for the 2025 event prior to its insolvency.
Yurtel was one of a limited number of local campsites near Worthy Farm that, under specific conditions, had access to purchase hospitality tickets for its guests. The festival emphasized that it holds no records of Yurtel’s bookings and cannot assume responsibility for the services or facilities the company offered.
To potentially assist affected customers in finding alternative tickets and accommodation, Glastonbury has advised Yurtel customers to contact [email protected] to authorize the sharing of their personal data and booking details with the festival.
Glastonbury Festival 2025
This year’s Glastonbury Festival is scheduled to run from Wednesday, June 25th, to Sunday, June 29th. Headline acts include The Prodigy, Charli XCX, and Four Tet. Organizers have also recently unveiled lineups for various electronic music stages such as Silver Hayes, Glade, Block9, and Arcadia, and have released the 2025 site map, which features expanded dance music areas.
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“You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears

Singer-songwriter turned producer, Grace Davies, has come a long way since her time on the world-famous singing competition, The X Factor. With four EPs and one on the way, she’s learnt what it takes to work both independently and under major record label Syco, and is now spreading her producer wings with her upcoming album, The Wrong Side of 25, showcasing the first time that Davies has sat in the producing chair for an entire project.
Alongside her notable sync work, which has seen her catalogue appear in popular UK TV shows such as Love Island, Britain’s Got Talent, Strictly Come Dancing and more, the producer is focusing more on bringing her releases to life, using plugins and other studio equipment that can help make the visions in her head a reality.
READ MORE: Waz-u: “If you want to do something unexpected, be controlled and intentional about it”
In this Studio Files interview, Davies sits down with MusicTech to delve into her new role as a producer, how that has changed her relationship with singer-songwriting, and how she can use equipment to help further develop her sonic creativity.

What did you learn about yourself as a producer while producing IWPBWT and The Wrong Side of 25?
IWPBWT was the first time I’d co-produced a whole project; it was really important for me in understanding the value of trusting my instinct.
I would send stems to my producer and say, ‘This probably isn’t very good, but maybe something like this… I’m sure you have a better plugin, though, and he’d be like, ‘Grace, I’m just gonna use yours because there’s nothing wrong with it and it sounds great’. It really gave me a confidence boost and assurance that just because I’m not the ‘named producer’ who is being paid for the job, doesn’t mean I’m not capable of doing it and chipping in. It was also the first time a producer recognised that I’m essentially coming up with all of the production ideas and leading the way a song would sound counted as a production credit — and that was really eye-opening for me.
I’ve always said since the beginning of my career that I have a producers head but not an engineers hands — i.e. I’ve always had a strong vision for production and been able to sit next to a producer and guide them, but it sometimes takes someone with zero ego to go “you’re actually doing most of the producing here, I’m just doing what you tell me to do” and give you that recognition.
Lockdown in 2020 was actually a great time for me as a songwriter because, with no one else there to do it for me, it forced me into the uncomfortable zone of really honing my craft as an ‘engineer’. I’m grateful for that time and for the producers I worked with during that period who really championed me.
Transitioning from a singer-songwriter to a recording artist and now a producer, how has your perspective about making music changed?
My love for the creative process has grown so much more. I’ve been on stage since I was three years old, and I viewed songwriting as a necessary chore before — my love was performing. But, being in a studio for 18 months, working things out, problem solving, surrounding myself with incredible musicians and having the time and patience to try out the weirdest, least commercial ideas was the most fun I’ve ever had. I think the tables have very much turned for me, and the studio is now my happy place.

What’s your latest gear or plugin purchase?
My latest plugin purchase was iZotope RX 11, and let me tell you, it has been worth its weight in gold on this album. My co-producer Paul and I made the very easy mistake of, during the writing process, saying ‘Ah yeah, that’s cool, let’s just sing that in as a rough guide’ whilst making the demos.
A very crucial thing to note — I will never be able to sing something with as much emotion or conviction as when I’ve just written it and don’t really know what I’m doing… I’m just never able to capture the same magic! So when you’re ‘roughly’ singing something in with no headphones and speakers blaring and then, later down the line, you end up changing production or releasing acapella’s with that as the final vocal, that becomes a gigantic problem.
RX 11 was critical in removing so much noise from the background. You’re really able to zone in and visually pick out sounds you want removing, rather than just sticking something like Waves’ NS1 on it that’ll create quite a dull sound over the main recording. It’s great for removing clicks, pops and saliva noises too.
What’s the best free plugin you own?
One hundred thousand per cent, it’s the BBC Symphony Orchestra Discover from Spitfire
AUdio. For anyone who’s into huge orchestra sounds but doesn’t want to pay thousands of pounds, this is a great free plugin to help you play around.
There’s a string interlude on my album, which I used this plugin for before firing MIDI stems over to Paul. It’s genuinely so much fun and sounds great considering it’s £0.
Your recent singles, ‘A Wonderful, Boring, Normal Life’, feel like a new era compared to previous releases. How has your creative mind changed in the time since you were on X Factor, having released a lot of music since then?
I think I just started making music for my younger self — the one I was before I even knew I wanted to do music. My recent releases and upcoming album are inspired by the songs I grew up listening to in the car: ELO, ABBA, Robbie Williams, The Beautiful South, The Carpenters, etc.

So much of that music is made ‘out of the box’ (real, live instruments) — and sure, it’s way more expensive to do that and technology has come on so much that we don’t always need to do it that way anymore, but there’s something so exciting about working with real musicians, being in the studio and hearing a 20 piece orchestra play your songs… It’s magical.
That’s a big reason why my sound is so different to how it used to be. I’m finally giving myself the time, room (and budget) to create music that matters to me and not just following charting trends. I feel like I’ll listen to this music in 20/30 years time and it won’t sound dated. Particularly as an independent artist, using live musicians and ‘out of the box’ production is very expensive — but it’s the most fun I’ve ever had. I really don’t feel like you can ever completely emulate the sound of instruments and outboard gear through plugins. They come close but nothing compares to the real thing.
What’s a music production myth you think needs debunking?
This is more about the process of actually finishing a song, but I really don’t think you always need to mix a song… Hear me out.
Of course, there are occasions where you get as far as you can, either by yourself or (as an artist) with a producer, where you’re thinking, ‘all the elements are there, we just need someone else with a fresh pair of ears to take it to the next level’. In my case, this is often unnecessary and the hard-wired process of sending a song to mix before it goes to master can hinder, undo, delay and cause more stress — all because that’s just the way the processes of finishing a record have been laid out for us.
I think there’s a charm in naivety and simply not really knowing what you’re doing. I often turn dials on gear or plugins and think ‘that sounds great… No idea what I just did, but I don’t care because it’s wicked.” And I think the same goes for a lot of producers; just because there is a step put in place to send a song to an outside body who ‘knows what they’re doing’ doesn’t mean you have to utilise it. If you’re happy with how something sounds before it goes to mix, just don’t go to mix! Go straight to master! Even the best mixing engineers can overcomplicate, overclean things, take out emotion or vibe or just simply have a different vision from you.
Particularly in my experience, I’ve ended up wasting money trying out different mixers and then eventually going back to the original producer who either delivers mixed stems or just delivers the pre-masters themselves. On this album, my co-producer Paul mixed everything because A) he’s a genius, but B) I always tend to give mix notes as we go along — and we’re both perfectionists, so even our demos sound like finished records! It’s obviously case by case,e but I do know a lot of artists who feel the same anxiousness when sending a song to mix. It can really make or break a song. If you don’t feel like it needs it, don’t let anyone tell you that it does. Don’t cause yourself more stress and cost yourself more money.
 
The post “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears appeared first on MusicTech.
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YouTube Content ID Payouts Crossed $12 Billion Last Year — ‘Over 90% of All Content ID Claims’ Were Monetized, Platform Says

YouTube Content ID payouts crossed the $12 billion mark in December 2024, according to a new report. Photo Credit: ilgmyzin
After cracking 125 million Music and Premium subscribers, YouTube has reported making a cumulative $12 billion in Content ID payouts as of December 2024.
The multibillion-dollar figure emerged in the video platform’s newly released “YouTube Copyright Transparency Report.” As laid out in the concise document, the sum reflects advert “revenue paid to rightsholders as of December 2024 from content claimed and monetized through Content ID.”
As a whole, YouTube indicated that these rightsholders (Content ID is said to have “over 7,700 partners”) in 2024 “chose to monetize over 90% of all Content ID claims.” And while the IP owners don’t solely deal in music, it’s safe to say that a significant portion of the monetization stemmed from songs.
“Over 99% of Content ID claims made in 2024 were made through automated detection,” YouTube added, “with partners’ usage of manual options being exceedingly rare (fewer than 0.5% of total claims).”
Next, looking at “the 3 years prior to January 2024,” YouTube said it’d paid north of $70 billion “to creators, artists, and media companies.”
A substantial piece of that payout pie – including both ad revenue and contributions from the aforementioned Music and Premium subs – presumably reached the music world as well.
With all that said, on an individual basis as opposed to a top-level view, one needn’t look hard to find compensation criticism of YouTube, which has long faced complaints pertaining to its per-view rates. And specifically in the music arena, the Google-owned platform has grappled with musician-spearheaded litigation centering on Content ID accessibility qualms.
(“Smaller, independent creators who do not meet the eligibility criteria for Content ID can still access these features through a number of service providers,” YouTube wrote in the report, perhaps with previous courtroom confrontations in mind.)
But the massive payout disclosures are interesting given that plenty of the relevant content wasn’t monetized at all in the not-so-distant past.
In the bigger picture, the data underscores that Spotify, despite its reach and comparatively robust subscriber base, certainly isn’t the only music-monetization player in town.
Keeping the focus on advertising, YouTube ad revenue growth (10.3% year over year to $8.9 billion) once again outpaced its Spotify counterpart (up about 8% year over year to $475.3 million) during Q1 2025.
There are several factors (some adjacent to the music space) at play here – with Spotify’s ongoing video buildout and advertising recalibration worth keeping in mind. Taken as a whole, though, the numbers seemingly attest to YouTube’s inherently advantageous positioning in a video-crazed entertainment landscape.
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