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Streams of “Through the Valley” Spike 1,005% After Latest ‘The Last of Us’ Episode

Photo Credit: HBO
The latest episode of HBO’s ‘The Last of Us’ has caused a 1,005% streaming spike for the Ashley Johnson & Chris Rondinella song “Through the Valley.”
Hit shows integrating classic or lesser-known songs into pivotal scenes can often result in a sync explosion—with the song finding a new audience from the feature. With massive increases in streaming numbers and chart positions for the songs, many of these hits find new cultural relevance among an entirely new generation.
HBO’s ‘The Last of Us’ has been a driving force for music discovery among those who watch the show. Last season, Depeche Mode’s “Never Let Me Down Again” experienced a more than 520% increase in global streams after being featured in the show’s first episode.
Linda Ronstadt’s “Long Long Time” saw a whopping 4,900% spike in US streams alone within an hour of its appearance in episode three—quickly climbing to #5 on the iTunes Top 100 chart. Other songs such as Pearl Jam’s “All or None” and Etta James’ “I Got You Babe” all saw streaming increases (5,000% and 440% respectively) from their featured spots in those first season episodes.
Now that the second season has arrived, ‘The Last of Us’ is proving its value as a sync explosion machine for artists who are featured. Originally written and performed by Shawn James, the song “Through the Valley” was relatively obscure until it was featured in the first trailer for The Last of Us Part II in 2016. That trailer feature turned the song into James’ most popular song overnight and now the TV show is continuing that success.
In the TV adaptation of this popular video game, the song appears again in Season 2, Episode 2. This time the song is performed by Ashley Johnson, the original voice of Ellie from the games. The song plays during an emotional moment during this episode that I won’t spoil, but once again “Through the Valley” is having a sync explosion moment. Just hours after airing, the song saw a 1,005% streaming spike on Spotify. Fans and new viewers alike are seeking out both the Shawn James version and the new Ashley Johnson cover.
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An Estimated 60% of Coachella's 2025 Attendees Funded Their Tickets Through Payment Plans

Coachella, one of the world's most iconic music festivals, has been curating "you had to be there" moments for nearly three decades. But behind these Instagram-worthy moments lies a troubling new reality: for the majority of attendees, the experience is only attainable through monthly installments.
According to a recent Billboard report, a staggering 60% of general admission ticket-holders used payment plans to help fund their Coachella trip in Indio, California this year.
Attending Coachella has always come with a hefty price tag, but it has soared in recent years. General admission passes started at $599 in 2025, not including additional expenses for basic human needs such as lodging, transportation and food, all of which have faced inflationary price hikes.
Mark Owens
To alleviate the financial burden, monthly payment plans allowed prospective attendees to reserve tickets with a down payment as low as $49.99. The only fee incurred for utilizing this service is a flat $41 as opposed to facing the looming interest rate from your credit card. 
The program launched back in 2009, aiming to make Coachella more accessible to a broader audience. However, this year's dubiously record-breaking number of payment plans reflects broader cultural and economic trends with regards to the swelling cost of music festivals.
While short-term loan services like Buy Now, Pay Later (BNPL) provide financial relief up front, they have the potential to stretch budgets, encourage irresponsible spending and compound debt.
"[Coachella's] vibe, FOMO-driven, culturally iconic, pushes fans to prioritize experiences over savings, a mindset amplified by social media's flex culture," wrote Forbes' Jack Kelly.
Approximately 80,000 to 100,000 fans reportedly opted for payment plans to attend this year's festival in SoCal. Coachella is now scheduled to return to its longtime home at the Empire Polo Club over two 2026 weekends: April 10-12 and April 17-19.
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Spotify 1,000-Stream Minimum Debate Continues As Distribution Exec Claps Back Against the ‘Patently Unfair Practice’

The heated debate over the controversial Spotify stream minimum is showing few signs of resolving. Photo Credit: Shutter Speed
Let the debate over Spotify’s 1,000-stream royalties threshold continue: A distribution exec is firing back against the service’s defense of the controversial minimum.
As many know, that much-criticized model went into effect at the behest of the majors last year. Now, audio uploads must rack up 1,000 annual streams on Spotify in order to accrue recording royalties.
Long story short, the vast majority of uploaded tracks aren’t generating any royalties at all under the system. Far from having a negative effect on the majors’ catalogs, the revamped payout approach is in practice redistributing compensation that would have otherwise reached indie and unsigned professionals.
Meanwhile, the minimum-stream wheels (and different measures designed to boost the majors at the expense of indies) are reportedly in motion at other services yet.
Against this backdrop, Disc Makers CEO Tony van Veen calculated the ballpark royalties impact of Spotify’s 1,000-stream minimum during 2024. Last year, the exec estimated, emerging talent missed out on about $47 million in would-be recording royalties.
(Though sizable, the sum resulted from a conservative approach to calculating, van Veen explained. Thus, the actual figure might be even larger.)
On cue, Spotify fired back – including by arguing in more words that the affected tracks receive a small amount of fan interest and (owing mainly to withdrawal minimums) wouldn’t see their recording royalties reach artists in any event.
(In December 2023, DMN Pro broke down the hard numbers behind Spotify’s stream threshold. As part of the same analysis, guest author Jeff Price refuted the idea that the reallocated royalties, owing to distributors’ minimum payments, simply wouldn’t have made it to their intended recipients.)
Now, van Veen has offered a rebuttal to Spotify’s response – and the streaming platform’s alleged “patently unfair practice of demonetizing tracks with under 1,000 streams.”
After indicating that indie distributors also find the system unfair but are “afraid to speak up” owing to their reliance on Spotify, van Veen criticized the stream-volume descriptions as “immaterial” to the minimum-payments conversation.
Running with the point, van Veen called out Spotify’s “spun” contention that 99.5% of streams hit works with at least 1,000 annual plays apiece. The remaining 0.5% of streams aren’t necessarily massive from a volume perspective, but they pertain to a substantial number of tracks.
“Because, dear artist, it is those $47 million in royalties that used to monetize for you, which are now redirected to more popular artists who don’t need your royalties! They have enough fans of their own! They make enough of their own royalties!” van Veen retorted in a video.
Similarly, van Veen took aim at Spotify’s representation that the system “targets” tens of millions of tracks earning (at least previously) an average of $0.02 per month in recording royalties.
“Again, spinning data to make it sound convincing doesn’t make it right. In fact, Spotify’s own data shows that of the 202 million tracks on the platform, over 175 million are now demonetized because they don’t reach the 1,000-stream annual threshold. Somehow 175 million feels like a lot more than ‘tens of millions.’
“And at just two cents per track per month, that still represents (in Spotify’s own calculation) over three and a half million [dollars] in royalties from small emerging artists that they are diverting to the big guys,” the exec proceeded.
Circling back to distributors’ above-mentioned minimum payments, van Veen lambasted Spotify’s position as a “blatant lie.”
“And this blatant lie about distributors’ minimum payments making it impractical to pay royalties to small artists – come on, man! You know that’s just not true. How can I be so sure?
“Because I was CEO of CD Baby’s parent company [AVL Digital] from 2008 to 2019. Those small monthly artist royalty payments just keep gradually growing in each artist’s account until they amount to 50, 100, 300 dollars. And then the artists withdraw them. Implying that an artist wants to withdraw $2 and needs to pay a fee of a dollar for that is just disingenuous.”
Furthermore, far from making those “micro-payments” to each artist, Spotify was simply forwarding slightly reduced royalties to the likes of CD Baby, TuneCore, and DistroKid, van Veen drove home.
Here’s the full 10-minute video response from van Veen, who also addressed Universal Music’s role in spurring the overarching “artist-centric” recalibration, the fact that Spotify must track and pay compositional royalties on all streams in any event, and more.
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III Points Festival Returning to Miami in 2025 With Diverse and Daring Lineup

Miami's homegrown music disruptor is back, and they're not pulling any punches.
The organizers of III Points have unveiled the first wave of the festival's 2025 lineup, returning to its longtime home at Mana Wynwood from October 17–18. The 11th edition is stacked with artists that span the genre spectrum, from acid-fueled techno and nu-disco to leftfield hip-hop.
III Points 2025 will feature performances by Peggy Gou, Michael Bibi, Nina Kraviz, Barry Can't Swim, ANOTR and EDM.com Class of 2023 inductee Indira Paganotto, among other electronic music stars. Today's lineup reveal is rounded out by 2hollis, Ca7riel & Paco, Amoroso, Darkside, Denzel Curry, L’Impératrice, Mk.gee, Sean Paul and Turnstile.
"It is not easy navigating a forward-thinking, multi-genre festival in the North American music landscape nowadays, but I believe our commitment to our Miami music community has been the guiding force for us," said III Points co-founder David Sinopoli.
That sense of local devotion and cultural pride has long defined III Points. Since 2013, the festival has served as both a launchpad for emerging underground artists and a laboratory for experimental vanguards. This year's billing keeps that spirit alive, and if past is prologue, we can expect even deeper layers of weirdness and wonder in the lineup's next phases.
Beyond the music, III Points remains one of North America's most thoughtfully curated music fests. Its location in the Wynwood Arts District, a technicolor playground of street art and post-industrial vibes, sets the tone for a surrealist festival experience.
Tickets for III Points go on sale this Thursday, April 24th at 1:11pm ET. You can purchase passes and find out more here.
c/o Press
Follow III Points:
X: x.com/iiipoints
Instagram: instagram.com/iiipoints
TikTok: tiktok.com/@iiipoints
Facebook: facebook.com/iiipoints
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Insomniac Shares Lineup For Day Trip Festival 2025

Insomniac has unveiled the lineup for the 2025 edition of Day Trip Festival.
Once a Sunday afternoon party at Academy LA, Day Trip Festival is now known as one of the West Coast’s premier house and techno events, returning to the coastline of the Queen Mary Waterfront in Long Beach, California, this June 21-22.
Leading this year’s roster of global icons and underground heroes are UK hit-makers Gorgon City, renowned house producer Duke Dumont, and industry titan Tiësto. They’ll be joined by gritty tech house star Chris Lorenzo, new-school techno favorite Layton Giordani, and acclaimed Italian techno selector Joseph Capriati.
Also on the bill are iconic collaborative pairings like legends Armand Van Helden B2B Mark Knight, a sunset performance from LP Giobbi B2B HoneyLuv, and high-energy groovers East End Dubs B2B Max Dean, as well as global stars Vintage Culture, Eli Brown, Patrick Mason, San Pacho, Matroda, Anfisa Letyago, Wax Motif, Hannah Laing, Fleur Shore, and Skream. Check out the official announcement below.
Day Trip has also announced a special indoor-outdoor pre-party taking place on the bow of the adjacent docked Queen Mary Ocean Liner on Friday, June 20. The party and performances from its secret lineup are exclusive to guests staying on board the ship, for which weekend hotel stays can be booked here. 
Non-exclusive festival afterparties will also be held nightly on board the Queen Mary, running until 4AM. Lineups for Day Trip’s official Queen Mary afterparties will be announced in the coming weeks. Fans can grab afterparty tickets here.
For more information or to purchase two-day festival tickets, visit daytripfest.com.

Featured image courtesy: Insomniac Events.
The post Insomniac Shares Lineup For Day Trip Festival 2025 appeared first on EDM Maniac.
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Insomniac Shares Lineup For Day Trip Festival 2025

Insomniac has unveiled the lineup for the 2025 edition of Day Trip Festival.
Once a Sunday afternoon party at Academy LA, Day Trip Festival is now known as one of the West Coast’s premier house and techno events, returning to the coastline of the Queen Mary Waterfront in Long Beach, California, this June 21-22.
Leading this year’s roster of global icons and underground heroes are UK hit-makers Gorgon City, renowned house producer Duke Dumont, and industry titan Tiësto. They’ll be joined by gritty tech house star Chris Lorenzo, new-school techno favorite Layton Giordani, and acclaimed Italian techno selector Joseph Capriati.
Also on the bill are iconic collaborative pairings like legends Armand Van Helden B2B Mark Knight, a sunset performance from LP Giobbi B2B HoneyLuv, and high-energy groovers East End Dubs B2B Max Dean, as well as global stars Vintage Culture, Eli Brown, Patrick Mason, San Pacho, Matroda, Anfisa Letyago, Wax Motif, Hannah Laing, Fleur Shore, and Skream. Check out the official announcement below.
Day Trip has also announced a special indoor-outdoor pre-party taking place on the bow of the adjacent docked Queen Mary Ocean Liner on Friday, June 20. The party and performances from its secret lineup are exclusive to guests staying on board the ship, for which weekend hotel stays can be booked here. 
Non-exclusive festival afterparties will also be held nightly on board the Queen Mary, running until 4AM. Lineups for Day Trip’s official Queen Mary afterparties will be announced in the coming weeks. Fans can grab afterparty tickets here.
For more information or to purchase two-day festival tickets, visit daytripfest.com.

Featured image courtesy: Insomniac Events.
The post Insomniac Shares Lineup For Day Trip Festival 2025 appeared first on EDM Maniac.
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Lil Wayne Announces First-Ever Madison Square Garden Headline Show to Celebrate ‘Tha Carter VI’ Release

Photo Credit: Live Nation
Lil Wayne announces his first-ever headlining show at Madison Square Garden on June 6. The performance coincides with the release of his latest album, Tha Carter VI.
For the first time, Lil Wayne will headline New York’s Madison Square Garden in a special performance on Friday, June 6. The show celebrates and coincides with the release of the rapper’s highly anticipated new album, Tha Carter VI.
Tha Carter VI is the follow-up to Wayne’s 2020 release, Funeral, and the latest installment in his Tha Carter series since 2018’s Tha Carter V.
Tickets will be available starting with artist presales beginning Wednesday, April 23. The general onsale will start Friday, April 25 at 10 AM local time on Live Nation’s website.
By 2020, Lil Wayne cemented his legacy as “one of the best-selling artists of all time,” with sales in excess of 100 million records worldwide; 25 million albums and 90 million digital tracks sold in the United States alone. In 2022, Wayne earned his first Diamond certification from the RIAA with his smash hit “Lollipop” featuring Static Major.
Among his accolades, Wayne has garnered 11 BET Awards, four Billboard Music Awards, two MTV VMAs, and eight NAACP Image Awards. He also emerged as the “first male artist to surpass Elvis Presley with the most entries on the Billboard Hot 100,” with a whopping 183 entries — the third-most of all time.
With a discography highlighted by five career-spanning No. 1 debuts, beginning with 2008’s Tha Carter III and its 2011 successor, Tha Carter IV, he released the latest version of the series in 2018. In addition to reaching No. 1 on the Billboard 200, it also achieved the second-largest streaming week for an album in history. Every song on the album charted on the Billboard Hot 100, making Wayne “the first artist to debut two songs in the top 5.”
Wayne owns and operates Young Money Entertainment. The company ignited the careers of two of the most successful artists: Drake and Nicki Minaj. A committed philanthropist, Wayne also founded The One Family Foundation.
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Six Years Later, Etsy Sells Reverb — Music Marketplace Eyes ‘Exciting Changes’ Under New Owners Creator Partners and Servco

Etsy has inked a Reverb sale agreement with Creator Partners and Servco. Photo Credit: Oberon Copeland
Almost six years after acquiring Reverb, Etsy (NASDAQ: ETSY) is selling the instruments marketplace to Fender investors Creator Partners and Servco Pacific.
Reverb reached out with a formal announcement about its sale – and its return to private ownership – this morning. Meanwhile, Etsy confirmed the divestment in a regulatory disclosure, chalking up the move to a “focus on driving growth in the core Etsy marketplace.”
The seller, which previously acknowledged “significant GMS [gross merchandise sales] headwinds in 2024,” also noted that it would provide additional information in its Q1 2025 earnings report. Having reportedly paid $275 million for Reverb, Etsy is scheduled to release the first-quarter performance breakdown on the 30th.
Shifting to Reverb’s buyers, the mentioned Creator Partners was founded in 2022 by former SoundCloud head Kerry Trainor, a longtime Fender board member who, in keeping with another of his company’s investments, joined BMI’s own board towards the top of 2024.
Fellow SoundCloud vets including Jaydan Heather Malsky are also aboard as Creator Partner execs.
The more than century-old Servco, for its part, touts itself as “Hawaii’s largest private company,” with operations in the automotive sector as well as venture capital. On the VC front, Servco possesses an ownership stake in Fender, which is said to represent its “largest investment to date.”
Notwithstanding the buyers’ Fender holdings, Reverb went ahead and pledged not to provide preferential treatment to the instruments giant. Plus, the marketplace signaled that it would continue operating independently with its existing team in place; a straight merger into Creator Partners isn’t forthcoming, per Reverb.
Though the latter’s users “won’t notice any disruption as a result of this news,” significant updates are said to be on the horizon.
“We’ve got a lot of exciting changes in the works,” Reverb CEO David Mandelbrot elaborated in part. “We’re expanding access to music-making software on Reverb and we’re getting ready to pilot a new option for selling that allows musicians to get paid faster, while skipping the listing and shipping process.
“Our teams are working on improving our search functionality, making it easier to ship, and shortening the time it takes to resolve support issues,” the former Indiegogo CEO proceeded.
Those remarks appear to indicate that Mandelbrot will remain aboard Reverb, which he’s led since early 2020. And the marketplace, which declined to provide sale-price details to DMN, expects the transaction to close “in the coming months.”
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After the Afters: Rave Culture’s Secrets—Verified by EDMNOMAD. Now, You Need to Know Them.

We’re launching After the Afters for the community we’ve always valued at EDMNOMAD. Quietly. Intentionally. No big announcements or flashy banners—just real recommendations, reviewed and verified by our team. Until now, the best raver-certified destinations, experiences, and gear lived in secret. Privately—shared through “Tomorrowland” group chats, backstage conversations, and late-night voice notes.
Word got out anyway. Because in rave culture, word of mouth is everything. Music festivalgoers don’t simply follow ads. They follow energy. It’s based on trust. And if they hear something is worth it—whether that’s a secluded waterfall hike, a nighttime camera they swear by, a sensory float experience, an airline that goes the extra mile, or a hotel that doesn’t judge the glitter—they’ll go.
Through After the Afters, EDMNOMAD is finally putting it in writing. What once lived in whispers, screenshots, and side conversations now has a name. It’s for those who always knew—and now, it’s open to those ready to understand. Not through hype. Through earned trust. Because in this culture, ravers don’t just pay attention to what’s loud. They pay attention to what’s been verified by us.
Where Do Ravers Spend Their $48k Disposable Income?
Let’s talk numbers. The average raver spends around $10,000 per year on music festivals—covering tickets, flights, accommodations, outfits, and essentials. Be it Electric Daisy Carnival, a drop-in at Ushuaïa, or a long-awaited Coachella reunion. Festivalgoers don’t treat these events like weekend getaways. They’re recurring milestones. Planned months in advance, these trips are immersive and intentional. EDM festival attendees arrive early, extend stays, and curate entire itineraries around the experience. And even after the music stops, they’re still in spending mode.
Most brands overlook the scale of what comes after. Even after covering festival costs, ravers hold onto an average of $48,000 in annual disposable income. They funnel that money directly into travel, food, wellness, retail, skincare, tech, and recovery rituals. And they don’t spend blindly—they spend with precision. This isn’t impulse buying. It’s spending shaped by community, driven by experience, and rooted in purpose.
Raver Demographics Revealed, An Untapped Market
The demographic is clear: aged 25 to 45, highly educated, and professionally diverse—working in tech, finance, medicine, media, and design. They’re early adopters and lifestyle architects. They prioritize functionality and design, from the apparel they wear to the devices they carry. A product or place isn’t valuable to ravers unless it fits within their rhythm—flexible, expressive, and built to go the distance.
Festivalgoers lean into premium dining, design-led hotels, and brands that understand nuance and timing. Gravitate toward experiences that match the highs and slows of post-rave life—meals that feel earned, spas that feel like sanctuary, brands that enhance the downtime, not distract from it. Ads don’t matter. They chase alignment. And when something clicks, they pass it on with conviction. Word-of-mouth spreads fast in this world—and with trust, it becomes ritual.
Word of Mouth, Verified at Scale
We know how decisions are done—and they don’t start on Instagram, TikTok, or display ads. Paid campaigns and viral soundbites don’t shape this world. Real conversation and shared memory does. Instinctual trust moves faster than algorithms. Ultra or Miami Music Week rave fams carry the same recommendations year after year. Playlists travel between countries. Packing lists resurface from last season’s Google Docs.
Someone pours a second drink at the Airbnb and says, “I know a place.” Another laughs in the rideshare and asks, “Wait, where are we going after?” At 4AM, eyes barely open but the vibe still alive, someone drops a name—a spot, a product, a service—and without hesitation, everyone’s in.
When a raver finds something that hits—really hits—it becomes more than a thought. It becomes lore. It passes from one crew to another, naturally and with confidence. That place, experience, or favorite must-have becomes part of their ritual, and in rave culture, rituals hold power. We don’t invent those moments. We find them, test them, and share them to the community. Quietly. Intentionally.
And when we do, they listen. For brands, they’re missing out on $48,000 of untapped potential.
After the Afters Isn’t About What’s Next, It’s an EDMNOMAD Promise
What happens after the rave is predictable. An afterparty, maybe a nap, or a hotel tub with essential oils. After the Afters lives elsewhere, existing in overlooked spaces—unearthed by EDMNOMAD veterans who’ve stayed longer, wandered too far, and found what’s worth remembering.
This isn’t about squeezing in one more beat. It’s about what lingers—what stays in memories and resurfaces days later in group chats while planning the next festival. Someone says, “Remember that Michelin spot in Dubai—right next to that hidden speakeasy?” Another chimes in with, “That yacht in Miami with the built-in DJ studio—how did we even end up there?” Then comes, “That Bali spa, tucked in the jungle, five minutes from that pottery class—still dreaming about it.” Beyond moments—they are markers in time. That’s the kind of memory we chase.
After the Afters exists to scale trust within the EDMNOMAD community—without compromising it. The places we go and the brands we feature come recommended by the same community we serve. Every feature is personally reviewed, experienced, and approved by the EDMNOMAD team. And that matters—because ravers don’t want noise. They want signal. And EDMNOMAD sends it to those seeking After the Afters.
EDMNOMAD Radar: Not Just Any Brand Gets In After the Afters
We don’t chase brands—a whole community listens for them. Ravers are world travelers, globetrotting one music festival at a time, and your brand travels with them. It has to show up in the isles of Ibiza, then again on a day club in Las Vegas. It has to surface in a group chat between friends planning a trip to Tomorrowland. Not loud nor forced. Just mentioned—casually, confidently, like something everyone already knows.
We’ve learned to follow echoes. If it gets said once, we let it pass. Say it twice, we clock it. Three times, in different cities, through different people? We look deeper. Because when something gets shared in this scene, unprompted and uncoordinated, it means someone lived it. And that’s what makes it real.
You don’t get into After the Afters because you asked. You’re in because someone already put you there. Because a raver remembered your name—not your logo, not your offer, your name—after two sleepless nights and a ten-hour flight home. That’s how you earn it. Quietly. Honestly. Repeatedly.
And if you’ve made it that far, don’t worry. You’ll know. We’ll reach out. Wait for the After the Afters email.
After the Afters: Why It Matters To The EDMNOMAD Community
This isn’t just coverage. It’s context. It’s access to a global subculture that doesn’t just move between festivals—it moves markets. These are highly mobile, extremely loyal, and hyper-connected people who don’t wait for trends. They decide them.
Ravers don’t simply follow the loudest brand. They follow the one that fits, shows up with purpose, and actually gets it. Before After the Afters, the most trusted recommendations in rave culture didn’t come from media. It came from memory. From overheard conversations at sunrise, from voice notes passed between cities, from last-minute texts that say, “Go here. Trust me.” Those moments built the roadmap. We’re the custodians writing it down.
So if your brand lives in those moments—if it shows up unprompted, gets passed along, and keeps getting remembered—we’ll notice. And when we do, the community that actually spends will too. We built this for the people who were already living it. Now we’re opening the door—slowly, intentionally—for those ready to meet them where they are.
Because in this world, word of mouth isn’t a strategy. It’s the currency. And After the Afters is where it gets exchanged.
Not at the rave. After the Afters.
The post After the Afters: Rave Culture’s Secrets—Verified by EDMNOMAD. Now, You Need to Know Them. appeared first on EDMNOMAD.
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Staind Guitarist Says He’s Never Gotten Paid by Atlantic/WMG — But Did Take a Pretty Hefty Advance

Photo Credit: Mike Mushok by Craig Noce / CC by 3.0
Staind guitarist Mike Mushok says he’s never received a royalty payment from Atlantic Records — but the band did receive “large advances.”
Staind guitarist Mike Mushok sat down for an interview on The KiddChris Show, which airs on the WEBN station in Cincinnati. There, he weighed in on Chevelle frontman Pete Loeffler’s 2021 claim that the band hadn’t received any money from record sales despite selling six million albums for Epic Records. It turns out, according to Mushok, Staind had a similar experience.
“I’ve sold I don’t know how many millions of records, and I’ve never once received a royalty from the record company after […] 20, whatever, 25 years. We still owe them money. We haven’t been on the label since — I don’t know, 2011 was the last record we put out on Atlantic, and we still owe them money,” said Mushok.
“And listen, I’m not gonna lie — they gave us large advances, and that’s why [we still owe them money]. But seriously, they have to be paid off,” he added. “I think it’s estimated, […] like, another three years it’ll be paid off, and I’ll actually start making royalties on our records.”
Mushok doesn’t anticipate the band having an easy time trying to reclaim their own music, either. “Supposedly after 35 years, the masters are supposed to revert back to you. But I was talking to our attorney about that, and he said that no label ever lets you do that. They try to buy you out and give you money so they can continue to own the masters — unless you fight them.”
Both Staind and Chevelle are now signed to Alchemy Recordings, after years with other major labels (Chevelle with Epic, and Staind with Elektra and Atlantic). Staind released their first studio album in over a decade back in late 2023. Confessions of the Fallen debuted at No. 4 on the Billboard Top Album chart.
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YouTube Music Finally Gets Shareable Lyrics, Following Spotify & Apple Music

Photo Credit: YouTube Music
Google is working to close the feature gap between YouTube Music and its most popular rivals—Spotify and Apple Music. Now you can directly share lyrics from the YouTube Music app. Here’s how.
Lyric sharing is a feature that has long been available on Spotify and Apple Music, making it possible to share pertinent lyrics on social media and elsewhere. Not only does this help with music discovery among influencers’ fans, but it also raises awareness of the music service being used. YouTube Music appears to be taking a page out of Spotify’s book by branding lyrics shared in this manner.
How to Share Lyrics on YouTube Music
The new feature only shows up when you’re on the lyrics tab directly reading along with the song. From there, a new ‘Share’ button will pop up allowing you to select the lines you want to share. Once selected, tapping ‘Next’ takes you to a customization page where you can change the background color and preview what the share card will look like on social media. The share card includes the album artwork, song name, artist, and a small YouTube Music logo.
Hitting the ‘Share’ button will post the lyrics card directly to apps like Instagram, save it to your gallery as an image, or send it through another supported app. The feature appears to be rolling out to users as a server-side update—so not everyone may have access yet. According to the redditor who originally spotted the feature, their YouTube Music app version is 8.15.51 on Android.
‘Fan-led streaming’ is one of the three main pathways for music discovery alongside editorial curation and algorithmic recommendations. Sharing lyrics creates organic opportunities for fans of influencers to discover new music they might not have seen before. Now YouTube Music users can get in on the action.
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Australia’s Bluefest Clocks 109,000 Attendees—Though the Wider Festival Sector Is Still in Crisis

Photo Credit: Bluefest
Australia’s Bluefest 2025 drew a record 109,000 attendees—the third-highest in its history. It’s also the largest attendance record for any Australian festival since the pandemic. Despite organizers’ stating ‘festivals are back’, the live music scene in Australia is still struggling.
Bluefest’s success has been attributed to its loyal fan base and due to the fact that the festival was marketed as potentially the last Bluefest—driving ticket sales. A look at the data shows that only 56% of Australian music festivals were profitable in the 2022-2023 financial year, while 35% operated at a loss and 8% broke even.
The 2024-2025 festival season saw the cancellation of major music festivals including Splendour in the Grass, Groovin The Moo, Coastal Jam, Falls Festival and Souled Out—among many others. Organizers for these festivals cite financial instability, rising costs, and insufficient ticket sales to continue supporting large music festivals.
Nearly 47% of festival organizers have cited rising operational costs as the most significant barrier. According to a report from The Australia Institute, the average cost to run a music festival in the country now sits at around $3.9 million. Inflation in the sector is up 30-40% since the pandemic, squeezing margins and making it harder to deliver compelling line-ups that will attract necessary ticket sales to support large festivals.
The live music scene demographics are also changing. Whereas music festivals were previously geared toward young people (18-24), there has been a drastic decline in ticket purchases from this demographic. That demo made up 41% of ticket sales in 2018-2019, but just 27% in 2022-2023. Attendees are also waiting longer to buy tickets, leading to increased uncertainty for organizers.
The success of Bluefest stands as an exception rather than the rule, with its director previously warning of an extinction event for live music. So what is the Australian government doing to help out? So far, the government has committed a total of $25 million over the next two years to extend the Revive Live program. This program provides targeted grants to majority Australian-owned live music venues and festivals that showcase Australian talent. This funding includes $7.8 million already delivered, $8.6 million in the 2025-26 budget, and an additional $16.4 million announced in April 2025.
Since the pandemic, over 1,300 live music stages have closed in Australia, impacting jobs and local economies. The funding is seen as essential to stabilize the sector, create more performance opportunities, and help the live music industry recover and grow.
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Tchami and Malaa to End "No Redemption" Series With Final Performance at EDC Las Vegas

The curtain is finally falling on Malaa and Tchami's collaborative DJ series after the former confirmed that the French electronic music superstars' next set under the "No Redemption" banner will be their last.
After years of igniting dancefloors with their blistering synergy, EDC Las Vegas 2025 is set to host the final "No Redemption" performance. Malaa broke the news following a powerful performance with Tchami in Asia, sharing a brief yet poignant message signaling the end of an era for one of dance music's most formidable duos.
"Grateful for another special moment in Asia with Tchami," he wrote on Instagram. "EDC Vegas will be the grand finale."
Over the years, "No Redemption" has emerged as an identity all its own. Tchami’s celestial, groove-laden approach to house music met Malaa's snarling, gritty sound head-on in venues and festivals across the globe, creating a dynamic that felt simultaneously sacred and savage.
Tchami's beloved Confession label, which turns 10 this year, became a spiritual home for boundary-pushing house music and released several of Malaa's formative singles. Together, they've since built a brand that's merged visual mystique with an unmistakable sonic identity that has left an indelible mark on the live music circuit. 
It's important to note that Tchami and Malaa will likely perform together again at some point. But their final branded "No Redemption" set will take place at EDC Las Vegas, which runs from May 16-18, 2025.
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Follow Tchami:
X: x.com/iamtchami
Instagram: instagram.com/tchami
TikTok: tiktok.com/@tchami
Facebook: facebook.com/iamtchami
Spotify: spoti.fi/30ORbPE
Follow Malaa:
X: x.com/Malaamusic
Instagram: instagram.com/malaamusic
TikTok: tiktok.com/@malaamusic
Facebook: facebook.com/malaamusic
Spotify: spoti.fi/2X7DZnt
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III Points Reveals 2025 Phase One Lineup

Miami’s famous III Points festival has dropped off its phase one lineup for 2025.
Returning to the Mana Wynwood Convention Center for its 12th edition this October 17-18, the heralded event has tapped another set of eclectic multi-genre names for this year’s lineup, which will swell to over 100 acts spanning underground dance, rap, indie rock, and more across 11 stages this fall.
Featured in III Points first lineup drop are acclaimed house selectors Michael Bibi, Peggy Gou, ANOTR, and Barry Can’t Swim, techno queens Nina Kraviz and Indira Paganotto, dancehall legend Sean Paul, and rappers 2hollis, Denzel Curry, and CA7RIEL & Paco Amoroso. Instrumental performances will come from renowned electronic band DARKSIDE, nudisco favorites L’Impératice, and alternative acts such as Mk.gee and Turnstile. More names will be announced in the coming months.
Orchestrated by Link Miami Rebels and Insomniac, the team behind Miami’s famous Club Space and Factory Town venues, III Points has helped shape the city’s vibrant music and arts culture since its debut in 2013.
The festival, which preaches the importance of the “intersection of art, music, and exploration,” will also feature over 10 stages of music, immersive art exhibits, and curated food and beverage offerings.
III Points will also launch a limited number of “after midnight” tickets, offering festival entry between 12AM and 4AM on both nights, for $139 all-in.
Pre-sale registration for III Points 2025 is now open here. Pre-sale ticket access will begin this Friday, April 26, at 11:11 AM ET. General on-sale will follow on the same date at 1:11PM ET. For more information or to purchase tickets, visit iiipoints.com.

Featured image courtesy: III Points.
The post III Points Reveals 2025 Phase One Lineup appeared first on EDM Maniac.
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III Points Reveals 2025 Phase One Lineup

Miami’s famous III Points festival has dropped off its phase one lineup for 2025.
Returning to the Mana Wynwood Convention Center for its 12th edition this October 17-18, the heralded event has tapped another set of eclectic multi-genre names for this year’s lineup, which will swell to over 100 acts spanning underground dance, rap, indie rock, and more across 11 stages this fall.
Featured in III Points first lineup drop are acclaimed house selectors Michael Bibi, Peggy Gou, ANOTR, and Barry Can’t Swim, techno queens Nina Kraviz and Indira Paganotto, dancehall legend Sean Paul, and rappers 2hollis, Denzel Curry, and CA7RIEL & Paco Amoroso. Instrumental performances will come from renowned electronic band DARKSIDE, nudisco favorites L’Impératice, and alternative acts such as Mk.gee and Turnstile. More names will be announced in the coming months.
Orchestrated by Link Miami Rebels and Insomniac, the team behind Miami’s famous Club Space and Factory Town venues, III Points has helped shape the city’s vibrant music and arts culture since its debut in 2013.
The festival, which preaches the importance of the “intersection of art, music, and exploration,” will also feature over 10 stages of music, immersive art exhibits, and curated food and beverage offerings.
III Points will also launch a limited number of “after midnight” tickets, offering festival entry between 12AM and 4AM on both nights, for $139 all-in.
Pre-sale registration for III Points 2025 is now open here. Pre-sale ticket access will begin this Friday, April 26, at 11:11 AM ET. General on-sale will follow on the same date at 1:11PM ET. For more information or to purchase tickets, visit iiipoints.com.

Featured image courtesy: III Points.
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Deadmau5 apologises for drunken Coachella set: “Lemme work on some new music, and come back better”

Deadmau5 has apologised following a drunken set at Coachella, which was reportedly cut short.
The artist, whose real name is Joel Zimmerman, performed under his Testpilot alias alongside ZHU at the festival last Friday (18 April) on its electronic stage, Quasar. Videos later surfaced online showing them drinking together, with some showing Zimmerman falling over and slurring his words when speaking through the mic.
READ MORE: Watch deadmau5 play the medieval EP-1320 while wearing a suit of armour. No, seriously
Zimmerman later took to Instagram to share that he doesn’t “remember a thing” from the set, and that it would likely be his last Coachella performance. The electronic artist has been an open critic of other festival performances in the past, notably Grimes’ when she suffered major technical difficulties last year.
Another post from him later reads, “Man, even my cat is disappointed in me. Though, it could be argued that she always has been. Sorry about last night. To be fair, I felt the first 3/4 was great! Huge shout out to Zhu for introducing me to whisky and carrying my dumb ass till the bitter end. Lemme quit smoking, do some personal resetting here at home, find my spirit animal, work on some new music, and come back better.” Another post shows a video of his cat, with the simple caption of “I’m fine thanks.”


In other deadmau5 news, back in March it was revealed that he had sold his catalogue to Create Music Group for $55 million. The deal means Create acquires the rights to the mau5trap Records catalogue, meaning the company now owns more than 4,000 new songs in total. It also marks the beginning of a new partnership between Create Music Group and deadmau5, who will work together on future deadmau5 records and mau5trap label releases.
The post Deadmau5 apologises for drunken Coachella set: “Lemme work on some new music, and come back better” appeared first on MusicTech.
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Electronic Music Surges On TikTok, Overtaking Indie In Views For The First Time

Electronic music content on TikTok achieved a significant milestone last year, surpassing indie music in viewership for the first time. Posts tagged with #ElectronicMusic collectively generated 13 billion views.
As noted by The Guardian, electronic music’s growth on the social media platform is accelerating faster than indie, rap, and hip hop. Its popularity surged by 45% compared to 2023, which itself had seen a doubling in engagement from the previous year.
Within the electronic music tag, techno and house are reportedly among the most favored sub-genres. TikTok attributes some of this rising popularity to the success of artists like Disclosure and Joel Corry on the app.
Toyin Mustapha, TikTok’s head of partnerships for the UK and Ireland, told The Guardian that users often tag specific genres like electronic music. He suggests this behavior highlights the strong community focus inherent in the genre, stating, “It shows the community they are trying to build and are part of.”
In the United Kingdom specifically, the creation of #ElectronicMusic videos increased by 50% during 2024, while views for this content rose by 22%.
Mustapha added that dance music is increasingly accessible and commercially prominent. He believes TikTok contributes to breaking down barriers for artists, observing, “It’s not just reflected in festival bookings, you can see it in the official charts as well.”

The post Electronic Music Surges On TikTok, Overtaking Indie In Views For The First Time appeared first on EDMTunes.
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Live Nation Acquires Hayashi International Promotions, Aims to Connect ‘Japanese Artists With Growing Global Fanbases’

Hayashi International Promotions head Kaori Hayashi, whose company has sold to Live Nation. Photo Credit: Live Nation
Live Nation’s aggressive international buildout has officially reached Japan, where the promoter has acquired Hayashi International Promotions (HIP).
The Ticketmaster parent announced its newest buyout in a brief release. Founded some four decades back and currently led by the namesake Kaori Hayashi, Hayashi International has, of course, organized concert series for a variety of Japanese acts.
Additionally, the Tokyo-headquartered business has promoted a number of shows in Japan for international talent. Global clients include the Red Hot Chili Peppers, Taylor Swift, Bruno Mars, Fall Out Boy, and Linkin Park, the appropriate website shows.
Now, at least as Live Nation sees things, today’s deal “will enhance Japan’s live music landscape” both by attracting “global superstars” to the nation and by “elevating J-pop on the international stage.”
While the involved parties opted against divulging the transaction’s financials, they did indicate that Kaori Hayashi will remain at the helm moving forward. In a statement, Live Nation head Michael Rapino touted the purchase as a means of bringing “even more live music to fans across Japan.”
And in remarks of her own, Kaori Hayashi emphasized the sale’s perceived ability to help Hayashi International Promotions operate on a “greater scale.”
“HIP has been at the heart of Japan’s live music scene for over 40 years,” the exec communicated, “and our focus has always been on delivering incredible concerts for fans.
“Partnering with Live Nation allows us to keep doing this with greater scale, giving Japanese artists the opportunity to perform to new audiences and strengthening Japan’s position as a must-visit destination for major acts,” Kaori Hayashi concluded.
For Live Nation, the play is just the newest in a line of international expansions, all having arrived as the company continues to grapple with stateside antitrust scrutiny.
Furthermore, the promoter is also encountering regulatory hurdles in Europe, where rivals like CTS Eventim are expanding aggressively and reporting solid growth.
At the intersection of those points – the antitrust crackdown and the stiff competition in Europe – Live Nation is apparently zeroing in on different regions. Besides today’s buyout, that refers to recent venue investments in Singapore, Portugal, Canada, and South Africa, on top of ticketing pushes throughout Africa and elsewhere.
Separately, Japan-focused expansions aren’t confined to the events side. Universal Music bought A-Sketch in February, Hybe rebranded its Japanese division that same month, and Believe in March scored a Teichiku Entertainment distribution deal.
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Soon You May Be Able to Purchase Daft Punk’s ‘Alive 2007’ LEGO Stage

Daft Punk fans may soon get the chance to own a piece of electronic music history — in brick form. A LEGO recreation of the legendary French duo’s Alive 2007 stage setup has officially advanced to the review stage on the LEGO Ideas platform, a crucial step that could lead to official production.
 Patrick Harboun, also known as RobotRock, is behind the recreation of Daft Punk’s iconic ‘Alive’ 2007 concert, which was recorded at the Palais Omnisports de Paris. The set captures the essence of the concert, complete with the duo’s signature helmets and electrifying stage presence. This project has a special significance for Harboun, as he previously won the Grand Prize in the global LEGO competition Music To Our Ears! with a similar design., the detailed model replicates the iconic pyramid stage design used during Daft Punk’s 2007 world tour, widely regarded as one of the most influential live electronic performances of all time. The build includes lights, speakers, DJ gear, and two minifigures resembling Guy-Manuel de Homem-Christo and Thomas Bangalter in their signature helmets.
After reaching the required 10,000 votes from the community, the project is now under formal review by the LEGO Group. If approved, it could become an official LEGO set, joining the ranks of other fan-submitted ideas that have been turned into real products.
This revival of Daft Punk’s legacy in LEGO form comes after the duo officially disbanded in 2021, though interest in their work remains as strong as ever. An Alive 2007 LEGO set would be a collector’s dream for both music lovers and brick enthusiasts.
Learn more about the Alive 2007 recreation and see more clips of it in action on LEGO’s Ideas platform. 
Stay tuned for updates on the project’s status as it moves through the review process.
The post Soon You May Be Able to Purchase Daft Punk’s ‘Alive 2007’ LEGO Stage appeared first on EDMTunes.
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Fyre Festival Trademarks Acquired to Launch New Music Streaming Platform: Report

The intellectual property of Fyre Festival has been acquired to launch a new music streaming platform, Deadline reports.
Capitalizing on one of the most infamous brands in modern entertainment, Shawn Rech, an Ohio-based media entrepreneur known for producing crime documentaries and launching the streaming platform TruBlu, has reportedly acquired IP linked to Fyre Festival, including two trademarks. The deal will fuel the launch of a new user-submitted, fan-curated music platform bearing the same notorious brand.
"Music networks are all just programming now and I have no interest in watching people slip on bananas," Rech said. "It has nothing to do with music. I needed a big name that people would remember, even if it’s attached to infamy, so that’s why I bought these [trademarks] to start the streaming network."
The platform will reportedly launch on Thanksgiving Day with plans to feature both a $3.99 subscription service and a free ad-supported streaming television (FAST) channel. Subscribers will be able to vote on which artists are featured on the FAST feed.
"This isn’t about festivals or hype—it’s about putting the power of music discovery back in the hands of the fans," Rech added. "We’re building something authentic and lasting."
Billy McFarland, the disgraced co-founder of the original Fyre Festival, retains ownership of the event itself. While he's not directly involved in the streaming platform's operations, he is "expected to have a presence on the network," per Deadline.
Meanwhile, Fyre Festival continues to be a global punchline for failed luxury music events after its ill-fated event in 2018, which devolved into chaos on the Bahamian island of Great Exuma. McFarland, who ultimately served four years in prison for wire fraud, was organizing a sequel this year in Playa del Carmen before postponing the event indefinitely amid contentious disputes with Mexican authorities.
The organizers of Fyre Festival 2 insist the event "is still on" and are currently "vetting new locations." They have not announced new dates or a location at the time of this writing.
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Artificial “mini-brain” made from blood cells of composer Alvin Lucier is making music – four years after his death

An artificial brain made using blood cells from composer Alvin Lucier is making posthumous music, four years after his passing.
The American composer was the first artist to use brainwaves to generate live sound in his famous piece, Music for Solo Performer, back in 1965. Lucier was known for his experimental compositions, also notably the sound art piece, I Am Sitting In A Room. He died in 2021.
READ MORE: One of the world’s smallest acoustic pianos raises $45k on Kickstarter In 2020, Lucier gave his permission to a team of scientists and artists to carry out the project, and agreed to donate his blood. Called Revivification, it was created by artists Nathan Thompson, Guy Ben-Ary, and Matt Gingold, alongside neuroscientist Stuart Hodgetts, as per The Guardian.
For the project, Lucier’s white blood cells were reprogrammed into stem cells and transformed into cerebral organoids, described as “clusters of neurons that mimic the human brain”. The artificial mini-brain is now on display in the Art Gallery of Western Australia, where a raised plinth hosts a magnifying lens showing “two white blobs” which form the lab-grown brain, as it composes “a posthumous score in real time”.
As outlined on the art gallery’s website, the walls of the exhibition are lined with 20 large, curved brass plates that are both sculptural and the source of the immersive sound environment. Each of the plates is directly connected to the neural activity of the brain organoid. “As the ‘in-vitro brain’s” signals pulse through transducers and actuators, they strike the brass, creating complex, sustained resonances that fill the space with sound”, the gallery explains.

Artist Ben-Ary says the team involved are “very interested to know whether the organoid is going to change or learn over time”. As for the ethical and philosophical questions raised by the project, the team say Revivification “is art first and science second”.
“Where does creativity lie?” Thompson tells The Guardian. “As cultural workers, we are really interested in these big questions. But this work is not giving the answers. Instead we want to invite conversations … Can creativity exist outside of the human body? And is it even ethical to do so?”
You can find out more about Revivification via the Art Gallery of Western Australia.
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“We recommend ordering within this month”: Sonicware warns price of its CyDrums drum machine will rise from $399 to over $900 due to Trump tariffs 

Hefty tariffs imposed by US president Donald Trump are already wreaking havoc, as manufacturer Sonicware now warns that the price of its CyDrums drum machine will likely jump to over $900 from a much smaller price tag of $399 for customers based in the States.
President Trump has already placed a 10 per cent universal tariff on the import of goods from foreign countries, but even higher rates – which he calls “reciprocal tariffs” – could be put in place for further specified countries by July. There is currently a 90-day pause on these higher tariffs for all countries except China, which is facing a whopping 145 per cent duty.
READ MORE: How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down In a new notice on its website, Sonicware writes, “Due to new US customs regulations, a 145 per cent duty will apply to China-made products, including this item. This $399 item will incur over $578 in additional import charges starting next month. We recommend ordering within this month to avoid the new duties.”
A similar notice is also placed under many of its other products, including its SmplTrek portable sampler, which will face an extra $622 in import charges. Sonicware is based in Japan but some of its products are manufactured or use parts from China, hence the additional charges.
Recently, NAMM president and CEO John Mlynczak urged the Trump administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products” from the tariffs.
In a statement he said, “The negative effects of these measures threaten the economic and cultural impact of US-made musical instruments and accessories, as well as cause our US music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels.
“The 90-day pause on reciprocal tariffs announced last week via executive order  is a welcomed measure, but the continued unpredictability of these tariff actions makes it difficult for companies to react in a meaningful way… The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.”
Check out more from Sonicware. We will continue to report on any tariff updates that will impact the music industry.
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Reverb is now independently operated again after being sold by Etsy

Reverb has been sold by Etsy, and is now a privately held, independently operated company for the first time since 2019.
The online music gear marketplace has been bought by Creator Partners and Servco, two investment firms with strong ties to the music industry. Creator Partners, for example, owns SoundCloud and BMI, while Servco is a majority shareholder of Fender. Creator Partners founder is also the former CEO of SoundCloud.
READ MORE: “We need more listeners and dancers and less DJs”: JKriv says DJs should have “more anonymity” when performing Reverb CEO David Mandelbrot stresses that Reverb will not be merging with Creator Partners, Servco, or any of the companies in which they invest, that Reverb’s team will remain intact and that buyers and sellers on the platform will not notice any disruption as a result of the deal.
“Creator Partners and Servco share our passion for the musical instruments industry and a community-first approach, plus a deep desire to strengthen creative industries,” Mandelbrot says. 
“The musicians, shops, and brands who use Reverb have always been at the centre of all that we do, and these two partners will help us support our music-making community in new and better ways.”
Reverb also says that while both Creator Partners and Servco are investors in Fender, Fender will not receive preferential treatment on the platform as a result of the deal.
“We’ve got a lot of exciting changes in the works,” Mandelbrot says. “We’re expanding access to music-making software on Reverb and we’re getting ready to pilot a new option for selling that allows musicians to get paid faster, while skipping the listing and shipping process.
“Our teams are working on improving our search functionality, making it easier to ship, and shortening the time it takes to resolve support issues. All in all, there’s a lot for our community to look forward to and I’m very excited about what’s coming as we move forward as an independent company again.”
“Reverb is the #1 global marketplace for musicians, and a one-of-a-kind platform that has transformed access to quality used gear for creators of all levels,” says Creator Partners founder Kerry Trainor. “We are thrilled to join the Reverb mission to make the world more musical, and grow the entire industry through seamless secondhand commerce.”
“We are thrilled and honoured to be a part of Reverb’s continued success,” adds Executive Chair of Servco, Mark Fukunaga. “For nearly 90 years, Servco has been deeply involved in musical instruments and music education programs. And we remain committed to being good stewards of leading musical instrument companies, like Reverb, and supporting players everywhere in pursuing their passion to create music.”
Learn more about Reverb, Creator Partners and Servco.
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Dias Ridge Remixes Night Breeze’s Latest, ‘Wanaka Springs’

We’ve got a beautiful yet daring remix to share with you today.
We’ve got news for you today. Rising talent Dias Ridge has put his own spin on Night Breeze‘s recent release ‘Wanaka Springs‘, transforming it into a captivating, triplet-infused club number. This remix arrives hot on the heels of Ridge’s acclaimed End to Begin release on the Where The Heart Is imprint a few months back — a record that initially garnered attention for its intriguing blend of Jazz-inspired piano arrangements, a nostalgic nod to Trance, and grounded narrative qualities.
Centred on personal uniqueness and what makes us human, Dias Ridge’s music explores the inner conflicts we encounter as we decide to forge our own paths. Inspired by the picturesque landscapes of northern California, he finds comfort and creative spark in these images, crediting them for his work.
‘Wanaka Springs (Dias Ridge Remix)’
Known for his melodic touch and the woven-like quality of his rhythms, Dias Ridge steers the original ‘Wanaka Springs’ into deeper, more expansive territory while ensuring it retains its dancefloor appeal. There’s emphasis on the rhythms this time, with the swinging feel of the triplets providing both a driving force and ample breathing room within the track.
There’s an aspect of immersion I really like throughout the track. Every element complements the entire arrangement. It feels as though no starring signal reigns, instead having 3-4 protagonists at all times, both melodically and rhythmically. I’m digging that, once again, woven-like nature of this piece.
Listen to Dias Ridge‘s remix of Night Breeze‘s ‘Wanaka Springs’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on Beatport. 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 Dias Ridge Remixes Night Breeze’s Latest, ‘Wanaka Springs’ appeared first on EDMTunes.
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Electronic Music Dethrones Indie on TikTok as Festival Lineups Reflect Genre's Growing Influence

As the number of views of TikTok videos with electronic music soars past that of indie, the genre is no longer just pulsing through clubs, but powering pop culture's algorithm.
The rise of EDM on TikTok is a signpost for where global listening trends are heading, and the numbers are hard to ignore. In 2024, TikTok videos tagged with #ElectronicMusic garnered over 13 billion views globally, a 45% leap from the previous year, For the first time, those figures outpaced content using indie and alternative music tags, The Guardian reports.
The genre's breakneck momentum has even left hip-hop and indie, longtime dominant forces on the platform, trailing in growth. Videos tagged with electronic music were made in droves, with over 100% year-on-year growth in creation, particularly tied to themes like fitness, fashion and travel. 
"Dance music has become more accessible and big in the commercial sphere," said Toyin Mustapha, TikTok’s Head of Music Partnerships for the UK and Ireland. "We are seeing the breaking down of boundaries for artists, and TikTok is part of that."
That influence echoes across the industry’s biggest stages. According to recent data from ROSTR, electronic dance music artists comprised a commanding 39% of Coachella's 2025 lineup, a staggering shift for a festival similarly once known for its indie and rock foundations.
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