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Coachella Sticking with Double Weekend in 2026 Despite Softer 2025 Sales

Photo Credit: Coachella
Coachella’s 2025 edition just wrapped up, and festival organizers have wasted no time in announcing the event’s 2026 edition.
The 2025 edition of the Coachella Valley Music and Arts Festival just finished up its second weekend, and it’s already time to look toward next year’s edition. The first weekend of Coachella’s 2026 edition is set for Friday, April 10, through Sunday, April 12. Meanwhile, the second weekend takes place from Friday, April 17, through Sunday, April 19. Like always, Coachella takes place at the Empire Polo Club in Indio, California.
The advance sale for the 2026 festival’s passes begins at 11 AM on Friday, May 2. Those interested in attending next year can head to the festival’s website to sign up for updates on pass details, payment plan info, and more. Prices for the 2025 edition started at $599 for general admission and $1,199 for VIP, with prices varying depending on the weekend.
Hotel and Safari camping packages for both weekends are also available, with a three-night general admission hotel package starting at $431.91 per person per night. Three-night VIP packages start at $678.58 per person per night.
Interestingly, Coachella will continue ahead as a two-weekend affair, despite less-than-stellar ticket sales in 2025. The festival expanded into a two-weekend event back in 2012.
Fans are already speculating about who might headline next year’s festival, with several names in particular at the top of many people’s minds. Kendrick Lamar and SZA have been busy with their co-headlining Grand National Tour, which continues through August 9. Lamar headlined Coachella back in 2017, while SZA performed there the following year, but has yet to bag a headlining slot. Coming off the heels of their international tour, perhaps 2026 could be her year.
Another name that seems to be at the top of fans’ wishlist is Olivia Rodrigo. She made her Coachella debut in 2024 when she hit the stage as a special guest for No Doubt, performing “Bathwater” with Gwen Stefani. Similarly, pop darlings Sabrina Carpenter and Chappell Roan made their debuts at Coachella in 2024, but fans are already hoping they’ll return.
Festival goers are also hoping for a Dua Lipa appearance in 2026, which would mark her first time on the bill. Rumors circulated that she was offered a spot in 2024, but the timing didn’t work out.
Usually, at least one rock group secures a headlining spot, which went to Green Day this year. Fans are hoping perhaps Rage Against the Machine, who performed at the first Coachella festival in 1999 and then headlined in 2007, might make an appearance in 2026. They were set to headline the 2020 edition, but it was ultimately cancelled that year due to the COVID-19 pandemic. Although fans thought maybe they would headline the post-COVID festival in 2022, that didn’t pan out.
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Late Night TV Musical Bookings Are Plunging, Data Reveals

Photo Credit: Ashley King / YouTube
The landscape of late night television has long served as a critical launchpad for artists seeking mainstream exposure. But the golden era of musical bookings moving the discovery needle is undeniably in decline—for a variety of reasons.
A new report from Consequence highlights how musical bookings have become less common after the pandemic and the SAG-AFTRA strikes—but also due to host direction. Ten years ago, late night TV was a must-stop for new music acts. Between the years of 2011 and 2013, annual musical performances on late night shows peaked at over 800. Numbers have plummeted since then, with 2023 seeing barely 200 bookings.
‘Late Night with Seth Meyers’ has stopped booking musical guests altogether, following the show’s house band being cut due to budget constraints. The transition from David Letterman to Stephen Colbert as the host of ‘The Late Show’ has also precipitated a vast decline in musical bookings.
With Letterman as a host, ‘The Late Show’ regularly booked over 150 musical guests annually. Since Colbert’s takeover, the show has not surpassed 100 musical guests in a single year since 2017. Last year, ‘The Late Show’ only booked 50 musical performances—highlighting the decreased focus on music as a driver of viewership.
Photo Credit: Consequence
‘The Tonight Show Starring Jimmy Fallon’ and ‘Jimmy Kimmel Live’ still prioritize music with over 150 bookings annually—but the trend is still downward. That’s partially because late night TV itself is on a downward trajectory. ‘The Late Show’ is the genre’s ratings leader and has experienced a 32% drop in audience viewership in the 2023/24 season. ‘The Tonight Show’ saw an even steeper fall, losing 41% of its audience in the same period, while ‘Jimmy Kimmel Live’ is down 11%.
The rise of streaming platforms and social media has made traditional late night TV shows less essential for viewers. Many now prefer to watch highlights online the next morning rather than tuning into the show live. With late night TV’s cultural relevance fading, it’s no small surprise that musical bookings are down amid rising production costs for a dying format.
The only late-night program that seems resilient to the decline is ‘Saturday Night Live.’ Recently celebrating its 50th season, SNL’s musical guest slot remains a coveted right of passage for artists across many different genres. SNL still maintains the gold standard of late night music exposure, with artists often seeing immediate spikes in streaming numbers following their appearance.
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Interview: ACRAZE Talks Hip-Hop-House & Fire Festival Fits

With nearly 900 million streams, “Do It To It” has propelled Charlie Duncker, aka ACRAZE, into the electronic music stratosphere, cementing his reputation as a genre-blending powerhouse. Since his breakout in 2020, Duncker has carved out a distinct space in the hip-hop house movement, seamlessly fusing the two styles to breathe new life into the tracks that defined a generation.
Beyond the decks, he moves effortlessly between international festival stages and high-fashion runways, all while spearheading Paradox—an emerging music label with a bold vision to curate immersive events and champion the next wave of electronic music innovators.
Duncker sat down with EDM Maniac to offer an exclusive look behind the scenes of his latest music and his relentless pursuit of boundary-pushing creativity outside of the studio.
EDM Maniac: You recently released a song called “Rock My World.” You mentioned that you can’t remember the last time you were this excited about a song coming out, and that it’s very special to you. Can you tell us a little more about that?
ACRAZE: Every time I do something in the hip-hop lane and mesh it together with house, it always works so well for me. Puku is a hip-hop singer, song-writer, vocalist, producer—the guy is insanely talented. We did a lot of hip-hop stuff a while back and I told him I wanted to do some more hip-hop house style stuff.
We worked on some stuff in the studio, and by the end of the session, he’s like, “I got some new songs I want to show you.” “Rock My World” was one of them and I remember thinking to myself, “Yo, this is crazy.” It was so simple, but as a producer, I could really envision a climax and a drop happening.  
I ended up actually scrapping everything he did and just took the vocal and made a whole new thing with piano and bass lines. That’s the story of how it came about.
Maniac Magazine: That’s incredible. How was it working with Puku?
ACRAZE: He’s super easy to work with and super inspiring, as well. I’ll play a loop in the studio and he automatically has ideas. He’s a machine.
Maniac Magazine: What’s your history with hip-hop?
ACRAZE: From the jump, when I first started making music, I was making hip-hop beats. I got this program called FL Studio, and usually the first thing people do when they get FL Studio is make hip-hop beats and that’s what I did.
As quarantine started to hit, I made “Do It To It” and later down the road realized it was making more of an impact in my sets. That’s when I found out that this might be a niche for me, because I really like hip-hop in general and my parents grew up on it. It’s always something I’ve been interested in. 
Maniac Magazine: Does your creative process normally flow like it did with Puku? Do you hear something hip-hop and find a way to work it into house?
ACRAZE: You know, it’s tough. For people who know rappers and how they act—they don’t really know dance music. You really have to approach it as what they do and then work with it later.
I try to take the approach of making hip-hop stuff with a rapper from scratch and not showing them EDM beats because the pocket is different, the rhythmic side of things is different. It’s easier for me to make hip-hop into house because I already know how I’m going to work it. I can just tell them that I need a chorus or a loop and put it before or after a drop, or chop it up. I feel like I really know how to direct it. I think I’m really starting to get the hang of it now, and it shows, and that’s a really cool feeling.

Maniac Magazine: Do you do any art outside of music?
ACRAZE: No, I’ve tried drawing, but I’m the worst drawer of all time. Nothing outside of, like, fashion. I think that might be my next stint. I’ve really been honing in on design and merch. I’m really big into fashion, my closet is insane.
Maniac Magazine: You are a very stylish man. What is your fashion inspo?
ACRAZE: Thank you. Probably streetwear, that’s really my thing. I really love streetwear. I love things that are just different, you know? If someone is walking down the street, and the person next to me is like, “Ugh, what are they wearing?” I’m probably like, “Oh, that’s sick!” I love when people look an edgy way.
In January, I went to Paris for the first time for fashion week because I was playing an event, and I got to go to some really prestigious fashion shows, and it opened my eyes to how big the fashion world is. I got really inspired and that’s what kind of pushed me to start Paradox right now. And hopefully later I’ll do a fashion line outside of music, stuff that isn’t just merch.
Maniac Magazine: Do you feel like your draw to grunge style resonates anywhere else in your life outside of personal style?
ACRAZE: Yeah, I think that anything I do, really, I try to do outside of the box.
Maniac Magazine: I see this incredible shift in dance music fashion becoming more street-style. Do you see yourself ever dipping your toes in underground street-style festival wear?
ACRAZE: Eventually. I definitely think there’s a market for it. And one thing I do see, is there’s a lot of girl brands but I don’t see a lot of guy brands. So, maybe I could lean into that. That’s actually a really good idea, now that you mention it.
Maniac Magazine: There’s a lot of space for creativity in rave wear, and I think people are looking to go outside of the box and lean into something that is more street-style than we have previously seen. 
ACRAZE: The problem with raving, and I’m just going to speak for myself here, but when I would go to raves, I would spend all the money I had that week on a festival ticket. Back in 2015, I remember this specifically, I spent my last $300 on a festival ticket, and I still had bills to pay. 
If I’m going to build a clothing brand, it has to be somewhat affordable. It has to be stylish but affordable. People are penny-pinching to go to festivals, and I don’t want to make people go broke more than they already are.
Maniac Magazine: Especially now, more than ever. People want to attend festivals to have fun, but they are struggling to do so. Let’s talk tour life. Do you like being on the road?
ACRAZE: Yeah, I love being on the road. It gets tiring, for sure, but that’s the beauty of it. I wake up every day grateful and I wouldn’t want to do anything else. I think about that a lot when I’m just bored, like “What would I be doing right now if I wasn’t doing music?” And truthfully, I don’t know.
It gets tiring, and every DJ will tell you that, but I’m in a position where I can inspire a lot of people, and that’s something I’ve always wanted.
Maniac Magazine: You’ve said before that the key to success is ambition and drive. Where does your drive come from? 
ACRAZE: Hard times and hard moments. I’ve had a lot of moments where I’ve struggled in my life, and that’s where a lot of my drive comes from. I don’t want to go back to that. When they say your destiny is in your own hands, it really is. I wake up every day and just try to put in as much work as I can.
Maniac Magazine: What are three things you can’t leave for a tour without?
ACRAZE: Wait, hold on, let me actually look in my bag. Glasses, for sure. I always need shades. Vitamins, I’ve got a lot of vitamins. Take your vitamins, people! And gum. I get a lot of anxiety, and I don’t always know where it comes from, so gum is a way that I keep my mind moving. If you see me chewing gum, I’m probably nervous.
Maniac Magazine: Does performing on stage make you anxious or is that somewhere that’s comfortable to you?
ACRAZE: It can be nerve-racking at first, but once I play the first song, it all goes away. Then I get into a flow. I mean, I get nervous a lot. 
Maniac Magazine: Aw, he’s shy.
ACRAZE: [Laughing] Yeah, I guess I am just a shy guy. 
Maniac Magazine: It has been a pleasure talking to you. Anything you want the fans to know?
ACRAZE: Stream “Rock My World.” Hit me up on Instagram if you like it, I’d love to hear your thoughts!
Featured image credit: Taylor Regulski.
The post Interview: ACRAZE Talks Hip-Hop-House & Fire Festival Fits appeared first on EDM Maniac.
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Bullish Spotify Stock Projections Arrive Ahead of Q1 2025 Earnings Report — Can SPOT Hit $700?

Morgan Stanley and others are bullish on Spotify stock ahead of the company’s Q1 2025 earnings report. Photo Credit: Sven Piper
Despite being up nearly 25% on the year, Spotify stock (NYSE: SPOT) is poised to climb higher – at least according to a pair of new projections.
As things stand, Spotify stock is hovering around $568 per share, reflecting the mentioned boost from 2025’s beginning and a 109% surge from the same point in April 2024. Nevertheless, SPOT is down on the month and remains $84 beneath its 52-week high of almost $653 per share.
In other words, it remains to be seen whether the stock will continue ascending or level out at a more modest (but still substantial) value. And multiple analysts are opting to weigh in ahead of Spotify’s April 29th earnings release.
Citing factors including the company’s ongoing subscriber growth and price increases, Wolfe Research is banking on the former outcome. The equity-research firm has now settled on a $660 target for SPOT; on top of representing another record high, that per-share price would render Spotify an over $135 billion company.
Meanwhile, Morgan Stanley has opted for a $670-per-share Spotify stock target, emphasizing the perceived upside associated with (besides other factors) bolstered personalization features.
Separate forecasts are even more bullish; UBS is running with a $690 SPOT target, for instance. And some have been long Spotify for a while – including when shares were trading for closer to $70 a pop in the not-so-distant past.
Different analysts yet are urging pricing caution; KeyBanc recently maintained its overweight rating for SPOT while simultaneously reducing its target from $675 to $625. And Redburn Atlantic’s neutral SPOT rating brought with it a relatively modest $545 target.
To state the obvious, only time will tell exactly what the future holds for Spotify stock, and broader market factors are playing a big role. But we aren’t without worthwhile information here.
First, investors are evidently unbothered by the roughly $1.8 billion in Spotify stock that execs and board members have now sold. A substantial portion of the SPOT selloff arrived in 2024 – though the involved parties could have made more cash had they waited to part with their holdings.
Next, notwithstanding all the aggressive SPOT targets and ultra-enthusiastic analyst assessments, the ever-fickle market’s presumably on the lookout for a handful of Q1 2025 performance particulars. Chief among the latter are profitability and subscriber gains.
Behind this point, Spotify hasn’t exactly reinvented the wheel since November 2022, when its per-share stock price was, as highlighted, in the $70s. However, it has prioritized a leaner operation (including dialed-back spending on questionable investments), price bumps, bolstered advertising initiatives, and a multifaceted diversification.
Near term, SPOT’s showing seemingly hinges on paid-subscriber movements and staying in the black. But throughout the remainder of 2025 and beyond, heightened audiobook revenue wouldn’t hurt, nor would a bit of early payoff for a rapid-fire video buildout.
Additionally, managing to fuel consistent advertising growth would be a big plus for Spotify, which will probably see a revenue upside if it can, in fact, get Super-Premium off the ground during 2025.
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Instagram CEO Reveals Algorithm Secrets for Music Pages

If you manage a music-focused Instagram page, particularly for underground artists or small labels, you’ve probably encountered a frustrating paradox: Your high-quality posts seem to fall flat, while a random, unpolished clip can go viral. Well, Instagram’s CEO, Adam Mosseri, has finally peeled back the curtain on the platform’s algorithm in a recent interview with ‘Build Your Tribe‘, offering much-needed clarity about why this happens and what content truly drives reach on Instagram in 2025.
Shares Are the Most Important Signal
Gone are the days when likes or comments ruled the algorithm. According to Mosseri, shares are now the most important metric for content reach. Whether it’s someone sending your post to a friend or sharing it in a direct message (DM), this kind of interaction drives Instagram’s distribution process. Mosseri emphasized that even if a post receives a high number of saves, shares will always outperform other interactions because they lead to direct, personal recommendations.
For DJs, producers, and anyone promoting underground music, this means your content needs to pack a punch. It’s not just about high production value; it’s about making your audience want to share it. Posts that make people think “You’ve got to see this!” are far more likely to reach a broader audience than perfectly polished but unremarkable content.
Unconnected Reach > Follower Count
Another big shift in Instagram’s algorithm is the focus on what Mosseri calls “unconnected reach”—the reach of content shown to people who don’t follow you. While the old model was more about getting your followers to engage, Instagram’s new approach prioritizes content discovery, similar to YouTube’s model where most views come from non-subscribers.
For smaller accounts, this could be a double-edged sword. If your unconnected reach is low, it’s usually a sign that Instagram doesn’t understand who your content should reach. This doesn’t mean you’re being penalized; it simply means the system isn’t sure who to show your post to. Therefore, your posts must be clear about what they represent and who they’re for.
No Shadowban—Just Confusion
One of the most commonly feared phenomena among Instagram users is the “shadowban”—the idea that the platform is suppressing your posts without warning. Mosseri cleared up the confusion, stating, “It’s not a shadowban. If the content isn’t getting recommended, it’s usually because the algorithm can’t tell what it is.”
So, if you’ve ever wondered why two nearly identical posts can perform so differently, it’s likely not about algorithm manipulation but about the system’s ability (or lack thereof) to interpret your content. Timing, context, and just the randomness of Instagram’s ecosystem can all influence performance.
Original Content Is (Finally) Being Prioritized
For years, repost pages have dominated Instagram’s algorithm, overshadowing original creators. But Mosseri revealed that the platform is actively working to give more visibility to original content creators, stating, “Aggregators… get a disproportionate amount of value relative to what they create.” This change is significant for independent artists and labels, as it means original clips, exclusive tracks, and behind-the-scenes moments will now get the attention they deserve.
What About Hashtags, DM Automation, and Posting Time?
Hashtags, once the cornerstone of Instagram growth, are now largely irrelevant. Mosseri confirmed that hashtags no longer significantly impact reach, although they’re not harmful. As for post timing, it matters, but not always in the way people think. If a post does well one day and flops another, the algorithm hasn’t necessarily changed—it’s more about the natural fluctuation of interest.
One area to watch closely: DMs. More content is being shared in DMs than in Stories, making posts that spark conversation or reactions highly valuable. Instagram is shifting towards private, personalized sharing over public engagement.
Instagram Wants You to Train It
Perhaps the most crucial takeaway from Mosseri’s interview is that creators are no longer just playing the game of algorithms—they’re actively training it. By posting consistently and clearly, you teach the algorithm who you are, what your content represents, and who it should be shown to.
This doesn’t mean you have to post identical content constantly. Rather, it’s about creating a recognizable theme or “throughline” for your content. Being clear and consistent in your messaging is now more important than ever.
For DJs, producers, and independent labels, this means that the algorithm rewards content that has direction. It’s not about chasing the latest trend or copying bigger accounts. It’s about being genuine, creating something worth sharing, and letting the algorithm work in your favor.
Conclusion
Instagram‘s CEO has shed light on the algorithm in ways we’ve never seen before. For DJs and artists navigating the platform, focusing on shares, unconnected reach, and original content is key to boosting visibility in 2025. Consistency and clarity are crucial, as the algorithm is now more about the audience’s connection with your content than ever before. Understanding this can make all the difference for underground artists trying to cut through the noise. So, as Mosseri puts it, train the algorithm, and make your content share-worthy. It’s time to roll the dice and see where it takes you.
The post Instagram CEO Reveals Algorithm Secrets for Music Pages appeared first on EDMTunes.
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Watch This Japanese DIY Collective Turn Barcodes Into Live Techno Music

Imagine walking into a concert where the lead synth is a barcode scanner and the rhythm section is powered by a television from 1983. That's the world of ELECTRONICOS FANTASTICOS!, a Japanese collective rewiring the obsolete into the operatic.
At the center of the imaginative collective is Ei Wada, a Japanese artist whose life's mission, spurred by a childhood vision of a music festival at the base of a crab-legged CRT tower, has led him to orchestrate a nationwide symphony of scavenged electronics. Techno meets the trash heap with ELECTRONICOS FANTASTICOS!, now nearly 100 members strong across six Japanese cities.
Their playground is a graveyard of archaic technology from relatively recent history. Tube televisions become percussion instruments while ventilation fans morph into synths. As Japan and the world confront the mounting waste of outdated tech, ELECTRONICOS FANTASTICOS! offers the unexpected solution of turning it into music.
In one of their most compelling inventions, barcodes are scanned to make improvisational techno. Their so-called "barcoder" generates sounds by connecting signals of a barcode scanner to a speaker.
Check out footage from the performance below.
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Swedish House Mafia Signs to SUPERHUMAN for Global Creative and Label Services

Swedish House Mafia have officially signed with SUPERHUMAN, a Stockholm-based record label and multidisciplinary creative company.
Speaking exclusively to EDM.com, a SUPERHUMAN representative confirmed that the organization has indeed signed Swedish House Mafia after the trio teased the news on social media. SUPERHUMAN will be providing comprehensive creative services tailored to the group comprising Axwell, Steve Angello and Sebastian Ingrosso.
The deal will encompass external releases from both Swedish House Mafia as a collective and its individual members, giving them a unified creative home under the SUPERHUMAN umbrella. This broad scope aligns with the group's expansive creative vision, which has historically included ambitious live productions, innovative marketing campaigns and multimedia projects beyond standard music releases.
The signing represents a homecoming of sorts, with both parties sharing Swedish roots. Swedish House Mafia, which has been instrumental in shaping the global electronic dance music scene since their formation in 2008, will now work with a company that reflects their cultural heritage after stints with major labels like EMI and UMG.
For SUPERHUMAN, landing one of EDM's most iconic acts represents a significant coup, positioning the company for greater global visibility as they continue to build their roster and expand their creative services portfolio. The label is accepting demos from music producers, according to its website.
Follow Swedish House Mafia:
Instagram: instagram.com/swedishhousemafia
X: x.com/swedishousemafia
TikTok: tiktok.com/@swedishhousemafia
Facebook: facebook.com/swedishhousemafia
Spotify: spoti.fi/36uoBWe
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“We’re moving beyond hierarchical executive structures”: Uli Behringer on Behringer restructuring

Behringer CEO and founder Uli Behringer has announced a major restructuring at parent company Music Tribe, replacing the traditional C-suite with an AI-supported, data-driven leadership model.
Explaining the decision in a recent LinkedIn post, Behringer writes: “The traditional and siloed C-suite model has served its time. But in today’s world of rapid change and continuous innovation, it’s no longer the most effective way to lead and often becomes a liability.”
READ MORE: Behringer 2025: Every synth, drum machine and controller Behringer is currently working on At the core of this restructuring is the replacement of “hierarchical executive structures” with a more “agile, data-driven model” — one powered by business and data analysts, and supported by neural AI platforms like Claude, Manus AI, and others. These tools, Behringer says, are already enhancing human decision-making by surfacing insights, spotting patterns, and driving real-time action.
For Behringer, the reasons for the shift are clear: They include faster, smarter decisions as analysts working directly with real-time data can act quickly, reducing bottlenecks.
“Decisions are best made by those closest to the product, the customer, and the challenge,” the founder explains. “In a world that’s constantly evolving, agility beats formality. We’re building a leadership model that can adapt and learn at every level.”
According to Uli, Music Tribe is currently piloting Manus AI across its operations, with early results described as “promising”. He says the move is part of the company’s broader commitment to Industry 5.0 — a vision where human creativity works alongside advanced technology to shape more responsive, personalised and empowering organisations.
“We’re not just tweaking the org chart. We’re rethinking what leadership can and should look like,” Behringer continues. “Fewer layers. More collaboration. Smarter decisions.”
Behringer’s latest announcement also reflects the brand’s long-standing interest in accessibility, a value that also underpin its product strategy. Earlier this month, Uli told Sweetwater that one of his goals is to make the firm’s already budget-friendly products even more affordable, especially for young people.
“As you know, we have synthezisers starting at $49. My goal is to make synthesizers for $9.90 so we can make these accessible to kids in poor countries,” he said.
Whether through groundbreaking organisational change or ultra-affordable gear, time will tell.
The post “We’re moving beyond hierarchical executive structures”: Uli Behringer on Behringer restructuring appeared first on MusicTech.
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SXSW 2025 Struggles With Sharp Decline In Attendance

This year’s South by Southwest (SXSW) festival in Austin saw a noticeable dip in attendance compared to previous years, prompting questions about the event’s appeal and potential format changes for 2026. While the spirit of connection and discovery remained, the thinner crowds were hard to ignore. This decrease has some wondering if adjustments to the festival’s structure are needed to ensure strong public turnout in the future.
For years, SXSW has been a major draw, bringing together professionals and enthusiasts from the music, film, and technology industries. However, the reduced number of attendees this year suggests a shift in priorities or perceptions. While those who did attend still valued the networking opportunities and diverse events, the lower numbers cannot be overlooked.
Organizers have already announced changes to the SXSW format for 2026, partly due to the Austin Convention Center undergoing a four-year renovation. These changes include a shorter overall event, with the music festival being extended to seven days. The aim is to create a more concentrated experience that encourages attendees to stay for the entire duration.
However, the question remains whether these format changes alone will be enough to bring back the usual crowds. Some industry observers speculate that broader economic factors, such as companies cutting travel and entertainment budgets, may be influencing attendance at large industry events. Others wonder if SXSW’s reputation as a significant industry gathering is being overshadowed by its party-like atmosphere.
The decisions made by SXSW organizers for the 2026 event will be crucial in determining the festival’s future as a core destination for music industry professionals and the wider public. Whether the new format can reignite the enthusiasm and attendance of previous years remains to be seen. The upcoming year will be a telling one for the future of this influential event.
[H/T] Digital Music News
The post SXSW 2025 Struggles With Sharp Decline In Attendance appeared first on EDMTunes.
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Mike Candys Releases Electro House Nostalgia-Filled Tune, ‘Make Some Noise’

Here’s a new tune to get you pumped up during the weekend.
World sensation, quite literally yellow-faced artist Mike Candys kicked off this weekend in style, by releasing his latest single, ‘Make Some Noise‘. The track is a nod to the recent past, bringing back the festival vibe many of us in the industry grew up with, with a more modern flavour, yet without leaving those landmarks behind.
Well-known for his lively performances and music, which set the standard, Mike Candys gets over 1.7 million listeners a month on Spotify and hundreds of millions of listens across his tracks. With a career that’s gone on for years, Candys keeps turning out essential Electronic music based on catchy melodies and boosted by a modern festival vibe. Mike has wowed crowds with brilliant sets at places like Space Ibiza, Privilege Ibiza, Cologne’s Bootshaus, and XL Dubai.
‘Make Some Noise’
Powerful and catchy, this track takes us back to the 2013-2015 era of commercial EDM, at times when acts like VINAI and TJR captivated the entire world with their bouncy Electro House sound. This track grabs that concept and puts it back to work, with a slight variation on the way the kicks hit in a more Techno-ish way, yet still pairing phenomenally with the entire arrangement.
This release is another big moment for a producer who has influenced the sound of modern Electro House with both his own tracks and top-selling remixes. Famous for his platinum-selling single ‘Insomnia’, the multi-gold award-winning ‘One Night in Ibiza’, and the massive hit ‘2012 (If The World Would End)’, Mike Candys has stayed a major figure in the Dance world. He’s also remixed tracks for people like Sean Paul, Snoop Dogg, Example, and Lil Jon. Talk about reaching summits.
Listen to Mike Candys‘ ‘Make Some Noise’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Mike Candys Releases Electro House Nostalgia-Filled Tune, ‘Make Some Noise’ appeared first on EDMTunes.
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Final debuts the DX6000 in all-new headphones series

Final Audio has unveiled the DX6000, the first entry in its all-new DX headphones series.
Crafted “entirely from the ground up”, the brand’s latest open-back headphones employ proprietary driver technology to deliver a speaker-like listening experience that’s both highly transparent and emotionally expressive.
READ MORE: Audeze’s LCD-S20 headphones are the most affordable in its LCD series – and pack in its ground-breaking SLAM technology To start, at the heart of the DX6000 is a newly developed large-diameter dynamic driver featuring an ultra-lightweight magnesium dome diaphragm. Magnesium, chosen for its rigidity and neutral acoustic properties, allows the DX6000 to achieve “remarkably low distortion and a fast transient response”, says Final.
As for the diaphragm, it is housed within a monolithic injection-moulded structure using a proprietary adhesive-free silicone foam surround. This unique construction removes unnecessary weight and delivers perfect piston motion, resulting in a dynamic soundstage with natural spatial separation, rich lows, and detailed reproduction across the frequency range.
To complement the diaphragm design, engineers developed a free-air wired aluminium coil, made with trace element doping for enhanced conductivity. By eliminating traditional bonding points and soldering connections, signal purity is maintained and reverse resonance is dramatically reduced.
In addition, the DX6000’s internal acoustic networks features a crossover-less design, mimicking the linearity of a well-designed speaker, offering accurate high-frequency response without harshness. The headphones’ fully open housing structure, where the front and rear enclosures are seamlessly connected, meanwhile, results in a deep, uncoloured bass with remarkable presence.
Each DX6000 is also manufactured and manually acoustically matched at Final’s dedicated production line in Japan, ensuring exceptional quality control. Despite its complex engineering, the headphones remain light on the head, weighing just 363g (excluding cable). The open-back architecture and thoughtful weight distribution also make them ideal for long sessions.
Included is a 3-meter OFC balanced XLR cable, designed for high-resolution, low-noise signal delivery in reference listening setups.
Priced at $1,999/£1,899/€1,999, the Final DX6000 will be available to purchase from 28 April 2025 at selected retailers.
Learn more at Final Audio.
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Listen to “Dreams” by The Knocks & Dragonette

The Knocks & Dragonette are meticulously crafting their upcoming “Revelation” album project, while leaving nothing to chance. With the release of their latest single “Dreams,” the roll-out now boasts an impressive four tracks. In line with the already explosive offerings of “Foolish Pleasure,” “The Hero,” and “Revelation“. “Dreams” elevates the era with its captivating synth-hued dance-pop vibes, promising a standout hit. This powerful collaboration is above all shaping up to be a defining moment in their storied careers.
As the captivating muse of Revelation Technologies, Aquaria the esteemed winner of RuPaul’s Drag Race Series 10 USA, has graced this campaign with her presence on several occasions. Presently, in the “Dreams” visualiser, we are treated to a more intimate glimpse of her charisma. The clip showcases her in a relaxed state, deeply engaged in an intriguing telephone conversation. Thus leaving us to merely speculate about the fascinating discussions unfolding.
However, for those who would rather have some clear insight into the “Dreams” narrative,  

Now that’s what I call a revelation!
Given The Knocks’ vibrant presence in New York and Dragonette’s dynamic base in Canada, it’s only logical to anticipate an exciting lineup of North American tour dates set for April through September. Likewise, fans can look forward to electrifying performances at renowned festivals, including the “All Out Festival” and the “OUTLOUD Music Festival at WeHo Pride,” among others.
Moreover, there is no need to fret if you can’t make it to any of these events, however, as the highly anticipated “Revelation” release is just around the corner. As meanwhile there’s plenty of time for another incredible track to be unveiled before the album drops, so stay tuned!
The highly anticipated album, “Revelation,” arrives on June 6th via Neon Gold Records / Futures / Virgin. PRE-save HERE
Connect with The Knocks
Facebook: https://www.facebook.com/theknocksnyc
X: https://x.com/theknocks
Instagram: https://www.instagram.com/the_knocks/
Connect with Dragonette
Facebook: https://www.facebook.com/dragonette
X: https://x.com/dragonette
Instagram: https://www.instagram.com/dragonette/
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Attendance Was Noticeably Down at SXSW 2025 — Will Format Changes for 2026 Bring Back the Crowds?

Since its birth in 1987, SXSW has grown into one of the largest of its kind — attracting thousands of visitors each year. Attendance was noticeably down at SXSW 2025, but in 2026, SXSW attendees may have an entirely different experience in store. SXSW 2026 is planning to go big with format changes.
For those trekking to SXSW this year, crowds were noticeably thinner. But that didn’t dilute the experience — in fact, many actually appreciated the extra elbow room. Starting with the tech expo that showcased the latest in music, audio, and visual technology, the panels were informative, as always. Topics ranged from AI, streaming fraud, artist revenue, and sync.
During one interactive panel, producers got to play their music for a panel of sync experts. Participants received instant feedback on placing their songs in films, TV shows, and commercials.
From off-site events at large venues like the main stage at the Texas Recording Academy party to modest ones like a backyard DJ set at the DISCO house event, the SXSW experience was as diverse as always.
You can always catch a performance from an up-and-coming artist as you take in the scene. But it’s the chance to network and make new connections that draw people worldwide to SXSW every year.
American Association of Independent Music (A2IM) President and CEO Richard James Burgess spoke to us outside their annual brunch event. “It is all about the networking at SXSW, although I know there’s much more than that.”
The President of the Music Managers Forum (MMF-US), Neeta Ragoowansi, emphasized the importance of connecting with members during their annual SXSW gathering. “Everyone shows up to show support, be part of this community, and really engage with each other on a very important pillar of our organization — networking. They learn from each other. It’s such a beautiful time, and it makes my heart glow,” she said.
As the Austin Convention Center closed down on April 1st for four years to undergo a massive renovation, SXSW organizers are using this as an opportunity to experiment with the usual SXSW format.
For 2026, officials are working on changes to bring back the crowds. For years, tech and film weekends have attracted crowds in droves — but the town empties out right after.
SXSW organizers insist that the event is committed to retaining a core music focus, but critics have had their doubts for a while. Some believe that SXSW has already aggressively diluted their value to the music industry by over-expanding into other areas such as film, TV, and tech.
A SXSW spokesperson told Digital Music News, “With the Conference, Film & TV Festival, and Music Festival all taking place concurrently over seven days, everyone will have the chance to experience the whole of SXSW.”
SXSW 2026 will be two days shorter — but the 6-night Music Fest will now be seven days long. According to SXSW, “A shorter SX gives attendees more of a chance to be here for the entire run.”
This compressed format may spike attendee numbers and engagement — unless there are other factors keeping the usual crowds at bay.
Are companies cutting down Travel and Entertainment (T&E) budgets under the industry wide bid to reduce operational costs? T&E is veritably the second largest operational cost for music companies after salaries, and a budget cut would significantly impact SXSW attendance.
Or, maybe SXSW’s reputation as a ‘party’ vs. serious industry core event (that warrants the travel cost and related expenses) is simply no longer worth it for industry professionals.
On the outset, SXSW does seem ready to make the necessary changes to bring back the music crowds. However, what organizers bring to the table for SXSW 2026 could make or break the future reputation of SXSW as a core music industry event.
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Guide: All You Need to Know Before Going to 1001 Festival in Riyadh

This is your essential guide to 1001 Festival in Riyadh. A first of its kind in Saudi Arabia—it promises a dreamworld of sound carved from sand, lights, and centuries of imagination. Held in the vast desert expanse of Banban, Riyadh, this music festival blends ancient Arabian storytelling with imaginative stage design and a lineup of electronic legends. Whether you’re traveling for the first time to Saudi or you live in Riyadh, this guide is everything you need to know before you go to 1001 Festival.
Where is 1001 Festival located in Riyadh?
1001 Festival takes place in Banban, the same desert location used by MDLBEAST Soundstorm. It’s a massive site equipped for high-volume music events. The venue features underground stages, wide access roads, and clear signage for every ticket tier. Use this Google Maps link to find exact directions to the gates. Organizers have separated entrances by ticket level to avoid congestion and confusion on arrival.
What time does the festival start and who can attend?
Gates open at 4:00 PM and close at 2:00 AM. Only guests aged 18 and above may enter the festival. You must bring a physical or digital copy of your ID for entry verification. No ID, no entry—no exceptions. Dress stylishly, but respect local customs. Security can deny entry to guests in inappropriate attire, so choose wisely.
What are the stages at 1001 Festival?
There are four immersive stages at the festival, each with a distinct story and vibe. Qafilah is a traveling caravan that sails across golden dunes, its rhythms shifting with the sands. Qasr reimagines a grand ballroom into a royal rave filled with elegance and thunderous basslines. Bustan is a surreal garden where birds sing, trees sway, and melodies bloom with every beat. Sahaab floats above reality like a cloud of light and sound, suspended in motion between fantasy and atmosphere.
How do you get to 1001 Festival and where do you park?
You can drive your own car and access complimentary parking, sorted by ticket tier for smooth arrival. If using Uber, Careem, or a taxi, drop-offs are coordinated by entrance tier. Festival organizers encourage carpooling with friends to enhance the ride and simplify entry. Make sure everyone in your group has the same ticket tier so you can park and enter together.
What should you bring to 1001 festival?
The event is completely cashless. Accepted payment methods include Visa, Mastercard, Mada, and Apple Pay.
There will be no locker storage, so bring only what you need for the night. Professional recording equipment and cameras are not allowed inside. You can use your phone for photos and videos, but always be courteous and respect others’ privacy. This helps keep the vibe positive and the focus on the music.
Are there free tickets or premium passes available?
Yes, 1001 offers multiple ways to access the festival. Ladies can register for free General Admission tickets by signing up for NOFOMO and Saudi Rewards. These tickets are valid only for women, and men using them will be turned away at the gate. General admission tickets start from $48 USD (SAR 179) for one day. VIB tickets with enhanced viewing decks, premium parking, and more start at $149 USD (SAR 559). For the ultimate upgrade, VVIB tickets from $933 (SAR 3,499) include backstage access behind the DJ, elevated access, premium parking, and more. Explore all the ticket options here.
What are the best hotels near the festival site?
If you’re staying for the weekend, here are the best nearby hotel options. These hotels offer comfort, convenience, and easy rideshare access to and from the venue:
InterContinental Durrat Al Riyadh – 10 mins away – $547 USD (SAR 2,050) Fairmont Ramla Residences – 20–25 mins – $480 USD (SAR 1,800) Radisson Residences – 20–25 mins – $160 USD (SAR 600) Novotel Riyadh Sahafa – 20–25 mins – $154 USD (SAR 580) Hilton Riyadh Hotel & Residences – 30–35 mins – $437 USD (SAR 1,640) What should you do before heading to the festival?
Charge your phone and pack your digital wallet with an accepted payment method. Screenshot your entry gate location and artist set times. Double-check that your ID is ready and your outfit meets the guidelines. Coordinate with friends so everyone knows which entrance to use. Keep this guide handy whether you’re dancing in Bustan, floating through Sahaab, or watching from behind the decks with VVIB, 1001 Festival Riyadh is your passage into a world built on rhythm and wonder. Tickets are available here.
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Shure’s MV7i USB mic might be your go-to audio interface for mobile recording

$349 / £329, shure.com
Shure’s MV family of USB microphones continues to expand with the addition of the MV7i, sharing much of the technology of the MV7+ but adding a second input with plenty of gain to essentially turn the mic into a standalone audio interface.
The idea is that you can add a second microphone or source via the combination XLR and jack input with phantom power and use it as a single or dual channel interface down a single connection, removing the need for additional cabling. That potentially makes it the perfect mobile solution for podcast or other simpler audio tracking uses like a singer/guitarist. But how well does it work in practice?
READ MORE: IK Multimedia’s iRig Stream Mic Pro is a hassle-free solution for all recording artists The mic is sturdy with a high-quality metal case and comes on a yoke mount with screws on either side to enable it to be angled or fixed securely. You don’t get a stand for it, but the mount has a thread that can be attached either to a desk or a boom stand, depending on how you plan to use it. A foam pop shield is included, as is a USB-C cable of reasonable length, which both powers the mic and carries audio signals.
No drivers are required but you will need to download the MOTIV Mix app for macOS, PC or iOS, as this is the way you control the different settings inside the mic. There are no on-body controls except for the colour LED touch strip, which can be tapped to mute or unmute the signal. On the rear of the body are the USB-C port, the combo XLR/jack input and a 3.5 mm headphone output for monitoring.
The first thing the MOTIV Mix app will ask you to do is set up the routing for recording, the way the mic outputs audio. The first option is Mixdown, where inputs 1 and 2 are summed as a mono stream, say for live streaming. Then there’s Multitrack, which separates inputs 1 and 2 as individual mono streams, and finally Stereo which keeps input 2 as stereo while sending input 1 to both left and right, perhaps for recording voiceover over stereo content.
In terms of hardware, the mic has a directional, cardioid polar pattern and a dynamic transducer and a frequency response of 50 Hz to 16 kHz – not the widest range going, but sufficient for voice recording. Anyone wanting to capture every nuance of an acoustic guitar, for example, may want to connect a more sensitive mic to the other input – but we’ll get to that. The unit’s analogue-to-digital converter runs at up to 24-bit/48kHz and a slightly lower 16-bit/44.1kHz for iOS devices.
The onboard digital signal processing (DSP) powers a bunch of useful recording effects and tools that help you to capture respectable recordings in the kinds of less-than-perfect environments you may find yourself working in while on the move. All of these are configurable in the app. First up is Auto Level Mode with SmartGate, which monitors signal and auto-adjusts gain based on distance, volume and room dynamics. It can also prevent overlapping dialogue when two inputs are in use. It’s effective in real-world use, and though you will set levels manually in the app, the auto features help to mitigate variations in volume and potential movement during recording. The company’s Voice Isolation Technology helps the system separate out voices from other noise.
Denoiser is another process that can run in real-time, identifying and reducing persistent ambient noise like air conditioning, and a digital popper stopper can be activated in addition to the physical windshield. Then there are three types of variable digital reverb which tend towards sounding swampy so would need to be used sparingly, and an effects strip with tone, gain, EQ, compression and a limiter. All these are also available for the combo input channel and will be applied when a signal is detected from that input. There are broad presets for speech, singing or instruments, and global setups can be stored in the app too for easy switching between different uses.
This is a lot of processing inside such a small unit and, until now, would usually have required a larger housing — even compact audio interfaces with this much DSP don’t manage to also incorporate a full microphone. The MV7i can also supply 48v phantom power and +60dB of gain to its physical input and doesn’t get noticeably warm while doing so.
Monitoring is zero-latency with optional reverb applied both to the recording and foldback, and in tests, the recordings captured are excellent. The ability to add processing to the sound onboard – EQ, compression, limiting and a degree of gating – rather than in a DAW — cuts the chances of latency appearing. Plus, it means your sound is pre-processed by the time it hits the hard drive or is streamed online. Of course, you can omit these if you want to add effects post-recording, but there is an option to have a ‘comfort’ reverb in headphones, but not record it. Adding a second source via the combo input is simple, with the streams appearing to your DAW based on how you’ve set up the routing.
The MOTIV Mix app is capable of recording a high-quality stereo file from several inputs, including your computer (though at a fixed setting), which is fine for podcasting or recording live material, though for more flexible mixing, you’d capture separate streams in a DAW or similar package.
Shure suggests that this is a unique device, but it’s not dissimilar to IK’s iRig Stream Mic Pro (around £149) in some respects, which also has a high-quality USB-powered mic (with switchable polar pattern) and operates as a more limited audio interface than the MV7i. It lacks the DSP and internal effects as well as the powered combo input, so it’s more restricted, but it does have more on-body controls if that’s something you prefer.
The MV7i is a dependable and well-built mic that performs to a high standard and will suit streamers, podcasters and those needing to record a couple of sources without carrying lots of gear. The DSP features like auto gain and denoiser are genuinely useful, while the directionality of the mic means it excels at the task of voice pickup.
If your needs are more modest, the MV7+ at around £269 offers many of the same features just without the second input. The MV7i is arguably a little on the pricey side but there’s really nothing around that does what it does quite this well.

Key features
USB-C mic with up to 24-bit, 48 kHz recording Second combo mix/line/instrument input MOTIV Mix desktop and iOS software Onboard effects and DSP Zero-latency monitoring Auto gain, denoiser and pop stopper LED touch panel for muting and level feedback (with a Split option to reveal a meter for each input) 3.5 mm headphone output Phantom power to XLR Flexible routing modes The post Shure’s MV7i USB mic might be your go-to audio interface for mobile recording appeared first on MusicTech.
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$20 Million AUD (12.8 Million USD) Festival Support Initiative Proposed As Insurance Rates Skyrocket

Photo Credit: Danny Howe
Australia’s festival sector is suffering more than most, so the Australian Greens have announced a $20 million annual Festivals Support Package.
Between rising insurance costs, climate impacts, and reduced consumer spending, Australia’s festival circuit is suffering even more than those worldwide. But the Australian Greens have announced a $20 million (12.8 million USD) annual Festival Support Package designed to strengthen and stabilize the country’s live events sector.
Greens’ spokesperson Senator Sarah Hanson-Young officially launched the plan over the weekend at Bluesfest Byron Bay alongside local candidate Mandy Nolan and Bluesfest Director Peter Noble. The announcement went public late Friday night, ahead of the policy launch the following day at the festival.
“Our festivals are in crisis,” said Senator Hanson-Young. “Over the past few years, we’ve seen the cancellation after cancellation of loved and iconic festivals. It’s clear that the government needs to step in to help the industry.”
“A plan for the arts is nothing without the funding required to support the industry,” Senator Hanson-Young explained. “The Greens’ plan for supporting our festivals takes a holistic view of what the sector needs. That means direct support in the form of grants, a review of the market failure in insurance for live events, a federal strategy for sustainability, and tax offsets for both venues and artists.”
She stressed that festivals play a critical role in the development of Australian talent and the live music ecosystem worldwide.
“Festivals are an essential part of the music ecosystem and an important part of our culture,” she said. “It’s how Australian artists build new audiences that help set up their careers — and it’s how young people build a love for live music.”
The announcement is well timed, as numerous high-profile live events have been cancelled in recent years, many of which take place in Australia, including Falls Festival and Splendour in the Grass. Smaller regional festivals face even more insurmountable issues with logistics and financial barriers.
“Festivals matter,” said Hanson-Young. “They inject money and enthusiasm into our local communities from the cities to the regions. I’m excited to be making this announcement at Bluesfest, an iconic Australian festival and a great example of how investment in the arts drive local, regional economies.”
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11 DJs Takeover FATAL FURY: City of the Wolves Soundtrack

Fatal Fury: City of the Wolves, SNK’s highly anticipated 2.5D fighter game, drops April 24, 2025, but its soundtrack is already making noise by partnering with 11 global DJs. The game doesn’t just revive a beloved fighting series, it fuses it with modern electronic music culture to create something bigger: a fully immersive gaming experience.
An In-Game OST Which Looks Like a Festival Lineup
At the heart of this collaboration dubbed ‘REV IT UP’, is a simple idea: music shouldn’t just sit in the background— it should shape how one interacts in a virtual world setting. The Fatal Fury: City of the Wolves music collaboration is one of the biggest moves we have seen in recent times when it comes to background scores in gaming. Spearheaded by DJ Salvatore Ganacci—who also appears in-game as a playable character— Fatal Fury brings together 11 major EDM DJs to shape the music identity of the title. The result? A 19-track soundtrack that fuses the energy of fighting games with the rhythm and atmosphere of world-stage EDM.
The full DJ roster includes:
Afrojack Alan Walker Steve Aoki R3HAB Solomun Alok Artbat Butch Luciano Sidney Samson Salvatore Ganacci (also serving as music advisor) Each track is tailored to specific characters or arenas, functioning as in-game BGM during fights. Players can also engage with the music directly through Jukebox Mode. This mode allows full playlist customization and the ability to assign tracks to stages, menus, and intros.
To mark the game’s launch, the tracks will roll out across major streaming platforms starting April 24—kicking off with Mind of a Warrior by Alan Walker. We shall also see subsequent releases with Steve Aoki‘s Legacy, Alok‘s Don’t Mess With The Fire and Salvatore Ganacci‘s Work Hard Not Smart coming out this May 2025. Additional tracks will continue releasing throughout 2025.
Why Soundtracks in Games Matter?
Great soundtracks don’t just fill silence—they’re emotional anchors, mood setters. A game’s soundtrack is its soul, shaping its world and immersing players in its emotional and atmospheric core. Gustavo Santaolalla’s sparse, aching compositions made The Last of Us feel desolate and real. That seems fit for an action-adventure lore based game set in post-apocalyptic environment. Now flip that energy: EDM’s driving beats are a natural fit for high-energy genres like fighting games and racers. And this collaboration—unprecedented in its scale—builds on a rich legacy.
Look at Deadmau5 and Need for Speed: Most Wanted (2012), the iconic producer curated a pulse-pounding OST, with tracks like Strobe and Calvin Harris cuts fuelling EA’s street-racing chaos. The music’s relentless tempo mirrored the game’s high-speed pursuits, setting a high standard for EDM in gaming. Skrillex’s dubstep banger Make It Bun Dem (with Damian Marley) became Far Cry 3’s signature, its aggressive drops syncing with the game’s anarchic combat. It proved dubstep’s visceral power in action-packed settings. Zedd’s Ignite headlined the 2016 League of Legends World Championship, its euphoric melodies capturing the esports frenzy. His in-game skins deepened the crossover, showing EDM’s cultural pull. Fatal Fury: City of the Wolves now joins a storied tradition of electronic music powering gaming experiences.
Where Combat meets Music
Fatal Fury: City of the Wolves represents the evolution in this relationship between gaming and electronic music. For fighting game enthusiasts, the soundtrack adds a new dimension to gameplay. With each character and arena gaining a distinct musical personality. For EDM fans, it offers a curated collection from some of the genre’s biggest names, contextualised within an interactive experience that amplifies the music’s impact.
As video games continue to evolve as cultural platforms rather than isolated entertainment products, Fatal Fury: City of the Wolves establishes a new benchmark for cross-media collaboration. When the game launches, players won’t just be downloading a fighting game—they’ll be immersing themselves in a combat experience powered by some of electronic music’s most influential voices.
Fans can follow the complete release schedule at SNK’s official Fatal Fury music portal.
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Kendrick Lamar Removed Several Drake Attacks From ‘Euphoria,’ Top Dawg President Reveals

Photo Credit: Kendrick Lamar by Kenny Sun / CC by 2.0
Certain Drake disses were omitted from Kendrick Lamar’s track “Euphoria,” Top Dawg President Terrence “Punch” Henderson reveals.
In an in-depth, three-hour-plus interview with Curtiss King, Top Dawg Entertainment President Terrence “Punch” Henderson confirmed that Kendrick Lamar’s song “Euphoria” initially contained more jabs at his nemesis, Drake. The seemingly more damaging version of the song, which was released in response to Drake’s “Push Ups,” ended up more concise per Punch’s advice.
The news comes on the heels of rumors that a nearly 20-minute version of the song exists. “I don’t know the length, but there was definitely a version that was longer than what the world got,” said Punch. “There was a lot of stuff that didn’t make it on there.”
“There was just some things in there that I didn’t think would have been beneficial in the long run to put in there,” he added. “So I gave him my input on that and he took some of those things out.”
Punch also provided some other insight into Ken’s ongoing feud with Drake, such as the former’s numerous Easter eggs throughout their battle. He also mentioned some areas where he thinks Drake went wrong.
“I read [‘Taylor Made Freestyle’] as [Drake’s] first mistake,” said Punch. “To me, it felt like a mockery of the West Coast. So when you do that, you’re gonna unite it. If there was any type of division at that time, once you do that, you’re gonna get all the people together.”
“My first response [to Drake’s ‘Push Ups’] was, ‘It’s not enough,’” he explained. “It was cool; it was cute. I see where you’re going, but those angles are not gonna be enough. It’s as simple as that.”
He continued, “I had the same thought with ‘Family Matters’ that I did with ‘Push Ups,’ and that was: It’s not enough! I think another mistake that they made was giving the idea that they was finna push this red button. When you do that, you build the anticipation a bit too high, so now people have expectations.”
“[The feud] had been bubbling for a while. We had been pretty close-mouthed about it,” Punch said of the lead up into Kendrick’s track “Like That.” “He played the record for Top [Dawg]. […] He told me a little bit about the record, so I hit [Lamar] like, ‘It’s going down?’ He said, ‘Yeah, we’ll see what’s up,’ laughing.”
“People think that this [feud] is so serious, but it’s funny,” explained Punch. “This n—a is from Compton, California, bro. Where he grew up, it’s serious over there — you getting shot at, you getting home invasions, you getting gang wars. We’re talking about music, bruh, so it’s funny!”
Drake recently amended his defamation lawsuit against Universal Music Group (UMG) related to Kendrick’s award-winning Drake diss track, “Not Like Us.” Previously, Drake was given until April 16 to respond to UMG’s motion for dismissal or file an amended lawsuit. The amended filing is 23 pages longer than the original.
“The Recording was performed during the 2025 Super Bowl and broadcast to the largest audience for a Super Bowl halftime show ever, over 133 million people, including millions of children, and millions more who had never before heard the song or any of the songs that preceded it,” the amended filing reads.
“On information and belief, Kendrick Lamar would not have been permitted to perform during the Super Bowl Performance unless the word ‘pedophile’ (in the phrase ‘certified pedophiles’) was omitted from the lyrics — that is because nearly everyone understands that it is defamatory to falsely brand someone a ‘certified pedophile.’”
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Lady Gaga’s Epic Coachella Weekend 2 Set Briefly Hampered By Mic Issues — ‘At Least You Know I Sing Live’

Photo Credit: @alung1999 on YouTube
Lady Gaga’s set at Coachella’s Weekend 2 hit some mic issues, but she powered through with style: “At least you know I sing live,” she told the crowd.
Lady Gaga’s epic Coachella 2025 set was briefly hit with a snag when her mic began glitching during “Abracadabra,” her second song of the night, but the 14-time Grammy winner powered through with her choreography. Soon, the star re-emerged with a working mic.
“I’m sorry my mic was broken for a second,” she told the crowd. “At least you know I sing live. I guess all we can do is our best, and I’m certainly giving you my best tonight.”

The performance marks Lady Gaga’s first time performing at Coachella since 2017, when she replaced Beyoncé on the lineup. For the festival’s 2025 edition, she came equipped with tracks from her latest album, Mayhem, and some of her other biggest hits.
“Since the last time I played Coachella, I’ve had some songs come out,” she said as she led into her hit “Shallow,” which won her an Oscar, Grammy, and Golden Globe when she originally sang it in 2018 with Bradley Cooper in their A Star Is Born remake. “But one of them, I think back to being here and remember how special it was that I got to perform here. And we filmed a movie, a movie that changed my life, helped me say something I hadn’t said before.”
“I hope you sing it as loud as you can,” she continued. “There ain’t nothing like you. Come on — let’s get far from the shallow.”
This year, in addition to Gaga, Coachella’s headliners included Green Day, and Post Malone, with a special performance from Travis Scott. Other notable performances included Charli XCX, Megan Thee Stallion, Missy Elliott, Shaboozey, Benson Boone, Ty Dolla $ign, The Original Misfits, Prodigy, Jimmy Eat World, Zedd, and many more.
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M42's "Gimme That Dirty" Is a Drum & Bass Blitz From Another Dimension

Dirty has never sounded cleaner in M42's new single, "Gimme That Dirty," a sleek and snarling drum & bass track.
The emerging duo's moniker nods to the Orion Nebula, Messier 42, an "enormous cloud of dust and gas where vast numbers of new stars are being forged," per NASA. In Mayan mythology, it was revered as the "fire of creation," believed to be the place where the gods kindled the first fire and initiated the creation of the world.
Messier 42 held deep spiritual significance as a celestial birthplace tied to their origin stories and rituals. M42 have turned that celestial fire into blistering electronic music in their new single, a dark, kinetic blast of drum & bass.
"Gimme That Dirty" is engineered for maximum impact and minimal mercy. Spacey synths slither atop a tight, propulsive drum groove and the bass rips through the mix like barbed wire.
The track arrives in the midst of a strong year for M42. Hailing from Los Angeles and Austin, the duo recently shared the stage with DVBBS at The Concourse Project and performed at Spinnin' Records and Kanary Records' rooftop sessions at last year's SXSW festival.
You can listen to "Gimme That Dirty" below.
Follow M42:
Instagram: instagram.com/m42ofc
SoundCloud: soundcloud.com/m42-733895052
Spotify: tinyurl.com/yx28jxzy
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Markus Schulz, Tim Clark and Linney Soar With Dance Anthem of Resilience, "You Belong"

Markus Schulz, Tim Clark and Linney have joined forces for a new collaboration, "You Belong," a radiant trance track.
Warm and full of promise, "You Belong" finds the three artists at different yet complementary stages of their careers but converging to deliver a track that moves bodies and hearts on the dancefloor. Schulz’s time-honored trance instincts, Clark’s dynamism and Linney’s ethereal vocal prowess unite for a memorable dance record.
The track's message, a poetic invitation to endure and emerge stronger, offers listeners a sense of shared struggle and renewal. It’s this same warmth that’s made Linney a beacon in dance music, a light that continues to shine even brighter as a newly minted member of the EDM.com Class of 2025.
From a production standpoint, the track is embraces vibrant sound design with Schulz’s trance roots running deep. Melodies unfold in cascading waves while gated vocal chops set the spirited pace. It’s a sonic sanctuary, built by artists who understand that even in dance music's most euphoric moments, there’s power in vulnerability. 
You can listen to "You Belong" below and find the new single on streaming services here.
Follow Markus Schulz:
X: x.com/markusschulz
Instagram: instagram.com/markusschulz
TikTok: tiktok.com/@markusschulzofficial
Facebook: facebook.com/markusschulz
Spotify: tinyurl.com/46k3zfzv
Follow Linney:
X: x.com/linneyofficial
Instagram: instagram.com/linney
TikTok: tiktok.com/@linney
Facebook: facebook.com/linneyofficial
Spotify: spoti.fi/33ARzWg
Follow Tim Clark:
X: x.com/timclarklive
Instagram: instagram.com/timclarklive
TikTok: tiktok.com/@timclarklive
Facebook: facebook.com/TimClarkLiveFB
Spotify: tinyurl.com/4tzvj8ju
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Anyma Announces Summer 2025 DJ Residency at Ibiza's [UNVRS]

[UNVRS], Ibiza's new technologically advanced "superclub," has announced one of the most anticipated bookings of the island's 2025 season, an eight-show residency featuring Anyma.
Running Tuesday nights from July 8th, the residency marks a significant pairing between one of electronic music's most innovative artists and the island's cutting-edge new venue.
Coming off a remarkable year that saw Anyma become the first electronic artist to hold a residency at the record-breaking Las Vegas Sphere, the DJ will bring his distinct fusion of emotive techno and immersive visual storytelling to the White Isle.
c/o Anyma
[UNVRS], which is purpose-built for multi-sensory experiences, represents the perfect canvas for Anyma's ambitious creative vision. Each night promises to deliver a real-time, responsive experience "aligned with the visual language he’s developed over years of interdisciplinary work," according to a press release.
"Perception fractures, the real blurs with the unreal, and a transformative universe begins to take shape," Anyma said in a statement. "A quantum odyssey at the intersection of music, art, and technology. This is Anyma at [UNVRS]."
"It's an honor to welcome Anyma to [UNVRS]—a truly meaningful moment," added Yann Pissenem, owner, founder and CEO of The Night League and Ushuaïa Entertainment. "The impact of his work speaks for itself, and his artistic vision is perfectly in tune with the spirit of [UNVRS], which was conceived to host and showcase the most forward-thinking creators of our time. I'm looking forward to sharing his new universe with the world."
The residency's lineup is massive, featuring Dom Dolla, John Summit, Amelie Lens, Solomun, Adriatique, Argy, Cassian, Kevin de Vries and Mind Against, among other influential techno and house music acts.
Tickets for Anyma's residency at [UNVRS] are on sale here.
c/o Press
Follow [UNVRS]:
X: x.com/unvrsibiza
Instagram: instagram.com/unvrsibiza
TikTok: tiktok.com/@unvrsibiza
YouTube: youtube.com/@unvrsibiza
Facebook: facebook.com/unvrsibiza
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EDM.com Fresh Picks: Elderbrook, msft, Alowski & More

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene.
You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.
EDM.com Fresh Picks
Elderbrook & Ahmed Spins - Waterfall
msft - Gottakeep
NOZU & MNTRA - Push
George Daniel - Chlorine
COIDO - Little Snitch
Alowski - UNSPOKEN
Dahliah - I wanna dance
Malixe, Jade Sierra - Haven
Danny Olson & Awakend - Follow Me Back Home (feat. Casey Cook)
jabeau - hey i made this
Air - Ce matin-là (Vegyn Version)
Owen Vonn - Fall In Line
NIGHTJARS, .breezy & Zack B - Fantasy
Setou & Senyo, Lil Eddie & DobleU - Chem Trail
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deadmau5 Apologizes After Blacking Out on Stage During Blacklizt B2B Set at Coachella

As weekend 2 of the Coachella festivities hits Indio, one of the most anticipated performances of the weekend belonged to a unique B2B performance featuring deadmau5‘s alias ‘Testpilot‘ and ZHU atop the Quasar stage. However, the one of a kind performance did not exactly go as planned as producer behind the iconic mouse head mask, Joel Zimmerman, had a slightly bit too much to drink before he took the stage. The set would abruptly come to a close Friday night with Zimmerman being helped off the stage.
Videos of the awkward performance began surfacing online showing some strange mixing throughout the set with Zimmerman slurring his words as he grabbed the mic. Following the aftermath of the evening, deadmau5 proceeded to post a photo of a water bottle to his social media with the caption “I dont remember a thing. But I don’t think I had a cig? So… that’s good I guess? Going back to bed. Wake me up around Thursday ish.” After a few hours, Zimmerman posted a follow up post featuring a photo of his cat captioned with a lighthearted apology along with a shoutout to ZHU for carrying the performance.
To be fair, this happens to the best of us especially in the nightlife scene. deadmau5’s posts were flooded with unconcerned and supportive comments from his fans who saw the humor in the situation. Hopefully we get a second chance at seeing this duo take the stage at another event in the future so we can experience the full potential of their musical talents.
The post deadmau5 Apologizes After Blacking Out on Stage During Blacklizt B2B Set at Coachella appeared first on EDMTunes.
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​Not Just a DJ: How Avicii Redefined an Era of Dance Music

Seven years ago, on April 20, 2018, the world lost Tim Bergling, known globally as Avicii. His passing left a void in the music world, but his influence endures through his groundbreaking tracks, the memories of his performances, and the emotional depth he brought to electronic dance music.
A Personal Introduction to Avicii’s Music
I first encountered Avicii’s music when Levels played at a friend’s gathering. I didn’t even know what EDM was at the time. I just knew that something about that loop made everything around me feel lighter. The way it kept building felt like an invitation into a new world, one that I didn’t fully understand but wanted to be part of. That song didn’t just stick in my head. It changed how I heard music. It was the beginning of everything for me.
In 2016, I had the opportunity to see Avicii perform live at Road to Ultra Thailand. I still think about that night. The crowd didn’t need fireworks or distractions. When he played The Nights, people put their phones away and actually lived in the moment. There was a group of strangers hugging behind me. Some were shouting the lyrics. Others had tears in their eyes. “One day you’ll leave this world behind, so live a life you will remember.” It didn’t feel like a line from a dance song. It felt like a reminder to wake up and be present.
Bridging Musical Worlds
Avicii made electronic music feel personal. That was his gift. Wake Me Up was released in 2013 and reached number one in over twenty countries. It sold more than 267,000 copies in the UK during its first week and became the most streamed track in Spotify’s history at the time. The track featured Aloe Blacc on vocals and was co-written with Mike Einziger from Incubus. It was electronic, but it didn’t sound like anything else out at the time. “All this time I was finding myself, and I didn’t know I was lost.” That line found its way into Instagram captions, yearbook quotes, and people’s real lives.
Hey Brother felt more like a country or folk song. It had a message about family and sacrifice that reached far beyond the dance floor. The Days and The Nights became twin tracks in a way. One was about the memories you make, and the other was about why those memories matter. “These are the nights that never die” became something people wrote on posters, festival banners, and graduation cards. His music didn’t just play in clubs. It followed people through growing pains, through breakups, through change.
A Soundtrack for Every Emotion
Avicii’s songs were tied to specific feelings in a way that a lot of EDM at the time was not.
Levels felt like discovering something new and not being afraid of where it might take you. Waiting for Love sounded like someone trying to hold on to hope after losing it for a while. “Monday left me broken, Tuesday I was through with hoping” hit different when life was actually throwing you around. Fade Into Darkness gave space to people who were dealing with the quiet stuff. The moments when you feel unsure of who you are or where you’re headed. The Nights helped people remember that joy could still exist in the middle of everything else. Back then in our twenties, we danced to these songs without thinking too much about the lyrics. They were part of the background. But now in our thirties, the words feel more specific. They feel like they were written for moments that haven’t even happened yet.
Enduring Legacy
Avicii’s influence on music is still being felt today. Artists like Kygo, Alan Walker, Martin Garrix, and even pop acts like Zara Larsson and Billie Eilish have pointed to Avicii’s emotional honesty and musical structure as something that shaped how they make songs. He helped take EDM out of the underground and onto the radio without losing any heart. That shift changed the course of what pop and dance music could be.
After his death, the Tim Bergling Foundation was launched by his family. The foundation focuses on mental health awareness, suicide prevention, and removing the stigma around seeking help. His story pushed the industry to talk more openly about burnout, touring pressure, and the need for balance. He left behind not just an archive of songs, but a conversation that needed to happen.
In 2025, a compilation album titled Avicii Forever was announced. It features twenty of his most well-loved tracks and includes a previously unreleased song called Let’s Ride Away, which he co-wrote with Kacey Musgraves. That track is expected to come out later this year, and fans are already anticipating how it might feel to hear his voice and production again after all this time.
Remembering Tim Bergling
Avicii‘s music continues to inspire and connect people. He didn’t just produce songs that filled dance floors. He created tracks that made people feel seen. Tracks that sounded good when you were celebrating but also stayed with you when things got quiet.
As we remember him today, we’re not just looking back at a discography. We’re remembering the way a song could hit you when you least expected it. How one line could stay in your head for years. How a beat could make you feel like yourself again.
Tim Bergling may have left us in 2018, but his music still speaks for him, and a lot of us are still listening.

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