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How to Watch EDC Las Vegas 2024 livestream

Watch Electric Daisy Carnival (EDC) Las Vegas 2024 livestream and check the set times for kineticFIELD and circuitGROUNDS.
For dance music enthusiasts and festival-goers, Electric Daisy Carnival (EDC) Las Vegas holds a special place in their hearts. The annual extravaganza, organized by Insomniac Events, has been synonymous with electrifying performances, stunning visuals, and an unforgettable atmosphere.
This year, Insomniac is taking the festival experience to a whole new level by live streaming the event for fans worldwide to enjoy. From May 17th to May 19th, EDC Las Vegas 2024 will be broadcasted live, allowing anyone with an internet connection to be a part of this incredible celebration.
Unleashing the Energy via the livestream on EDC Las Vegas Stages: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD
The live stream will feature four of the most iconic stages at EDC Las Vegas: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD. These stages have witnessed legendary performances and breathtaking production in the past, and this year will be no exception. With the live stream, fans will have a front-row seat to witness their favorite artists deliver mind-blowing sets, taking the energy levels through the roof.
A Stellar Lineup
EDC Las Vegas 2024 brings an impressive lineup that will leave dance music enthusiasts eagerly anticipating the live stream. Renowned artists such as Eric Prydz, Carl Cox, John Summit, Martin Garrix, ZEDD, deadmau5, and many more will grace the stages. Each artist will bring their unique style, creating a diverse and unforgettable experience for viewers around the globe.
How to Tune In and Watch EDC Las Vegas 2024 livestream
To catch all the action from EDC Las Vegas 2024, simply visit Insomniac TV on YouTube and Twitch. Starting from Friday, May 17th, until Sunday, May 19th, the live stream will keep the music playing non-stop, allowing fans to enjoy the festival vibes from the comfort of their own homes. Additionally, viewers can also tune in directly from their computers at tv.insomniac.com.
EDC Las Vegas 2024 livestream set times kinetic FIELD day 1
Get ready to immerse yourself in the mesmerizing world of kineticFIELD, where larger-than-life productions and epic performances come together. Set time for the EDC live stream has yet to be announced.

circuit GROUNDS Timetable day 1, Friday
The circuitGROUNDS stage is renowned for its cutting-edge sound systems and mind-blowing visual displays. Here’s the timetable for the circuitGROUNDS stage during the EDC Las Vegas 2024 livestream:
TBA
neon GARDEN day 1
Set times:
TBA
bassPOD day 1
For all the bassheads out there, the bassPOD livestream channel will deliver a relentless stream of heavy beats and bone-shaking bass drops, bringing the electrifying energy of EDC Las Vegas straight to your screens.
TBA
The post How to Watch EDC Las Vegas 2024 livestream appeared first on The Groove Cartel.
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In Conversation With Paige Julia

Leading the charge in Aotearoa New Zealand’s jungle and bass music is Paige Julia. 
She properly emerged on an international scale following the infamous 1985 x Keep Hush Live set in Christchurch. Occurring during the pandemic, the whole world was tuned in to watch this mysterious breakbeat-head wreak havoc on a spoiled few. Under the pressure of playing directly after Alix Perez, it was a perfect DJ set that kept true to the 1985 sound, but with her own special twist that she’d go on to become renowned for. 
But as the story always goes, she didn’t land this position overnight. Paige cut her teeth in the competitive, temperamental Wellington bass music scene – a place that’s seen high highs, and low lows in popularity, and always been loaded with a swath of USB-wielders and vinyl heads ready to step up to any crowd (or lack thereof, at times). Nightclubs like Sandwiches, Fast Eddies, and The Grand were the stomping grounds where Paige could DJ and dance every weekend, developing her foundations with the genre. 
She quickly became a name in the tight-knit scene, working hard on the production side as a way to differentiate from a DJ-only crowd. But it wasn’t until an overseas experience that she found her focus. Coinciding with that was Alix Perez’s move to Auckland, her winning Best Electronic Artist at the New Zealand Music Awards, and the Keep Hush set – where all those years of preparation met the opportunity. 
Now, she’s achieving a dizzying height: A full EP signed and sealed for 1985 Music. UKF sat down with Paige to discover more about the journey to this position and discuss the dynamics of bass music in New Zealand. 
Paige! The last time I saw you would’ve been in some Wellington rave, probably at The Grand, over five years ago. Can you remember what you were up to around that time?
I’d have just come back from spending a year in Australia and the US. That trip for me was really important because I felt like I needed to see a broader field of music from other scenes outside of Aotearoa (New Zealand). 
By the time I’d gotten back, I was more firm in what my musical output was going to be. I felt more confident writing different styles of electronic music, and that was inspired by the dubstep sound coming out of Colorado, and the more niche types of bass music being featured at outdoor festivals and events – hip-hop influenced beats, jungle and breakbeat sort of thing. When we last spoke in person, I’d have just set up a studio in Wellington and was beginning to write my first pieces of music that would get me some international attention.
I think I remember you showing me some at an afters. Love how we’ve come full circle. It was around the start of COVID when you started making noise internationally though, right?

2019 was the release of ‘Kōpiko’ on Samsara Records. I had done a release with Forest Biz (based out of the UK) before, but for ‘Kōpiko’ a couple of wonderful things happened. Firstly, Noisia were kind enough to put it onto their Noisia Radio series, and their Spotify playlists – and secondly, the premier on Soundcloud by DNBDojo somehow gathered an absurd amount of streams in comparison to anything else I had done at the time.
What was clicking?
I was just getting to that critical mass of learning the techniques required and had many different life experiences to infuse into my music, plus the link-ups to established platforms like Noisia Radio and DNBDojo to push me into new territory. Then a year later, after the first COVID lockdown was over in New Zealand, we were the only place on the planet with no event restrictions other than a “closed” border. There were so many parties begging for headline-type acts and touring internationals was too expensive and difficult with the closed border, so I got so many opportunities in those couple of years to play very big festival stages and club shows.
Obviously to get to that point there was a lot of graft though – how many years have you been gigging and producing?
I started DJing in 2011, just for fun and originally for something to do with my little brother, it was more his idea actually. It was him who first showed me a DAW in 2010 and we decided to save up to buy a pair of CDJs together. He changed his mind before we bought them so I paid him back his half and continued on solo. After a couple of years of playing house parties I was gifted a copy of Ableton in 2013 and it eventually became my hyperfocus. So it’s been over 10 years now of making electronic music.
Long time. Did you ever feel like giving up?
Yeah, actually. I got really frustrated around 2016 because no one was responding to my demo emails. I cringe now to think of those tracks I sent. I had it in my head that because I had been producing for a few years that my music should be pretty good, but I was young and didn’t have the right perspective. I wasn’t even halfway through the journey that I needed to do. 
Was it the Wellington drum & bass scene that helped inspire you at points? My memory was that the scene ebbed and flowed quite a lot…
The most important thing, as a very young person, was it gave me a space to express myself. This is before I was even DJing. I found my high school years socially challenging and just having a space to dance and experience new music was a critical first step before we even consider how it might have shaped me as an artist.
You’re right about the ebb and flow. You and I would remember our first meeting in 2014 right after the US dubstep boom took the life out of drum & bass, we would go to parties with only 100 people sometimes, even for international artists. It was like… a place for only the purists. 
But it also had the effect of locking me into just one genre of music for the first 5 years of DJing and production, which I look back on now as a bit of a hindrance. That’s not anyone’s fault other than my own really, which was why the trip overseas for a year and a bit was so important, I needed to get some fresh perspective. Then upon my return, tracks like ‘Tour’ were being played on radio stations and the rise of acts like Wilkinson, Sub Focus and Netsky were now selling out venues ten times the capacity of anything we were experiencing in 2014… so really big shifts.
It looks insanely strong over there these days. 
You’ve developed a pretty unique sound amongst other stuff I hear coming out of NZ. Who are your main influences?
Eprom broke me out of my ‘D&B only’ mindset in 2016 when he performed at Northern Bass Festival, and he continues to inspire me. His Instagram got me into buying modular synths and gave me the confidence to try and make very very weird sounds.
Djrum has also been a consistent influence, with the way he likes to make music and perform at many different tempos. 
Breakage rounds out my top 3. I just love dancing to his music, it’s always well put together, all substance, no fluff. I aspire to create music with this ethos.
Are there any tracks from this EP where you’re channelling some particular influence?
Not in terms of other artists, but certainly in terms of my emotional feelings when I wrote them. The lead track, ‘Anathema’, was an intensely angry time for me. ‘Nostalgia’ I was feeling wistful and ‘Indisputable’ I was feeling manic, like I could do anything.
Can you talk a little more about those times? What was causing the anger for example?
Nothing extreme in particular was going on, I’m just a very emotional person and I come from a community of people that feels okay to express that openly, even if the emotions aren’t always happy and positive. 
I’ve found that working on my art in these times can be helpful to me, it might even be the case that all of my best work over the years have been made in tumultuous times: the loss of a loved one, relationships with other people going sour, the stresses of balancing work and finding time to create. None of this is very unique, it’s something we all feel from time to time.
When were these tracks produced? 
After Alix signed and released ‘Ease Your Mind’ in late 2022, I wrote and sent him ‘Indisputable’ and ‘Anathema’. I think the first version of ‘Indisputable’ might have been from early 2022 but went through a couple iterations before I sent it to him. Then ‘Nostalgia’ in April 2023 and ‘Tōuarangi’ a little bit after. I think it’s important to mention that there were about 40 tracks over that time I never sent and a dozen or so tracks that I did send that didn’t make the cut. I write a lot of music and send only my favourites to him and trust his vision for what he wants on the label.
How did you meet Alix Perez?
Honestly, the first meeting was a bit embarrassing. He came to Wellington in 2014 and I sort of invaded the green room with some friends to talk to him and ask for a selfie. I was so drunk and mischievous that night. 
We wouldn’t meet again until 2020 when I opened for him in Christchurch. I remember Guy (Ebb) introducing us and I actually said “Do you remember meeting me before?”, and when he said no I was so relieved! I could probably pretend the meeting in 2014 never happened instead of talking about it in an interview, but I find it funny how much I’ve changed.

Six months later I was asked to join the Christchurch 1985 Keep Hush night and…that event changed my life. You can see the recording on YouTube, I was so full of anxiety because Alix was dropping a ton of ridiculous music and I just had to somehow follow that up. But that was the night I first asked him if it would be okay to send him music and 18 months later Ease Your Mind was on the Atlas 2 VA.
What do you think he liked about your sound and approach?
I feel like this would be a better question for him, but I’ll try to paraphrase from what he’s said to me and what I’ve read on his socials…
I have the feeling he gets sent a lot of music trying to emulate what’s already on the label.  He’s been quite outspoken against copycats, and I think he’s the kind of guy who just enjoys something fresh and different. I’ve never sent him any tracks that are deep-minimal-steppy-rollers-in-minor-key-at-172bpm for example, because I’m not going to out do him or Monty or Visages, and if I had sent him a bunch of that, I don’t think we’d be having this interview.

It’s always been my approach to reach out further than D&B culture, infuse my weirdness and unique sounds, and be confident and carve my own path where I can. I recommend everyone else do this too! Our genre of music is so much better when it doesn’t just reference itself.
Given D&B’s popularity in NZ, I struggle to wrap my head around why we don’t see way more talent emerging. Do you have thoughts on that?
I definitely have some insight. Aotearoa New Zealand is one of the rare countries in the world where you can be just a drum & bass DJ and get booked fairly regularly. It’s a great feeling being in your early twenties, smashing sets and meeting internationals – getting that thrill of performing in front of big crowds. You can do this pretty quickly too if you’re quite well socially connected, maybe within a year or two. 
If you compare this to the arduous and tedious journey of learning music production, the thousands of hours sat in your room like a nerd learning about the techniques, and THEN trying to figure out how to be original and express yourself…and through it all you get no external validation. If you play your crappy early WIPs in your DJ sets you’ll lose the crowd (trust me, I know) so you feel naturally compelled to just do the thing that feels fun and easy: go out on the weekends with your friends, play big sets and be in the culture.
If we remember what I spoke about earlier, this learning process took me about seven years before ‘Kōpiko’. By which time I was nearly thirty years old. I only persevered through this process because I became obsessed about making music. To make it even worse, seven years in today’s hyper-speed social media landscape is like…an era. The entire landscape of the scene and culture can change, an online platform can die and be replaced in seven years. You can feel like you’ll lose your audience while they wait.

The difference I found while travelling in the US and doing shows in the UK is like…almost everyone performing is a producer. It’s so much more competitive for performance slots. This can be an incredible motivator that will push you through the frustrating parts of learning. If it were up to me I would love to see more producers here at home because I want to hear more of the sound of my country.
But with all that said, I do want to shout out some new names: Hound, Kiljoy, Willy Mav, Unwell, Pirapus, Scout, Dynamix, Azifm, Zuke and of course, Rova are all talented people from my country putting out drum and bass or jungle music.
Wonderful insight I hadn’t thought about before. And I’m the same – I’d love to see more, and for there to be a ‘NZ sound’ of drum & bass.

Ok, last question. What’s coming up for you outside of this EP? 
I have more music in the inboxes of interested labels but no complete projects to announce just yet. This EP has been my focus over the past couple of years and it feels really great to have it in your arms and ears. I have a tour through Aotearoa celebrating this EP as well as dates in the works for Australia, and I’m always open to other opportunities further abroad. If you’re interested to see what I’m like performing, definitely check out the Keep Hush recording. It’s a great representation of my energy and I play a lot of my tracks from that time period as well.
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New EDM Friday: Tiesto, Hardwell, Steve Aoki, Afrojack, Armin van Buuren & More

Tiesto & Prophecy – My City
Officially selected as the EDC Las Vegas 2024 festival anthem, Tiesto and Prophecy join forces on ‘My City’ released via both Insomniac Records and Musical Freedom. ‘My City’ is a weighty house record donning an infectious vocal that stays loyal to its stomping ground, with pulsating basslines, thumping kicks, and electro-powered skidding synths dishing out a healthy dose of nostalgia. 
Nifra & 2 Unlimited – Control Your Body (Hardwell Edit)
When it comes to an artist beefing up your single with an edit, very few can come close to Hardwell. Last appearing with an edit in 2022, Hardwell takes the super production from Nifra and 2 Unlimited titled ‘Control Your Body’ and injects it with even more fire power, making it festival ready instantly.
Danny EVIZA – I AM DONE
After making 2023 his debut year, Danny EVIZA was determined to make 2024 an even bigger and more important one with the release of more music. Now following up on ‘Gone’, he brings us ‘I AM DONE’. This single is yet another showcase of the talents that Danny EVIZA holds, with a wonderful vocal line being backed up with a rhythmic and infectious instrumental.
Ashley Paul & Luv Foundation (UK) – Hearts Up
Just over one month after the release of ‘Bingo Baby’, a single that has amassed over 800 thousand streams across all platforms, Ashley Paul and the duo of Julian Napolitano and Mark Loverush, known as Luv Foundation (UK), offer up their next single titled ‘Hearts Up’. Much like what came before, this new single is an emotional hands in the air summer smash that will be an instant hit with dance music lovers across the globe.
Armin van Buuren ft. Anne Gudrun – High On Love
The follow-up to ‘Love Is A Drug’ and the opening track of ‘A State of Trance 2024’, Armin van Buuren’s second collaboration with Anne Gudrun is as much of a staple in the Dutchman’s sets as its predecessor was. Having already sent fans into raptures at Ultra Miami, A State of Trance Rotterdam and EDC Mexico, ‘High On Love’ is the high-energy, vocal-infused anthem that best echoes the adrenaline rush that is love.
John Summit, Sub Focus & Julia Church – Go Back
Crossing worlds, house music’s John Summit and drum & bass pioneer Sub Focus link up to unveil their debut collaboration ‘Go Back’ featuring Julia Church. This one sees John Summit and Sub Focus at their best, seamlessly integrates Julia Church’s strong, yet entrancing vocals and uniquely fuses elements of both the house and drum and bass genres into a tempo-building, energy filled electronic landscape sure to get listeners’ hearts racing.
Honorable mentions:
AXMO – Lose My Breath
Brennan Heart – Something New
Corey James – Real Ones
David Guetta & OneRepublic – I Don’t Wanna Wait (Hypaton Remix)
Dimitri Vegas & Like Mike x Maddix x Da Hool ft. Kiki Solvej – Meet Her At The Love Parade
Eli Brown – Trick Daddy / I Got Money
KSHMR – Satisfaction
Loofy – Last Night (Anyma & Layton Giordani Remix)
Markus Schulz & Sir Ivan – Turn! Turn! Turn!
Matisse & Sadko x Florentin ft. Sam Martin – Dark Days Are Gone
Matt Nash – End
NUZB, Quickbuck – Give All
Steve Aoki & Afrojack present: Afroki ft. Jordan Grace – Save My Soul / Diss You
Stream all these tracks and more in our New EDM Friday playlist – follow here.
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Electro Influenced Soul Central Feat. BLONDEWEARINGBLACK Lands On CENTRL Imprint

“My Desire” by Soul Central, featuring BLONDEWEARINGBLACK, has finally been released on the esteemed CENTRL Music imprint. This track showcases the duo’s ability to blend diverse electronic influences, creating a sound that is both unique and captivating. The song is already generating buzz in the club scene and is expected to be a staple in cross-genre DJ sets this season​.
BLONDEWEARINGBLACK, the featured artist, is a well-known talent from Ibiza who has previously collaborated with iconic figures like Kerri Chandler and David Morales. Her distinctive voice adds a special touch to “My Desire,” enhancing its appeal​.

This track has been circulating among global tastemakers and has already garnered positive feedback from DJs and radio shows worldwide. Described as edgy and uplifting, “My Desire” is poised to become an underground hit, resonating with both club-goers and electronic music aficionados​.
Soul Central, the British music production duo widely known for their “Strings of Life (Un Amore Supremo) hit and string of chart topping releases continue to evolve their sound with releases like this one on the forward thinking CENTRL Music label, which has been delivering a series of standout tracks​ over the past 12 months.
For those eager to get ahead of the curve, “My Desire” is available now. Grab your copy and follow the artists on Instagram to stay updated on their latest releases.

Listen / Stream / Download My Desire on CENTRL Music
Find Out More & Follow: CENTRL Music | Soul Central | BLONDEWEARINGBLACK
The post Electro Influenced Soul Central Feat. BLONDEWEARINGBLACK Lands On CENTRL Imprint appeared first on Electic Mode.
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U.S. Debut of S2O Festival Splashes Down in Brooklyn Featuring Marshmello, Subtronics, Alan Walker, and More

Calling all EDM fans and water warriors! The legendary S2O Festival, known for being the world’s biggest Songkran (Thai New Year) celebration, is finally splashing down in the United States for the first time ever. Get ready to dance, get drenched, and experience a new cultural experience at The Brooklyn Mirage this Labor Day Weekend, August 31st to September 1st, 2024. Tickets are now officially on sale so grab them here on DICE. Single day tickets and 2 day tickets are available.
Pulse Events, the trailblazing behind genre-bending Asian music showcases, is bringing this unique festival to life. Expect two electrifying nights filled with top-tier electronic music acts alongside immersive water effects. It’s the perfect way to celebrate Songkran, a tradition of spraying water for good luck, with a modern twist.
Headlining this aquatic adventure is GRAMMY-nominated superstar DJ Marshmello, making his debut with Pulse Events, and the bass producer Subtronics, fresh off his electrifying sets at Barclays Center and S2O Thailand. Other heavy hitters on the lineup include Alan Walker, the first ever Said The Sky b2b William Black, multi-platinum party starter Timmy Trumpet, Borgeous, Dzeko, Kaivon, ARMNHMR, and LEVEL UP.
With its proven track record of hosting exceptional live events, Pulse Events has been entrusted to translate S2O’s increasingly global success to the U.S. market. The company aims to represent Asian-Americans within the global dance music community through their productions, showcased by their two successful editions of Spring Festival: Lunar New Year (which celebrates Chinese New Year) and now, the debut edition of S2O New York. Through these endeavors, the brand is introducing American audiences to Asian cultural celebrations while creating unforgettable festival experiences. 
Pulse Events’ debut edition of S2O New York will reflect the cultural diversity of the melting-pot city, while simultaneously showcasing world-renowned DJs, stunning visual effects, and exhilarating water-themed elements and performances. Inspired by New York City’s vibrant landmarks and iconic waterways, The Brooklyn Mirage’s sprawling complex, expansive 200-foot LED wall, and city views will provide the perfect backdrop for the inaugural multi-sensory event. 
The post U.S. Debut of S2O Festival Splashes Down in Brooklyn Featuring Marshmello, Subtronics, Alan Walker, and More appeared first on EDMTunes.
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Damian Lazarus Implements Groundbreaking No-Phone Policy in Ibiza for DJ Residency

Phone-free dancefloors are giving a whole new meaning to "dance like nobody's watching."
In 2024, it's hard to imagine what it would be like to attend a concert without everyone in the crowd staring at their glowing smartphone screens, taking videos and selfies. But for many, the excessive use of phones at raves is beginning to erode the authenticity of the atmosphere and disrupt the audience's connection with the music, the artists and each other.
Damian Lazarus, the renowned DJ and creator of Crosstown Rebels, Day Zero and Get Lost, has now announced the implementation of a no-phone policy during his summer residency at the globally acclaimed club Hï Ibiza.
"From open to close we take pride in creating a totally unique environment, centered around the mystical Temple, it’s a proper session where we lose our inhibitions and can enjoy a sense of freedom as we enforce our groundbreaking 'No Phones' policy inside the room," Lazarus wrote in an Instagram post, which you can read below.
View the original article to see embedded media.
Fans can catch Lazarus DJing on Saturdays in Hï Ibiza's Club Room from May 18th through October 5th. Other summer residents include Black Coffee, FISHER, The Martinez Brothers and Tale of Us, although the no-phone policy will only be in effect for Lazarus' sets.
Among others performing at Hï Ibiza this summer are James Hype and MEDUZA, who in October announced their own campaign against excessive phone use at shows.
"Musicians and performers often find it disheartening to see audiences through the lens of a camera rather than through their eyes," the DJs said in a joint statement at the time. "It can disrupt the intimate connection between artist and audience that makes house music so powerful as a genre of music."
MEDUZA and Hype also expressed that excessive recording can jeopardize individual privacy, resulting in a less-welcoming space where individuals are recorded without their consent.
Popular dance music trio Wavedash have also requested their fans avoid filming at their shows, recently announcing an initiative for them to cover their smartphone cameras with stickers that read, "Social media? No thanks."
The trend continued to take off after a London production company, Covert, also joined the fight in reclaiming the dancefloor. They rolled out a feature called "Drop Highlight," which offers an innovative tech solution to "bring back authentic raving culture from a pre-technology world."
Only time will tell whether or not phone-free dancefloors re-emerge as more crave intimate and connected rave experiences. What we do know is that Lazarus is paving the way in Ibiza, the world's quintessential clubbing destination. Tickets to his residency are available here.


FOLLOW DAMIAN LAZARUS:
Instagram: instagram.com/damian_lazarus
Facebook: facebook.com/DamianLazarus
Spotify: spoti.fi/3QQu8y5
FOLLOW HÏ IBIZA:
Instagram: instagram.com/hiibizaofficial
X: twitter.com/hiibizaofficial
Website: hiibiza.com
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John Summit Partners with Bose to Celebrate his Passion for Music

John Summit partners with Bose to launch the all-new SoundLink Max Portable Speaker. In multiple digital spots featuring his latest track, ‘Go Back‘ with Sub Focus and Julia Church, Summit shares with fans everywhere why he obsesses over music. And how important great audio is to him and its importance in bringing the energy up – whether for an intimate gathering with 10 friends or crowds of thousands.   
Bose chose to collaborate with Summit because of a deep, shared passion for music, his dedication to making a new song every day, and the unforgettable, entertaining experiences he curates for fans. With his contagious energy, devotion to his craft, and keen understanding of his audience, John’s grown from commanding parties to commanding crowds. And as someone obsessed with music, he values sound quality above all. The Bose SoundLink Max Speaker allows him to hear the intricate details and deep bass in his music with the power needed to match his energy. For John, whether he’s vibing with friends or performing at the biggest festivals in the world, nothing compares to the swell of shared energy that starts when the beat drops
The Bose SoundLink Max is available in Black and Blue Dusk beginning today for $399.
Stay tuned for more news!
The post John Summit Partners with Bose to Celebrate his Passion for Music appeared first on EDMTunes.
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Support Grows To Renovate Miami Marine Stadium To Rival Red Rocks For Concerts

For over three decades, the iconic Miami Marine Stadium has stood silent and abandoned, a relic of a bygone era. However, a recent surge in support and funding has sparked hope for the resurrection of this historic venue. With the city commission’s approval of a comprehensive restoration plan and the authorization of bonds to finance the renovation, the dream of reopening the stadium is closer than ever.
Memories of performances, like Jimmy Buffett‘s legendary show in 1985, still linger in the minds of Miami residents. The stadium, with its floating barge stage and stunning architecture, holds a special place in the hearts of many. Now, after years of neglect, there is renewed enthusiasm to bring this cultural landmark back to life.
History of the Miami Marine Stadium
Built in 1963, the Miami Marine Stadium quickly became a hub for aquatic events, concerts, and boat races. Designed by architect Hilario Candela, the stadium’s unique structure featured a cantilevered roof and seating for over 6,000 spectators. Its location on the shores of Biscayne Bay offered stunning views of the Miami skyline, making it a popular destination for locals and tourists alike.
Over the years, the stadium hosted a wide range of events, from international powerboat races to music concerts by top artists. Jimmy Buffett’s performance in 1985, where he famously leapt off the stage into the water, remains one of the most memorable moments in the stadium’s history. However, despite its popularity, the venue fell into disrepair in the 1990s and was eventually closed to the public in 1992.
Since then, efforts to restore the stadium have faced numerous setbacks, from funding issues to bureaucratic red tape. Despite these challenges, dedicated supporters have continued to advocate for its preservation, recognizing its cultural and historical significance to the city of Miami.
The Road to Resurrection
In 2019, the Miami city commission took a significant step towards reviving the Miami Marine Stadium by approving a comprehensive restoration plan. This plan outlined the necessary renovations to bring the stadium back to its former glory, including repairs to the roof, seating, and infrastructure. Additionally, the commission authorized $45 million in bonds to fund the project, signaling a commitment to seeing the stadium reopened.
Support for the stadium’s resurrection has only grown in recent years, with high-profile fundraisers and campaigns drawing attention to the cause. Notable figures like Gloria and Emilio Estefan, who performed at the stadium in its heyday, have lent their voices to the campaign. The late Jimmy Buffett, a longtime supporter of the stadium, also played a key role in raising awareness and funds for its restoration.
As the momentum builds and public interest in the Miami Marine Stadium grows, there is hope that this historic venue will once again welcome audiences for concerts, events, and races. The dream of reopening the stadium, once thought impossible, now seems within reach. With continued support and funding, the Miami Marine Stadium may soon reclaim its place as a cultural gem on the shores of Biscayne Bay.
The post Support Grows To Renovate Miami Marine Stadium To Rival Red Rocks For Concerts appeared first on EDMTunes.
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Google Disrupts Industry with ‘Music AI Sandbox’

In what could be seen as both a blessing and a curse to music creators, Google and YouTube have announced a collection of generative AI music tools called Music AI Sandbox. Designed using Google’s Lyria model, musicians can generate instrumentals and other musical elements from simple text prompts.
Unveiled at Google I/O 2024, Music AI Sandbox leverages the latest tech from Google’s DeepMind in areas like long musical context modeling and audio synthesis. It represents Google’s efforts to make generative AI more accessible and creative for musicians and producers. But while innovative, Music AI Sandbox raises concerns around potential copyright issues with training data, as well as the authenticity of AI-generated music compared to human compositions.
Some key features of the Music AI Sandbox include:
Ability to generate up to 10 instrument tracks in various genres and styles Integration with Google’s other generative AI models like Lyria for lyrics and SynthID for audio effects Options for collaborative jamming and remixing with other users Tools for editing, arranging, and post-processing the AI-generated music In 2023, Google announced a partnership with Universal Music Group (UMG) to launch the ‘Music AI Incubator,‘ aiming to collaboratively develop AI tools that provide music creators with safe, responsible, and profitable opportunities. Music AI Sandbox’s inaugural users include electronic musician and YouTube personality Marc Rebillet, rapper/producer Wyclef Jean, and songwriter Justin Tranter.
Producers, what are your thoughts on implementing this type of generative AI into your work? Let us know on our social media channels.
Photo by Brett Sayles
The post Google Disrupts Industry with ‘Music AI Sandbox’ appeared first on EDMTunes.
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Watch Marc Rebillet Stun Google I/O Audience With Live, Generative AI-Powered Performance

It's a good thing they made Marc Rebillet wear two robes because you can't ask him to stay fully-clothed onstage—even if he's performing for Google execs.
Earlier in the week, Google hosted its I/O developer conference to show off its work to shareholders whose hourly rate is greater than most people's rent payments. Developers and execs in the showcase shared some of the new products and features ready for release from the tech behemoth.
While these things typically comprise exhaustive slideshows with cringe corporate-friendly humor sprinkled in, this year's special guest was quite the surprise. To demo Google's DeepMind-powered generative AI, the company boldly welcomed to the stage the unpredictable Rebillet for a live performance.
The improvisational music star used some of Google's "Music AI Sandbox" tools to create and perform music during his rollicking set. In true Loop Daddy fashion, he of course ripped off his robe, but he was wearing a backup robe underneath because, well, Corporate America. He still spent plenty of time running around the stage screaming and even lovingly called the crowd "silly little nerds" while shocking them with his off-the-wall antics.
In addition to Rebillet's live performance, Google recruited him for a promotional video alongside Wyclef Jean and Justin Tranter. The trio uses the aforementioned AI tools to create sounds from prompts they enter.
The results of a number of Rebillet's experiments were shared on his YouTube channel, where you can hear him use "Google Loops" a.k.a. "Gloops" in a song.
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TikTok to Begin Automatically Labeling AI-Generated Images and Videos

TikTok is set to become the first video-sharing platform to notify users if a piece of content was created using artificial intelligence, Forbes reports.
As AI tech evolves at a blistering pace, generating content—once a strenuous task—is now as simple as entering a few text prompts. Copyright be damned, paintings or photographs in the style of any artist and full songs with lyrics and voices that sound indistinguishable from popular musicians are now just keystrokes away.
This technological boom has caused the creator economy to become uneasy over the potential loss of their livelihood as fears loom over AI's potential to replace their jobs. And even if you consider yourself media-savvy, it's impossible at times to distinguish what was created by a human or AI.
To help its users make this distinction and combat misinformation campaigns, TikTok has partnered with the Coalition for Content Provenance and Authenticity (C2PA) to automatically label AI-generated content on the platform. Labeling will only apply to images and videos at the time of this writing, but TikTok announced in a blog post that audio-labeling is coming at a later date.
"AI enables incredible creative opportunities, but can confuse or mislead viewers if they don’t know content was AI-generated. Labeling helps make that context clear — which is why we label AIGC made with TikTok AI effects, and have required creators to label realistic AIGC for over a year," the company said. "We also built a first-of-its-kind tool to make this easy to do, which over 37 million creators have used since last fall."
C2PA is a non-profit organization comprising members from some of the most influential tech companies in the world, including Adobe, Microsoft, Google and OpenAI.
The labeling will be executed through C2PA's "Content Credentials" technology, which adds metadata to AI-generated content before being picked up by the host platform so a label can be added. TikTok has stated that these credentials will stay attached to the content even if it's downloaded, so if it's uploaded to other platforms, those companies can opt to retain the labels. If more platforms adopt the "Content Credentials" tech, the process of labeling content will ostensibly supercharge over the web considering the many sources of transparent metadata.
"At a time when any digital content can be altered, it is essential to provide ways for the public to discern what is true," said Dana Rao, General Counsel and Chief Trust Officer at Adobe. "Today’s announcement is a critical step towards achieving that outcome."
TikTok also acknowledged that despite adding a label, some users may not readily understand what it means. The company said they're implementing "media literacy campaigns" to inform its users about misinformation and AI-generated content.
TikTok and Universal Music Group recently ended their licensing dispute, which muted millions of songs on the platform. A crucial component of the pact was TikTok's commitment to combating unauthorized, AI-generated music that infringed on the rights of its artists."
[TikTok and UMG] will work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters," UMG said at the time.
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ODESZA Swerve Into Clubland With New Remix EP, "Spinback"

Just when you thought ODESZA couldn't get any more blissfully transcendent, they've spun a screeching 180 into clubland with an unexpected package of gritty remixes tailored explicitly for the dancefloor.
Known for their lush and cinematic productions, the beloved electronic duo today surprised fans with the unexpected release, Spinback Remixes, which features reworks of a handful of their classics.
"Our recent DJ sets have allowed us to experiment and re-envision tracks for the club, including our own," the duo said in a statement. "We dipped into our catalogue and connected with a few of our favorite artists to get their club-forward take on some of our tunes. The Spinback Remixes EP is primed for the dance floor and we hope you enjoy it as much as we do."
ODESZA's Harrison Mills and Clayton Knight performing on their "The Last Goodbye" tour. Garrett Poulos/EDM.com
While the original versions were characterized by aching melodies and euphoric tension-and-release, these eight remixes strip everything down to the bare bones. ODESZA's melodic flourishes are replaced by growling basslines and relentless kicks, transforming their trademark sound into a barrage of dancefloor ammunition.
The vocals, once a centerpiece, are chopped and filtered into percussive hooks meant to whip crowds into a frenzy. From the languid soundscapes of "Line Of Sight" contorted into a gnashing drum & bass stomp to the gentle atmospherics of "Say My Name" reforged as a four-on-the-floor banger, each remix offers an exhilarating reinterpretation.
Spinback features contributions from a compelling roster of gifted artists, including Biicla, Darby, Rome in Silver, Koven and okgiorgio. But it was the prolific electronic music producer longstoryshort who had ODESZA coming back for seconds.
"I put my heart into the first one when they asked, and my jaw dropped when they came back to ask if I wanted to do another since they were so happy with the first. that's love," he said in an Instagram post. "hope yall love em as much as I do - remixing songs where the original is this good takes great care and I tried my best to keep the energy of the originals intact while adding my style and taste."
In other ODESZA news, they're on the verge of releasing their first-ever live album, The Last Goodbye Tour Live. Scheduled to drop on May 31st, the album will feature live recordings from its eponymous album tour and come with a bespoke vinyl release.
You can listen to the full remix bundle below and find it on streaming platforms here.
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Alison Wonderland pioneers ‘festival friendly’ cosmetics with FMU Beauty

No stranger to explorative undertakings outside of music, Alison Wonderland has officially launched her festival-geared, cruelty-free new line of cosmetics, FMU Beauty. Since minting FMU Records in December 2022—six months after unveiling her third studio album—the Australian visionary went on to revamp her Whyte Fang alias, playing a wide range of high profile shows leading up to Whyte Fang’s debut album, GENESIS, issued in April 2023. Perhaps the most significant delivery of all, Alison Wonderland subsequently gave birth to her beloved baby boy, Max. The DJ admirably powered through the late stages of her pregnancy, adhering to main stage festival bookings as Max kicked his way closer to freedom. Remarkably, Alison Wonderland took the EDC stage last year at 9 months pregnant—a medical team and ambulance waiting backstage, just in case.
Entering 2024, Alison Wonderland’s creative output decelerated; understandably so, as the new mother prioritized invaluable time with her infant child. Still, after reigniting her discography in April, turning in Dimension-assisted “Satellite,” the FMU label boss has launched an innovative line of festival-friendly makeup. Years in the making, FMU Beauty emphasizes self-expression via blacklight. The humane cosmetics company offers an affordable selection of neon-forward beauty products, designed for festival goers and expressive individuals alike. FMU Beauty’s mission statement reads,
Learn more about Alison Wonderland’s latest venture by visiting the FMU Beauty website.
The post Alison Wonderland pioneers ‘festival friendly’ cosmetics with FMU Beauty appeared first on Dancing Astronaut.
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Here’s Your Guide To Techno Bliss At Movement Festival

Movement Music Festival has announced the set times for its 2024 edition, featuring over 115 acts across six stages and three days. Memorial Day Weekend turns into a Techno holiday in Detroit at Hart Plaza.
Set Times
The lineup includes headline sets from dance music legend Fatboy Slim, German-Bosnian superstar DJ and producer Solomun, a brand-new show from Electronic music innovator Richie Hawtin, as well as award-winning artist and producer James Blake (DJ Set); Australian-born House sensation Dom Dolla (coming off a highly acclaimed Coachella Weekend 1 performance), two special performances by Drum n Bass luminary Goldie (Live Band and DJ Set), renowned British actor and DJ Idris Elba performing a b2b set with Detroit Techno legend Kevin Saunderson (the two artists have collaborated on Inner City’s singles ‘We All Move Together’ and ‘No More Looking Back’), legendary Atlanta hip-hop artist Ludacris, plus Channel Tres (DJ Set), Chris Lake, Gorgon City, Honey Dijon, Floorplan, The Blessed Madonna, Masters At Work, Skream, Floating Points, Sama’ Abdulhadi, Boys Noize b2b VTSS, Special Request, DJ Minx, Carl Craig (live), I Hate Models, and many more.
The festival’s stages for 2024 include Movement Stage, Waterfront Stage presented by JARS, Pyramid Stage, Stargate Stage, Underground Stage, Detroit Stage, as well as pop-up sets in the VIP Area from HouseParty, Rocksteady Disco (10 year anniversary), and A Dub Supreme.
This year’s showcases include a special 30-year anniversary celebration of Goldie’s legendary Metalheadz Records, Carl’s Craig’s traveling party series Detroit Love in collaboration with the iconic UK dance label Defected Records, Masters At Work Present, Kevin Saunderon’s KMS Records, and DJ Minx’s House Your Life. A special tribute for Amp Fiddler is scheduled to take place during the Detroit Love x Defected showcase on Day 1 of the festival.
Attendees can also download the official Movement 2024 app to customize their schedule, discover new artists, view the festival map and much more. Movement 2024 app is now available for iOS and Android smartphones. Download the app here.
Amenities
In addition to the on-site music programming, the festival will feature multiple art installations; including Drive In — a dive into music and nostalgia by southwest Detroit-based artist Freddy Diaz (aka @swfreddy) in collaboration with 1XRUN. Diaz sets a beautiful stage where the cars dance and have personalities like the souls attending the festival. With Drive In, Diaz aimed to fuse together some of the most amazing things about Detroit. Drive In is located at the Pyramid Amphitheater (near the Pyramid Stage).
The festival will also host the Respect the Architects and Remembering Amp Fiddler exhibits, curated by Underground Music Academy (UMA). Brought by the partnership with Resident Advisor and Detroit Techno Foundation. The exhibits recognize and celebrate some of Detroit electronic music community’s most impactful and unsung heroes. These include Delano Smith, Mike “Mad Mike” Banks of Underground Resistance, Mike Huckaby, Zana Smith, K-Hand, Ron Murphy, James Pennington, Ken Collier and many more. A special dedication to Amp Fiddler will also be showcased this year. He passed away in December 2023.
We are really looking forward to next weekend. Enjoying the music in Techno City will be a celestial feeling.
About Movement
Each year on Memorial Day weekend, thousands of people from across the globe gather in the birthplace of Techno. They gather to celebrate the heritage of Detroit and its musical influence over countless generations – new and old. Movement Music Festival is one of the longest-running dance music events in the world. It has committed to showcase authentic electronic music and providing an experience unlike any other. The festival takes place in Hart Plaza – Detroit’s legendary riverfront destination.
The post Here’s Your Guide To Techno Bliss At Movement Festival appeared first on EDMTunes.
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Music Publishers Threaten to Sue Spotify Over Lyrics, Podcasts & More

Music publishers are warning Spotify of potential legal action due to their use of song lyrics and music videos without proper licensing. These publishers argue that Spotify’s current approach infringes on their rights and could lead to significant financial losses for songwriters. The National Music Publishers’ Association (NMPA) have sent a formal letter to Spotify, urging them to address these issues promptly or face legal consequences. This dispute highlights ongoing tensions between streaming platforms and music rights holders over the use of copyrighted content.
The letter accuses Spotify of not obtaining proper licenses for using song lyrics on its platform. Typically, these licenses would be granted by NMPA members, which include independent publishers as well as major companies like Sony Music Publishing, Warner Chappell, and Universal Music Publishing Group. Moreover, the NMPA demands that any unlicensed lyrics, music videos, and podcasts available on Spotify be removed immediately, or else Spotify will face copyright infringement liability for continuing to use these works.
Danielle Aguirre, EVP & General Counsel of NMPA, states in the letter:
Additionally in the letter, Aguirre mentions a reported ‘Remix’ feature that Spotify is developing. This feature would allow users to create altered versions of songs by adjusting their speed. The letter warns the streaming giant that releasing such a feature without obtaining proper licenses from NMPA members could result in further direct copyright infringement.
Stay tuned for more news!
The post Music Publishers Threaten to Sue Spotify Over Lyrics, Podcasts & More appeared first on EDMTunes.
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Kaskade to Headline "Sports and Music Festival Experience" by X Games

X Games is highlighting the inherent link between music and sports by virtue of a special festival experience featuring Kaskade.
The chart-topping DJ and producer will perform on Saturday night of X Games Ventura 2024, which is taking place from June 28-30 at SoCal's Ventura County Fairgrounds. He returns after throwing down at the X Games in 2018 and 2023 in Aspen.
"Growing up in the suburbs of Chicago my favorite thing to do when I wasn't crate digging for music was to go out and skate in the streets of the city," Kaskade said in a press release. "Half of the sport was seeing how long I could go without getting kicked out of my favorite spots. I never would have dreamed that snowboarding, BMX, skateboarding and all the other amazing sports that are celebrated within the X Games would be so amplified and that I would get to join in. It's such an honor to be playing again, looking forward to seeing everyone there!"
Eight other musicians will take the stage throughout the weekend, including hip-hop icon Wiz Khalifa on Friday night. The rest of the lineup will be announced at a later date and organizers have curated "a diverse mix of genres, from rock and hip-hop to electronic and beyond, with a few surprises in store," according to Rich Bigge, Vice President of Live Events at X Games.
View the original article to see embedded media.
"We have doubled the size of this event, making it possible to have a proper stage experience as well music throughout the venue," Bigge said. "There is such a natural connection between sports and music, so it was a priority for us to be able to bring it back this summer with some really big names."
This year marks the debut of a number of new medaled events, including Women's BMX. The event will also host interactive fan experiences and offer improved viewing options.

Tickets for X Games Ventura 2024 are available here. General admission passes will grant access to all musical performances as well as competition-viewing based on a first-come, first-served basis.
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Power Couple Subtronics and Level Up Set to Make History B2B at EDC

In a groundbreaking moment for the EDM scene, the dynamic duo of Subtronics and Level Up are set to make history as the first married couple to perform together at Electric Daisy Carnival (EDC) Las Vegas. Their first official b2b (back-to-back) set is set to electrify the festival grounds this weekend, promising an unforgettable experience for fans and a milestone moment for the artists themselves.
Subtronics is known for captivating audiences with his signature blend of dubstep, riddim, and experimental beats. His meteoric rise to prominence has cemented his status as one of the most exciting acts in electronic music today.
Meanwhile, Level Up has been making waves of her own, carving out a name for herself as a talented DJ and producer with a distinct style and infectious energy behind the decks. With a growing fan base and a string of impressive releases under her belt, she has quickly emerged as a rising star in the electronic music world.
The couple’s decision to join forces for a special b2b performance at EDC Las Vegas adds an extra layer of excitement to an already highly anticipated event. They’ve taken the stage together before, but this is their first official b2b set, where fans can expect a showcase of their combined talents, with adrenaline-pumping beats, mind-bending drops, and infectious energy that will keep the crowd on their feet from start to finish.
But beyond the music, Subtronics and Level Up’s performance holds special significance as they become the first married couple to share the stage at EDC Las Vegas, as well as their first time on the EDC Main Stage. Their partnership, both on and off stage, symbolizes a union of passion, creativity, and shared love for electronic music.
Catch their set on Saturday, May 18, 2024 from 1:30 AM to 2:30 AM. For more EDC Las Vegas information, click here.
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House Music 40 Partners with ARC Music Festival on Special Pop-Up Event at Daley Plaza on May 29

In celebration of the 40th Anniversary of House Music, House Music 40 has partnered with ARC Music Festival to kick-off celebratory events throughout the city with a special free pop-up event at the Daley Plaza. The lunchtime mix will feature performances by Chicago natives and international DJs Derrick Carter and DJ Heather, hosted by Mother Diva on Wednesday, May 29, 2024, at 12 noon.
House Music 40’s founder and House music pioneer Vince Lawrence reflects, “I am thrilled to mark this momentous occasion with ARC Music Festival, Chicago’s flagship house and techno festival. They have provided a wonderful platform for DJs and lovers of dance music throughout the years.”
The ongoing mission of House Music 40 is to raise awareness of the significant contributions made by Chicago House Music artists to the global music landscape while providing financial support for Chicago House Music DJs, artists, producers, and promoters facing ongoing health concerns. It’s one that aligns well with ARC, whose foundation lies on educating the next generation of electronic music listeners on its origins.
ARC Music Festival’s co-founder, John Curley celebrates, “I was raised on House music here in Chicago. It’s one of those rare global movements where we can still show our love and appreciation to a lot of the original pioneers and innovators. House Music 40 understands that after everything those DJs have given us, it’s important for us as fans to give back,” he says, “It’s impossible to fully thank someone for the gift of house music, but in every action, we take with ARC we aim to keep letting them know that ARC is a living monument dedicated to them and house music everywhere.”
This year marks four decades since the commercial release of the first wave of House records, including early iconic songs “On and On” by Jesse Saunders and Vince Lawrence, “Jack Trax” by Chip E. and Joe Smooth, “Mystery of Love” by Mr. Fingers, “Jack’n the House” by Farley “Jackmaster” Funk, “Jack Your Body” by J.M. Silk (Steve “Silk Hurley and Keith Nunnally), “Move Your Body” by Marshall Jefferson, and “Your Love” by Jamie Principle and Frankie Knuckles among others.
ARC Marketing Director, Alan Brant adds, “As a team, for us falling in love with house wasn’t a choice, it was a reflex. We see it as our mission to help the world understand that house is from Chicago.”
On behalf of Cook County, there will be a special presentation by Cook County Board Commissioner Bill Lowry to present the resolution of House Music 40. “As a Southsider who grew up enjoying House music, it is an honor to show tribute to the originators of House and its birthplace—launching a global phenomenon that has contributed to our great city and our county. We’re excited to be a part of the kick-off celebrations.” said Lowry.
ARC’s partnership with House Music 40 continues the event’s mission of showcasing House music and the city that birthed it for a globally reaching audience. ARC, which returns to Union Park this Labor Day weekend, remains a stronghold for the continuation of this foundational story and is proud to partner with an entity so committed to the celebration of this artform as an integral piece of Chicago’s cultural fabric.
The post House Music 40 Partners with ARC Music Festival on Special Pop-Up Event at Daley Plaza on May 29 appeared first on EDMTunes.
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10 Years After Show's Debut, Above & Beyond Release 500th Episode of "The Anjunadeep Edition"

Above & Beyond are celebrating 10 years of totemic deep house music powered by their Anjunadeep label.
Each week since 2014, the iconic trance trio welcomes some of their favorite producers to The Anjundadeep Edition, a weekly mix showcase hosted on their imprint's YouTube and SoundCloud channels. Since its debut on May 16th, 2014 with James Grant, we've seen mixes over the years from Lane 8, Luttrell, Tinlicker, Eli & Fur, Qrion, TSHA, Yotto and many more.
Now, after 500 episodes, Above & Beyond have hosted one for the first time as a complete unit since #221, which aired five years ago. Unlike most of the mixes, the milestone episode is two hours long. Fans can hear original classics and unreleased songs alike from the prolific trio as well as music by Marsh and Jody Wisternoff, among other Anjunadeep favorites.
The new episode follows news of Above & Beyond's return to Red Rocks this October. While that's limited to those who can make their way to Colorado, fans around the world were able to take part in the group's recent Earth Day celebration, which saw each label in the Anjuna family release a special mix that will collect perpetual royalties to benefit the Ocean Conservation Trust's work to protect our oceans.
Check out the 500th episode of The Anjunadeep Edition below.
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Here Are the EDC Las Vegas 2024 Set Times

Every year, ravers from across the globe flock to EDC Las Vegas to dance under the Electric Sky.
The iconic Electric Daisy Carnival is back with another hotly anticipated iteration of dusk-till-dawn music, elite stage design and production, and this year, an array of updates to the festival. Its layout will be rearranged and a slew of new installations and art cars will be onsite.
This year's EDC Las Vegas lineup comprises nearly 300 artists, with many sub-genres of electronic music represented. ILLENIUM, Carl Cox, deadmau5, Peggy Gou, David Guetta, John Summit, Excision, Sub Focus and many more will perform this year. 
Check out the full EDC Las Vegas 2024 schedule and set times below.
EDC Las Vegas Set Times: Friday, May 17th
EDC Las Vegas Set Times: Saturday, May 18th
EDC Las Vegas Set Times: Sunday, May 19th
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Late Night Therapy presents ‘GENESIS’

Up-and-coming artist Late Night Therapy has spent the last five weeks living aboard a sailboat with six friends to record their highly-anticipated new single “GENESIS.”
Check his previous works, When You’re Gone and Spinning.
The 24-year-old singer/songwriter/producer set up a fully-functioning recording studio on a boat itself. The goal was to be completely in not just the artistic process, but the driving themes of the new track – the cyclical nature of life and human existence.
To authentically capture those motifs in the music itself, Late Night Therapy decided to take the vagabond recording approach of living aboard a small sailboat with their closest friends and creative collaborators for over a month. The tight quarters and rocking of the ocean waves naturally infused the recording sessions with the metaphorical and literal ebb and flow of life’s cycles.
Late Night Therapy Created with RNI Films app. Preset ‘Agfacolor 40’s Aged’ Working by day and sailing by night, Late Night Therapy and their mates rode out stormy swells that mirrored emotional turmoil, and idyllic calms that echoed inner peace. The intense closeness brought periods of bonding and friction, not to mention soggy recording mishaps when unpredictable waves came aboard.
But through it all, the intrepid musical nomads stayed focused on capturing Late Night Therapy’s highly personal and profound exploration of life’s endless cycle through “GENESIS.” A cycle they experienced first-hand by quite literally living out at sea and at nature’s mercy for over a month.
With both the harrowing and enlightening experiences now immersed in “GENESIS,” Late Night Therapy can’t wait to share the deeply symbolic fruits of this unique labor with fans when the single drops on May 14th.

The post Late Night Therapy presents ‘GENESIS’ appeared first on The Groove Cartel.
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I Hate Models Pulled from Le Bon Air Festival After Requesting Private Jet

Le Bon Air Festival pulled French DJ and producer I Hate Models from its lineup, set to take place this weekend in Marseille, France. Resident Advisor reports the decision came after the producer requested to fly to the festival by private jet for his set this Saturday, May 18th.
The festival posted a statement on their Instagram yesterday, announcing the decision and stating that ‘no artist has ever taken a private jet to come and play at Le Bon Air Festival.’
Le Bon Air went on to further explain the environmental impact of private jets, stating ‘this highly polluting means of transportation consumes 50 times more CO2 than a train.’ They also cited their artist contracts, which states that transport must be approved by the festival before arrival.
I Hate Models’ agent responded in a statement to Resident Advisor, stating it’s a ‘disappointing‘ decision, but that he had actually intended to cover the full cost of the private jet himself and that his request was only that the festival cover his airport transfers.
I Hate Models’ agent also said that the producer was excited for his set, so much so that he even offered to re-purchase his CO2 emissions at his own cost to make up for it.
Le Bon Air has now added MÉZIGUE to the line-up, and replaced I Hate Models’ closing set on Saturday night with a performance from KI/KI.
The post I Hate Models Pulled from Le Bon Air Festival After Requesting Private Jet appeared first on EDMTunes.
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John Summit, Sub Focus and Julia Church Deliver Aching Dance Anthem, "Go Back"

Conflicting sounds and emotions collide in "Go Back," Sub Focus and John Summit's new collaboration, but they fuel each other to deliver one of the year's best dance records so far.
Teaming up with the surging singer-songwriter Julia Church, they weave a latticework of house and drum & bass using threads of longing. Her lyrics, a poetic exploration of the indestructible bond forged between two kindred spirits, evoke a sense of being frozen in a cherished moment.
Embracing her role as a dreamer, Church invites her muse to take her deeper and deeper into a hypnagogic state while questioning whether their connection is more than a fleeting memory. Her vocals come to life through raw vulnerability before Summit chops them up in an atmospheric, four-on-the-floor drop.
It's then Sub Focus' time to shine as he implements a seamless BPM switch before dropping a euphoric drum & bass sequence, a masterful exercise in tension and release. As his kinetic basslines and soaring synths swell, Church's desperation intensifies, her vocals a quavering promise to give a part of her soul to be kept forever.
"Loved getting in the studio with John last year," Sub Focus said in an Instagram post. "We came up with the idea of speeding up the tempo in the middle of the song between House and Drum & Bass, and the crowd reaction has been amazing every time we play it. Shouts to Julia for such an incredible vocal."
The new single arrives as Summit records his debut album, which he announced back in November 2023. He then released a handful of singles: "Hungover" (with Mathame and Camden Cox), "Shiver" (with Hayla), "Eat The Bass" and a remix of The Temper Trap's 2008 classic "Sweet Disposition" alongside Silver Panda. Summit has not yet announced the album's title or release date.
You can find "Go Back" on streaming platforms here.
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6EJOU announces his longest live-set ever, to be played at a secret event

6EJOU, the DJ and and hypnotic industrial techno producer who embarked on his musical journey in 2019, but has already impressed the techno crowds with his performances at events such as Verknipt and Wonderland Festival – has just announced that he’s taking things to the next level.
In a story posted on Instagram earlier today, 6EJOU revealed that he will be playing the longest live set he has ever played – a mind-blowing  10 hours, at an event in the Netherlands. He couldn’t disclose any more information about the event, when or where it will take place at this moment, but does mention that an official announcement will be made on Monday.
Something that 6EJOU already does mention however, is that the first 1000 tickets will be availabe to a cheaper price so everyone has a chance to witness the show. So make sure to add a reminder so you can tune back in on Monday, because on 6EJOU’s very first 10 hour live performance that certainly will be packed with all kinds of amazing surprises, is not something you want to miss.
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