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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.
The post 11 DJs Takeover FATAL FURY: City of the Wolves Soundtrack appeared first on EDMNOMAD.
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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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Celebrate The Birthday Of Sebastian Ingrosso With His Top 10 Tracks!

Sebastian Ingrosso is a Swedish EDM producer and DJ of Italian descent, best known as a member of Swedish House Mafia alongside Axwell and Steve Angello. After years as an underground tech-house artist, he launched Refune Music in 2003 and gained mainstream success in 2005 with Axwell on ‘Together’. More hits followed and in 2008 he co-founded Swedish House Mafia, releasing massive tracks like ‘One’ and albums ‘Until One’ and ‘Until Now’. In 2014, he and Axwell formed the duo Axwell /\ Ingrosso. The trio later reunited as Swedish House Mafia, releasing their debut album ‘Paradise Again’ in 2022. Today, we celebrate Sebastian Ingrosso’s 42nd birthday by looking at his top 10 tracks.
10. How Do I Make You Love Me? (Sebastian Ingrosso & Salvatore Ganacci Remix) – 14m Spotify streams
09. Can’t Hold Us Down (with Axwell) – 14m Spotify streams
08. Let You Do This (with Steve Angello & Salvatore Ganacci) – 14m Spotify streams
07. Dark River – 31m Spotify streams
06. Leave The World Behind (with Steve Angello, Axwell, Laidback Luke & Deborah Cox) – 79m Spotify streams
05. On My Way (with Axwell) – 79m Spotify streams
04. Something New (with Axwell) – 122m Spotify streams
03. Calling (Lose My Mind) [with Alesso & Ryan Tedder) – 212m Spotify streams
02. Reload (with Tommy Trash) – 263m Spotify streams
01. Sun Is Shining (with Axwell) – 399m Spotify streams
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Celebrate the Legacy Of Avicii With His Top 10 Songs

April 20th, 2025 marks seven years since the world lost Tim Bergling, better known as Avicii, a truly visionary producer, DJ, and artist who redefined the landscape of electronic music. His melodies transcended dance floors, reaching hearts across the globe with a rare blend of emotion, energy, and authenticity. Today, we honor his legacy by revisiting the tracks that not only defined his career but also shaped a generation of music lovers across the globe. From timeless festival anthems to introspective ballads, these top 10 songs capture the essence of Avicii‘s brilliance — and the everlasting impact he left on the world.
10. Addicted To You – 479m Spotify streams
09. I Could Be The One (with Nicky Romero) – 496m Spotify streams
08. Lonely Together (ft. Rita Ora) – 737m Spotify streams
07. SOS (ft. Aloe Blacc) – 816m Spotify streams
06. Levels – 1.1b Spotify streams
05. Hey Brother – 1.1b Spotify streams
04. Without You (ft. Sandro Cavazza) – 1.1b Spotify streams
03. Waiting For Love – 1.5b Spotify streams
02. The Nights – 2b Spotify streams
01. Wake Me Up – 2.6b Spotify streams
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Jax Jones Reveals Details Of New Y2J! Project

Jax Jones is responsible for some of the most iconic house hits of the past 10 years with amazing tracks like ‘I Got U’, ‘House Work’, and ‘Where Did You Go.’ But this year he’s broadening his horizons with the beginning of his new Y2J! project which sees him taking on a whole new style.
The British DJs latest release ‘Bad Boys’ was the first introduction to this new style which he has now given more context to in a recent video on social media. He explained that “I’ve not been feeling inspired as an artist and a fan of music”, “For me what’s important is exploration.” Y2J! is the start of that exploration with a bunch of upcoming tracks being released under this project that are going to be harder and faster. He’s described the Y2J! musical direction as “Techno, but a bit more Polly Pocket” and a sort of 2025 version of Eurodance. The previews of his upcoming releases certainly live up to the hype with them definitely giving off that Vengaboys energy everyone loves.
Along with this change in sound he’s stated that there’s also going to be collaborations with industry legends and people around the world. Though born and raised in England, Jax Jones is half Chinese, half Turkish and he’s said he wants to explore that identity with music. ‘Bad Boys’ is already a display of his promise of international collaborations with American singer Rebecca Black and Korean DJ sooyeon featuring on the track.
For those that love Jax Jones’ usual style there’s no need to worry as he has said he will bring back that sound, but right now it’s Y2J! time. The enthusiasm he has for Y2J! is evident and having Jax Jones feeling inspired again is huge for the dance music scene.
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In Conversation with René LaVice

Canada-born drum & bass visionary René LaVice has garnered global recognition for his profound influence on the genre, from his groundbreaking original productions and remix work to his expertly curated track selections. A prominent figure at BBC Radio 1 for nearly five years, LaVice’s impact has left an indelible mark on the international music landscape. As his label, DeVice, celebrates five years of chart-topping releases and the incredible milestone of over one million streams on Spotify, René’s momentum shows no signs of slowing down.
In this conversation, René reflects on the journey that has brought him to this milestone, sharing the story behind The Calling and how it unexpectedly resonated with so many listeners. He also offers a glimpse into his latest projects, from major collaborations to the organic rise of Demons.
With DeVice continuing to push boundaries, René reveals the exciting future of the label, from the launch of DeVice Radio to the highly anticipated five-year anniversary event. This interview provides a rare insight into his creative process, the evolution of DeVice, and what’s next in his ever-expanding musical journey.
Hey, what’s up? Can you hear me?
Hey, I can hear you now, so sorry. Typical music producer. It’s just, yeah, hilarious. Every time we’re on one of these things, it’s like trying to reroute everything and it’s hilarious. It’s a joke that never gets old. How are you doing?
I can’t believe that your RAM release The Calling with Ivy Mairi is celebrating its 10-year anniversary this year! I had no idea you started writing music back in high school. So when I saw your post about the single and noticed the vocalist, I thought, “Wow, they must have been high school friends!”
Yeah, we were high school friends, and we were both really into music. We had a lot of overlapping friends, and we’d hang out every now and then—at school and around town. We’d go to each other’s gigs, and she’d be performing folk music, which was really different from what I was doing or what I was involved in. I was in bands playing different genres, like rock, and I was all over the place. Since I was always in two or three bands, trying to figure out what would take off, I’d go to her gigs, which were quite different from mine. But we were both passionate about making music.
Then, when I got really into electronic music, I was always working and looking for people to collaborate with, and I’d end up working with just about anyone.
So you started pretty early on…
I was doing hip-hop and other stuff, so I had different rappers and singers, R&B artists, that I was working with. She was just someone I knew who sang, and I thought, “Well, let’s just try something.” I’d try things with anyone, really. I figured it would just add something new to the mix. Being friends like we are… I don’t know. Ivy’s always been very well-spoken and opinionated, which makes her great to work with in the studio. You could say something, and she wouldn’t just say, “Yeah, okay.” She’d have her own opinion on it, or say, “No, I think you should do this.” And then you can bounce ideas back and forth, you know what I mean?
Yeah, I totally get what you mean. That kind of back-and-forth is really important, especially when you’re creating something. It pushes you to think differently and try new things, which can lead to something even better in the end.
I remember we wrote that track after high school, but I think we were probably experimenting with ideas during high school, too. I feel like it was at least a year or two later, though—maybe I was still in university at the time, I’m not exactly sure. But I wrote the intro, and I remember the reason it came out the way it did was because I was writing music for myself, just to feed my soul. Some of the stuff I make is word-oriented, specific drum and bass tracks, and it feels right because there’s a clear place for it. But sometimes, I’ll create things that don’t really have a purpose other than just making me feel good. It’s kind of therapy in a way.
One night, I wrote that intro and left it at that, not thinking much of it—it was just a musical theme I felt like writing. A day or two later, I knew Ivy was coming over, and we were going to try making music together. So, I pulled together a few ideas, thinking it might be helpful to have some stuff ready to go. I added a drop to that intro once I realized it was at 174 BPM. When Ivy heard it, she thought it was really cool, and I told her, “Well, I’m going through this big transition right now. I’m about to leave Canada and move to the UK, and it’s such an emotional thing for me—leaving behind relationships, not so much friendships since I’ve kept those, but I was physically leaving people behind. I had to separate from my immediate family, and it was all so unknown. There were so many things I didn’t understand about it.”
It was exciting, but also really scary, and I had all these emotions swirling. When I listen to that track, I imagine someone standing at the edge of the water, watching the waves, thinking about the future—feeling a mix of excitement and a bittersweet sense of leaving things behind. It’s this blend of positive and negative emotions happening all at once.
It captures a snapshot of a moment in time…
It’s not really happy or sad—it’s just this weird entanglement of emotions. Then she started coming up with these poetic, introverted lines, and it all really worked. I thought, “Right, this needs a chorus to really punch through.” So, I sort of sang it to her, and she sang it back. Grammatically, it didn’t even really make sense, but I was like, “It just makes sense to me.” Back then, I was never concerned with making things perfect, I just thought, “This is art, it’s poetic.”
Andy C started testing it out at shows, and it just went off. They were like, “Wait, this actually is a single. We should go with this.” And it just took off, leading to a lot of other amazing things happening as well.
For us, it’s such an emotional record, in the best way possible. We’d made a lot of music before—house tracks, pop songs, R&B, just experimenting with all kinds of styles. But when we made this one, we were like, “I don’t know what’s going to happen, but let’s just make it and express ourselves.” It felt really raw and real, a genuine expression of where we were at.
There’s this sentiment in the industry sometimes that if you create something from the heart, it might not be successful because you’re not fitting the mold. You have to follow the trends, do what’s hot on TikTok, or whatever’s in the charts, and that’s what leads to success—this highly planned, money-driven process. But we didn’t do any of that. We just expressed how we were feeling at the time.
What ended up happening was mind-blowing—it became an anthem for an entire generation of university students. What I didn’t realize was that what I was going through, and what I wrote about, was the exact same experience that every teenager going into adulthood faces when they leave home. It was incredible to see how it resonated with so many people. Even folks in their thirties and forties were like, “Holy shit.”
The subject matter is relatable..
It just makes me reflect on all these things in my life, and it really resonates with me on so many levels. Everyone interprets it in their own way and attaches their own meaning to it. It truly became their song, you know? Fans felt like it was about their lives. I think every time it’s played, it really brings people together. And it’s incredibly special. We feel so lucky to have been a part of whatever magic happened in the universe when that record was made.
It’s incredibly special because it resonates with so many people in such a meaningful way.
You know? And it’s just amazing to celebrate it with everyone. We didn’t really know what to do, so we thought, “Let’s just post and get it out there, saying, ‘Hey, this was fun. Thanks, everyone.'”
It’s incredible to see how far you’ve come—from a decade ago to now, with Demons featuring Genetics and Elle Exxe hitting a million plays. That’s a huge milestone, especially for a drum & bass track, and it happened pretty quickly!
Yeah, that was great. The really funny thing about that—well, maybe “funny” isn’t the right word when written out—but the fun part of that whole experience was when we were finishing Demons. We were doing the final mixdown, and it took a lot of effort to get that record over the line. We kept toying with it, working on it, and then it would kind of go…
Anyway, to cut to the chase, we finally finished it. Then we thought, “Alright, we need to get this out there.” I looked at Harry Genetics and said, “Let’s try to get this one over a million plays, man. It’s been a minute.”
The funny part is, I hadn’t checked the numbers on anything for around four years or more. I literally just didn’t pay attention. I was so focused on the music itself. But then, I realized, shit, a lot of these records are just club tracks—like Are You Ready and others. When I looked at the stream count for Demons, I was like, “Fucking hell, it’s at 400,000.” I didn’t expect it to be that high, honestly, because usually, club music isn’t made to go viral on streams. It’ll sell well on Beatport, DJs will play it, and fans know it, but it’s not the kind of track you’d expect to hear in cafes or gyms. I don’t know, for whatever reason.
But I was like, shit. Yeah, it had been a minute since something went over a million, especially a club record. I was kind of just thinking, you know, “Wouldn’t it be cool if we got this one over a million?”
Then, a few months later—well, actually, back up—since the release, it went straight onto massive drum and bass platforms and all these big outlets. I was like, “This is great.” Then it just started taking off streaming-wise, and we were like, shit.
This is really going! So we threw up a few more TikToks and things, but I don’t think any of them had that much impact. A lot of it was just people finding out about the record, saving it, and listening to it over and over.
And yeah, suddenly we realized it was going to hit a million. Elle, Genetics, and I were all messaging each other, like, “This is great.” I can’t believe it’s happening because, not to get all airy-fairy with the whole self-manifestation thing, but it was a really quirky thing to happen. We had said, “What if we got this one over a million?” and then it happened.
But, you know, I think it’s just people connecting with the record. It’s a really versatile track because it has elements you can vibe with on headphones and lyrically, and it also has things that really go down well in the club. We’re really proud of how it sounds sonically, and overall, I’m just really proud of that record. I think it’s really great.
One thing we’ve noticed with a lot of releases on DeVice is that many labels have something that does well, but then it balloons quickly and drops off just as fast. Then they’re left wondering what to do next, and that’s pretty much it. But with DeVice, the retention doesn’t seem to drop off. The fans who find out about the tracks just keep listening over the course of years. It’s interesting because the stream counts just keep ticking over, and we’ve noticed that the fan base is really engaged with the music. It doesn’t feel like it’s here today, gone tomorrow.
I’m really proud of that because it’s a club music label, and I love releasing bangers. Club bangers aren’t always the kind of tracks that stand the test of time, but for some reason, we’ve captured this sweet spot where they’re not only club bangers, but there’s that little bit extra in them that makes them retain interest. 
Speaking of it being a banger, can you tell us about how you linked the Gino Remix?
That’s wicked. Yeah, that’s really cool. I think that was a really great result with that remix as well. The Gino remix was something special. I think we were basically on the same page. I saw a window in the schedule where I thought, “I’ve always really loved remixes.”
If anyone’s noticed, I’ve done a ton of remixes over the years, and I’ve always really liked them. I don’t think it’s about making it better or worse; I think it’s fun to reinterpret them. I was talking with Liam Howllet about this about a year ago, and we were discussing fans’ expectations when it came to remixing—maybe it was “Mindfields” or something. We were talking about whether fans would think it was faithful enough to the original or not.
We both agreed it should be really different. The way he put it was this: It’s not about saying that this remix version or the new version is better or the ultimate version, or that it takes it up a notch. It’s just a different version. And it sounds really oversimplified, but let it sink in—it’s a different version of the record. You’ve got these different versions, and it’s like flicking through different dimensions in the universe and saying, “This is a different take on it. This is a different way of looking at it.” It’s a remix.
It’s like taking a painting, flipping it upside down, adding a bunch of new colors to it, or taking away colors, and just seeing what happens to the record. It’s part of the culture, really. It’s a big part of dance music because dance music is all about taking ideas and flipping them on their head, trying them a different way.
I knew Gino would have a different spin on the record, and that’s what I wanted. I didn’t want someone who would basically make a very similar record with a few tweaks—that’s more of a VIP in my opinion.
I’d love to ask about your track with Felix Samuel, “Count on You.” It’s such an incredible and emotive piece. Is there any interesting backstory behind it?
Yeah, to be honest, that one is probably one of the fastest records I’ve ever made. Felix hit me up about writing a track together, and it just came together extremely quickly.
It was really cool, and I’m really happy with the result. I mean, I know what you mean—many of the records have a lot of melody and lyrics. I guess I just can’t help gravitating toward that kind of stuff; I really like it.
But a lot of my music is quite instrumental too. I like both, really. I kind of bounce back and forth depending on how I’m feeling.
So, is there more in that style on the way?
There’s more… there’s definitely more to come as well. The record that just dropped with Spor is primarily, I would say, instrumental. It was just in my original sketch of the tune, and I just thought it was kind of funny and a bit cheeky. It almost felt like, sometimes, the harder and more clubby sides of the scene can be a bit too self-serious.
‘Freak Out’ does have a fun vibe to it…
It’s funny to put something in that’s just sort of like this… I don’t know, it just sounds like a Valley girl, kind of almost sarcastically saying, “Let the freaks come out and play,” and then having a really massively heavy drop right after that—it’s just kind of funny to me. It got me amped up!
And then that sort of spurred on the whole thing. I mean, sometimes it’s just something really small that becomes the centerpiece for the whole track, or something to base the entire theme around. But I think as long as the track has a theme, that’s kind of what I’m after most.
Do you typically prefer to record the vocals in-house?
With “Vibe Check,” we actually worked remotely on that one, because sometimes it’s just about time constraints. I really like being in the studio with people. When I did “Fall From The Dark” with RAIGN, there were a lot of Zoom calls, and it was almost like going through every single bar, every phrase of that track—just churning through it and working through it. Whereas with “Vibe Check”…
I mean, it’s so hard to be in the same spot sometimes because we all have so much going on, we have to travel, and there are all these different constraints. But RAIGN is in LA, and I’m in London.
What about ‘Vibe Check” with Jasmine Knight?
I know for a fact that I wanted to end with, “I think you need a vibe check” or “a vibe check” at the end, and then slam into the drop. Jasmine’s just so switched on that the first things she sent me back just knocked it out of the park.
We did work back and forth on a few elements, but it’s funny how certain tracks can just come together so quickly. I would definitely put that in the category of things that happened extremely fast.
So we did it remotely, didn’t actually meet up in person to do anything for the record until we linked up for some content but initially we were just talking over DMs on Instagram.
To be honest, that’s a really great way of connecting with other artists. I mean, in Jasmine’s case we knew of each other for a while, and I wanted to work with her for a long time, then finally had this moment where I was like, yeah, this could be the one.
It worked out great. I just had a really good gut feeling about it. It was almost like it was such a perfect fit that I couldn’t believe it. But you know, with a lot of people, I think it’s really fun trying to connect with people who don’t even have a clue who you are.
Some people DM me when they’re vocalists, just kind of fishing for people to work with. And then sometimes it’s the other way around. I’ll think someone’s really cool, and I’ll be like, “Hey, I’m really into what you do. Do you want to chat about working on something or whatever?”
I think that whole collaborative process is really great. I’m really into collaborating these days. I’ve spent so much of my career working completely isolated and alone. And I think, while I’m very hands-on, there’s something magical that happens when you’re sharing ideas and collaborating with other people.
It can enhance the fun side of things too, because you have someone else to share the joy with. It’s just fun, you know?
I totally get that. Collaborating with others can bring a whole new energy to the creative process, and it’s awesome when you find that perfect fit, like you did with Jasmine. It really makes the whole experience more enjoyable, and you get to share the excitement of creating something new together.
I really like that team kind of element of things.
I agree, there’s something really special about sharing your successes with others—it makes the achievement even more meaningful.
Yeah, it’s great. I mean, it’s just a different perspective on things, you know? I’m really into it these days, so I want to do a lot more of it.
And yeah, there’s a lot more to come as well. I’ve got another collaboration with Eskei83 & UCee, which will be coming up soon, and it’s going to be really interesting. Again, two artists with slightly different styles, but that’s what makes it exciting.
UCee style is a bit different from mine, which already makes it pretty interesting. I guess you’d have to ask him how he’d describe his sound, but I’d put it more in the live music category. Last time I checked, anyway, it seemed more on the dancehall side. I was going to say dancehall and reggae, but I don’t want to get it wrong, as it might be a slightly different style of that kind of music.
But yeah, it’s definitely a very different style. I think blending that kind of sound is really exciting to me. I’ve always loved that.
Yeah, that’s definitely going to add some extra character to the record.
Yeah, musically, just blend it all and just see what happens, you know?
What is your ultimate goal for the DeVice Records?
I think “open-ended” is a good way of putting it. DeVice, started out as just a really great way to release music and connect with the audience and fans.
It’s grown into this incredible platform—it’s developed its own community and roster of artists, becoming a fantastic space for artists to release music and grow.
And that’s why I have a really special announcement, which is a bit of a surprise. You’re actually the first person to hear about this: we’re starting a DeVice podcast, hosted by me, and it’s launching today.
How exciting, it’s going to be a whole new chapter…
Which is really exciting. It’s essentially another way to add to the label’s platform, giving us a chance to showcase the music and celebrate what everyone’s doing, as well as highlight other music from the scene.
It’s a way of creating a little hub around everything happening in the world of DeVice, because there’s always so much going on, it can be tough to keep track. I think it’s a great way to encapsulate all of that.
I really believe it’s going to be enjoyable and a great thing for people to follow. So, stay tuned and locked into the podcast—it’s called DeVice Radio. You won’t want to miss it; it’s going to be a wild ride.
It’s good to hear you’re hosting again, back in your element.. 
Yeah, it’s going to be really fun. I’ve been quite quiet lately because I personally wanted a bit of a break from presenting things and doing it intensely. I’ve been a bit quiet in terms of that for a few months now, but then this concept came to me, and I suddenly got really excited about it. I thought, “Yeah, you know what? I think it’s time to bring something like this back and offer it to everyone.”
It should be really enjoyable and a great opportunity to provide more of a platform to the artists around me and those affiliated with the label. It’s also a chance to celebrate other people in the scene. We want to give our own spin on things. It’s not there to represent the be-all and end-all of drum and bass; it’s just drum and bass through the DeVice perspective, in a fun way.
We’ll mix things up and celebrate what’s currently going on at the label.
Another thing going on with the record label is we’ve had quite a lot of interest surrounding live events, and I keep getting asked a lot about it. It’s something that, whenever I do it, I get really excited about and very obsessive. So, I knew that if I was going to do it, I wanted to do it right.
We’re actually going to have our first DeVice Club event on the 23rd of May. We were asked to do a Rampage showcase at the Sports Palace in Belgium, which was incredible. There have been a few showcases here and there done by other promoters, but this is the first time it’s going to be a solo DeVice event.
I’m not announcing the lineup yet, but basically, it’s celebrating five years of DeVice. The birthday of DeVice just passed on the 6th of March, and I can’t believe it. It feels like a blink of an eye. But yeah, so much has happened in five years, and we decided it was a good time to throw a celebration.
So a DeVice Records event is on the horizon?
Yes, a five-year celebration event. So this will be the big five-year anniversary bash.
We’ve basically got this really incredible club in Soho, London, and yeah, the sound system’s going to be amazing. It’s going to be really clear, and I’m really happy with so many elements of this event. I truly feel like it’s going to be one that people will remember, and they’re really going to thoroughly enjoy.
And it’s something that people have been asking for a long time, so it’s exciting to finally just do it—to rip the band-aid off and make it happen.

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Could TikTok U.S. Land in South Dakota? Governor Endorses Multibillion-Dollar Offer Amid Divestment Uncertainty

Sioux Falls, South Dakota. Photo Credit: Maxpower2727
TikTok could operate out of South Dakota if its U.S. sale closes – at least according to numerous reports coming from the Mount Rushmore State.
Local outlets covered the interesting possibility on the heels of a related Facebook post from South Dakota Governor Larry Rhoden. While it probably goes without saying, the outcome hinges on (among other things – more on this in a moment) TikTok actually selling its stateside operations.
At present, a divestment deal (though reportedly near wrapping for a time) appears far from guaranteed, we broke down in detail.
But should TikTok U.S. find a particular buyer and finalize an agreement, its domestic headquarters may end up in South Dakota, population 925,000.
“We are working with a potential buyer for TikTok to explore bringing the company to South Dakota,” Governor Rhoden indicated in the aforementioned Facebook post.
“The Noem-Rhoden Administration led the movement to ban TikTok for state government, so we are the perfect spot for a new and improved TikTok,” he continued.
The same message linked to a formal release from Rasner Media, which belongs to the namesake Wyoming entrepreneur Reid Rasner and made a $47.45 billion offer for TikTok’s U.S. operations in late February.
In the corresponding release, Rasner touched on a “vision to base TikTok in Wyoming—powered by the state’s low-cost, clean energy like LNG, coal, and nuclear.”
Evidently, things subsequently changed. On this front, Rasner (the businessman, that is) in the above-highlighted release elaborated that “South Dakota has stepped up as a strategic partner.”
Running with the point, the entrepreneur’s bid has received endorsements from not just the governor, but the South Dakota Retailers Association and the South Dakota State Chamber of Commerce, Rasner Media noted.
To state the obvious, Rasner Media isn’t alone in vying for TikTok U.S., which multiple investor groups are looking to purchase. Thus, the app’s setting up shop in South Dakota depends both on a deal going through and on Rasner Media’s having the winning bid.
Nevertheless, South Dakota’s support for the Rasner Media bid is significant on several levels. Keeping the focus on the big picture in the interest of brevity, should TikTok sell in the U.S., the transaction will necessitate a largescale reorganization, to put it mildly.
That includes not just establishing the revamped app’s headquarters (and replacing at least some departed execs), but opening different offices, striking fresh third-party deals, and a whole lot else. In other words, South Dakota could fit into the TikTok U.S. picture in some form regardless of the (possible) buyer.
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Rotterdam-Based Ticketing Platform Stager Scores Spotify Integration Partnership

The Baroeg, a Rotterdam venue and Stager client. Photo Credit: Emvee
On the heels of a partnership announcement involving Amsterdam-headquartered Eventix (now Weeztix) and Spotify, Rotterdam’s Stager has scored an integration deal of its own.
13-year-old Stager, which bills itself as an “all-in-one tool for event organizers,” took to LinkedIn to disclose its Spotify tie-up. Besides dealing in ticketing, the former business develops event-planning software, marketing tools, and more, according to its website.
Under the pact, “all” Stager’s venue and festival clients – most of which look to operate in the Netherlands – will have the option of plugging passes directly on Spotify artist pages, the events company emphasized.
“Last year,” Mike van Gaasbeek-founded Stager disclosed, “over 21,000 artists played a show at a venue, club or festival using Stager. This integration now unlocks huge potential for event organisers to reach engaged audiences on Spotify and sell more tickets through Stager.”
At the time of writing, Spotify didn’t appear to have put out a formal release regarding its newest integration. But aside from unveiling the aforementioned Weeztix/Eventix union, the service in February hosted an exclusive Pantera presale. March then brought the rollout of a personalized “Concerts Near You” playlist.
In other words, 2025’s initial four months have seen Spotify, currently organizing branded concert events to boot, expand aggressively on the live side.
Normally, this wouldn’t be too noteworthy; Spotify has been testing the live/ticketing waters for a while and certainly isn’t a stranger to music-streaming-adjacent buildouts.
However, the moves are particularly interesting in light of the forthcoming Super-Premium tier. Aside from a heightened monthly cost, we don’t know exactly what the superfan-geared plan will bring to the table.
That said, reports have identified remixing features, a long-awaited audio-quality upgrade, and exclusive concert presales (and/or access to desirable seats) as possible Super-Premium perks.
Late February saw Live Nation head Michael Rapino confirm Super-Premium ticketing talks with Spotify – on top of similar discussions with different DSPs yet. Simultaneously, the exec indicated in more words that exclusive presales wouldn’t come cheap for Spotify or its competitors.
Following all these points to their logical conclusion, it might not be too long before some tickets are available exclusively through Spotify. Running with this point, superfans would then be compelled to cough up extra cash in order to secure passes.
Of course, we can’t tell for sure how consumers would respond to the development – though in general, fans seem far from attached to today’s leading ticket platforms. Similarly, many acts (especially Europe-based professionals who are mostly or entirely playing non-Live Nation venues) might not be too concerned about shifting a portion of their ticketing to Spotify.
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Instagram Teases New Feature: “Lockable Posts”

Instagram has started testing a new feature dubbed as “Lockable Posts.” Not just a gimmick, this feature will allow creators to hide a post behind a secret code, which could become a real tool for creators, brands, and marketers. Imagine teasing a product launch, hiding bonus content behind a puzzle, or sharing something only select followers will see. Check out how it works on a sample post from the company below:
This post shared by Instagram requires you to enter a secret code in order to unlock the post and view its contents. This secret code can be guessed using hints, which the company has provided on the lock screen and the caption of the post. In this case, the secret code is “threads.” Entering this code on the post’s lock screen unlocks a reel that says “coming soon.” The post on Instagram’s official Design account indicates that the company is planning to roll out this feature in the near future. However, the exact timeline remains a mystery. There is also no clarity on whether the company will opt for a phased roll out or a large global launch. It is also worth mentioning that the test post features a reel and it remains unclear if the company would enable users to hide other posts, such as long videos and image posts.



The post Instagram Teases New Feature: “Lockable Posts” appeared first on EDMTunes.
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Dom Dolla – Forever (with Kid Cudi)

In an exciting collaboration, Grammy-nominated producer Dom Dolla has teamed up with music legend Kid Cudi for the release of their track ‘Forever‘. Evoking feelings of youthful romance and nostalgia, ‘Forever’ blends Dom’s signature house with Kid Cudi’s iconic vocals, that speak to the heart. In summary, ‘Forever’ captures the essence of young love and unforgettable memories.

A Young Love Anthem with a Kid Cudi Nostalgic Twist
Opening with a dreamy melody and Kid Cudi’s soothing audibles, ‘Forever’ immediately brings a relaxed vibe, setting the tone for a nostalgic journey. Cudi’s vocals enter with a heartfelt verse before transitioning into the catchy chorus: “I want to stay forever.” This leads up to a playful, fun drop that presents a new side of Dom Dolla’s sound. Surprisingly, Dom moves away from his usual groovy style. In ‘Forever’, Dom keeps the mood mellow, ensuring the track embodies the vibe of a young love emotion. The second drop heightens the energy, before a phone call interlude with Kid Cudi ties it all together, adding depth to this nostalgic love story.
"When I'm in my dreams, you know?
I go from one thing to the other, you know?
Just thinkin' about my future
Where I wanna be
What I wanna do with my life, you know what I'm sayin'?
I'm guided by God
And I follow my heart, no matter what
You know, even
Even when it may seem that, you know, people don't understand
Fuck 'em
Ain't no time to think, I wanna stay forever (I wanna stay forever)"
The Premiere at Ultra Miami 2025
‘Forever’ was first heard live during Dom Dolla’s b2b set with John Summit at Ultra Miami 2025 in front of some of Dom’s biggest fans. The live performance captured the magic of the track, adding to the excitement as fans experienced the nostalgia-filled vibes firsthand. For those who couldn’t make it, the full set was available for streaming on YouTube, offering fans around the world a glimpse into the unforgettable moment and showcasing the emotional depth of Forever.
Dom Dolla
Dom Dolla’s journey to fame is nothing short of inspiring. His rise as a globally recognized producer began when his mother handed him a copy of Basement Jaxx’s Rooty. This permanently sparked his love for house music. From his early days to his hit ‘Miracle Maker in 2022, Dom has earned world fame and a Grammy nomination. His discography has over 1 billion streams and features collaborations with major artists like Nelly Furtado, Tove Lo, and Daya. Together, Dom is leading the industry alongside heavyweights, John Summit, Skrillex, Solomun, and more.
Kid Cudi
Kid Cudi, one of the most influential voices in hip-hop, brings his signature style to ‘Forever.’ Known for his introspective lyrics and genre-blending sound, Cudi has been an integral part of the music landscape for over a decade. From his hit ‘Day ‘N’ Nite‘ to his iconic albums “Man on the Moon” and “Passion, Pain & Demon Slayin’.” Cudi’s ability to connect with listeners on an emotional level has made him a beloved figure in music. His collaboration with Dom Dolla adds another layer to his diverse musical portfolio. It bridges the worlds of house music and hip-hop in a way only he can.
Dom Dolla’s Upcoming 2025 Tour Dates and Future Plans
As summer 2025 unfolds, Dom Dolla’s ‘Forever’ track is only the beginning. Fans can look forward to more live shows and new releases from the Australian producer. Dom’s upcoming performances will include headlining major events across the globe, including EDC, Breakaway, and more. One of his biggest highlights this year is his residency at the world-famous Las Vegas club, LIV, and premier club, Hi’Ibiza. (That’s insane!) His 2025 tour will feature ‘Forever’ ensuring that the nostalgia and youthful romance embodied in the track will be felt live on stages worldwide.
Dom Dolla Tour & Tickets
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Ben Nicky, Hix, and Tori Smith Unleashed Euphoria in ‘Sober’

Acclaimed electronic powerhouse Ben Nicky and rising star Hix unveiled their collaborative and euphoric hit, ‘Sober’, featuring the outstanding vocalist Tori Smith, on April 11th under the renowned Armada record label, which has the illustrious legend himself, Armin van Buuren, as its founder. ‘Sober’ definitely captivates listeners with its blend of trance and dance-pop, combined with high-tempo production and a memorable vocal hook.
The track thoughtfully explores the emotional complexities of intimacy and heartbreak, examining the protective mechanisms we create in response to vulnerability. By delving into themes of connection and detachment, it captures the contrast between fleeting encounters and sobering realities, symbolized through evocative imagery of dawn departures. Click ‘Play’ on the Spotify link below to stream ‘Sober’ from Ben Nicky, Hix, and Tori Smith, a track that hooks in listeners instantly to vibrant tempos that enhance dream-like emotions that occur through moments that anyone has encountered in their unique lives.
Ben Nicky follows up on success from his most latest bangers
Following the impressive success of ‘Dirty Rave’ and an official remix of Armin van Buuren’s iconic anthem, ‘Destination’, released earlier this year, Ben Nicky has solidified his brands, “Xtreme” and “Emotional Havoc”, as standout names in the dance music scene. “Xtreme” represent his hardstyle side while “Emotional Havoc” shows off his unique trance musical style. These brands consistently attract large audiences at iconic venues worldwide. Currently touring for 2025, Ben is on track to headline major festivals, including EDC Las Vegas, Creamfields, and Mysteryland, further establishing his status as one of the most sought-after DJs in the industry.
Ben Nicky’s innovative approach has made him a genre-defining pioneer within electronic music. He has garnered praise from industry leaders like Diplo and Armin van Buuren while amassing over 100 million streams across hits such as ‘Heater’ and ‘Where Would We Be’. His groundbreaking performances have transformed the landscape of electronic music, including his remarkable achievement of being the first DJ to sell out Wembley Arena as a solo act in 2023. Notably, he is the only artist who presents multi-genre sets on major festival stages like Tomorrowland and Ultra Miami. Through his dynamic brands, “Xtreme” and “Emotional Havoc”, along with a strong social media presence, Ben fosters a global community that celebrates his innovative approach to electronic music.
Hix continues to move upward in his already-illuminating career
Belfast-based DJ and producer Hix has also made a significant impact in the electronic music scene. The rising star has received recognition as one of the most in-demand DJs on the island of Ireland, particularly for his exhilarating club sets. Following his record deal with Warner Records, he launched his career with the debut single, ‘Hold You’, in March 2022, receiving praise from both critics and fans. This was followed by his second single, ‘Oh No You Didn’t’, a collaboration with the respected Kelli-Leigh. With two Grammy nominations, two UK number-one singles, and three UK top 10 singles to her credit, Kelli-Leigh’s partnership with Hix underscores the upward trajectory of his burgeoning career.
As Hix continues to release new music, his work is increasingly recognized on prominent radio stations across the UK and Ireland, including BBC Radio, Capital, Capital Dance, KISS, Hits Radio, Cool FM, RTÉ 2FM, Today FM, iRadio, Spin 1038, and others. This broad radio support solidifies his influence and growing reputation within the electronic music landscape.
Hix describes the production process of ‘Sober’ alongside Ben Nicky and Tori Smith and how it brought out so much joy
‘Sober’ is the definition of an emotional banger for me. The euphoric production paired with Tori’s stunning vocal gives me goosebumps every time. I’ve been a fan and supporter of Ben’s music for years, so getting to finally work together on this track has been an absolute joy.”
The post Ben Nicky, Hix, and Tori Smith Unleashed Euphoria in ‘Sober’ appeared first on EDMTunes.
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John Alto and Surf Mesa Elevates Groovy Synths in ‘Holding On’

Surf Mesa, the innovative artist from Seattle who currently is based in Los Angeles, teams up with DJ and producer John Alto to drop their new emotional ballad, ‘Holding On’. This collaboration has arrived today on Friday, April 18, 2025, through Breakaway Projects. Click ‘Play’ on the Spotify link below to stream ‘Holding On’ from Surf Mesa and John Alto, a track that perfectly merges the mellow musical style of the former with the upbeat bass-influenced production process of the latter.
Feeling the stimulating energy of the sounds coming from Surf Mesa and John Alto in ‘Holding On’
The song kicks off with some amazing vocals before diving into John Alto’s heavy beats, perfectly mixed with Surf Mesa’s enchanting synths. The dreamy sound from Surf Mesa can pull the listeners in, while the solid bassline of John Alto keeps the energy flowing. ‘Holding On’ dives deep into the feelings of hopeless devotion, all while staying super catchy and groovy.
One can really feel the duo’s creative vibe throughout the track as Alto ties together their unique styles, combining his strong basslines with Surf Mesa’s airy “aloe vera house” vibes. The song takes listeners to another world with its siren-like sounds, where soft vocals fade into echoes, then come alive with a mix of dark tones and cool synths. Furthermore, it captures raw emotion and energy, ready to light up dance floors from clubs to festivals.
R O B I N B Ø E@robinboee Surf Mesa prepares for more exciting tour stops and attracting new fans with his musical style
Surf Mesa has been riding high after a series of sold-out shows and is close to hitting 1 billion streams with his breakout hit, ‘ILY (I Love You Baby)’. He’s really making a name for himself in the dance music scene with his catchy melodic house sound. In fact, ‘Holding On’ is dropping at an exciting time for him, as he’s gearing up for a festival run at Breakaway Tampa, Breakaway Minnesota, and Lost In Dreams. This track is sure to be a go-to on dance floors everywhere during the festival season and beyond, marking a fresh chapter for both him and Breakaway Projects.
John Alto is going on a roll after releasing top-charting tracks and touring prominent cities
John Alto, who is 25 and has American, Italian, and Danish roots, grew up in Copenhagen and London, where he kicked off his music journey as a teenager, trying out different sounds. He made his debut on Martin Garrix’s famed imprint, STMPD RCRDS, by collaborating with the German duo TwoWorldsApart on their 2020 single, ‘Body Talk’. Now, he’s shaping his own space in the music world by blending dark atmospheric elements with heavy bass and emotional pop, making his sound stand out. After moving to Los Angeles, he fully focused on his music.
After his 2024 hit with Alesso, ‘Lonely Heart’, John became the first artist signed to Alesso’s BodyHi label. Additionally, he spent the summer touring with him, hitting cities like Salt Lake City, San Francisco, and New York’s Brooklyn Navy Yard. 2025 is looking to be John Alto’s biggest year yet, starting with his single that he released on January 31st, ‘Do You Like Bass’, which has caught the attention of big names like John Summit and Disco Lines. With a bunch of exciting singles and collaborations coming up, he’s on the rise in the music scene.
The post John Alto and Surf Mesa Elevates Groovy Synths in ‘Holding On’ appeared first on EDMTunes.
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[Interview] Indira Paganotto Discusses Her Electrifying Performance At Coachella And Her Upcoming Exciting Projects

A tastemaker that takes over every stage she performs at, Indira Paganotto landed in California for a two-weekend performance in the desert at Coachella Music Festival. The Spanish DJ and producer leads a younger generation of artists with her influential Psy-Techno sound and her label ARTCORE Records.
We chatted with “Psymama” herself after a long and hot day, where she debuted her high-speed and powerful melodies at the Yuma Tent. Shortly after, the ARTCORE label head joined HEKATE’s founder, Sara Landry, and EXHALE’s label lead, Amelie Lens, to make history during a surprise closing b2b2b at the DoLab stage during Weekend 1.
EDMTunes: What was the preparation like for this set?

Indira: I didn’t really change anything; no matter where I play, I always keep the preparation and vibe the same. I think it’s important to keep my style true to what I love.

EDMTunes: Is it intimidating to bring your sound to a show you’re playing at for the first time?

Indira: I didn’t feel intimidated, as I play a lot of shows in the US, and we have just had another two big ARTCORE showcases in New York and Miami, so I know we have people here that love the sound. But it’s nice to play somewhere new, as you never know who will end up discovering you for the first time.

EDMTunes: Do you prepare differently for a festival set vs an ARTCORE showcase? 

Indira: As we take ARTCORE to festivals, it applies to whether we are playing a club or a festival. I always play a lot of ARTCORE tracks in all of my sets, so they work for any event. People know the sound of the label and therefore, I want them to be excited to hear the sound they support.

EDMTunes: Can we expect an official release for that Sara Landry ft. LEGZDINA ‘Pressure’ remix?

Indira: Yes, you can! The remix will be out in May, but we have yet to announce the date, so everyone needs to keep an eye on socials for that.
EDMTunes WOW! The legendary Psymama b2b Sara Landry b2b Amelie Lens was an auditory banquet. How did it feel being part of the Blood Oath?

Indira: WOW! What a moment for each of us, and also Coachella. It was amazing being part of an all-female b2b2b. I think that we really brought something new, exciting and full of energy for everyone to close out their Saturday during weekend 1. The crowd was with us the whole way, I loved it.

EDMTunes Are you ready for your summer residency at Hi-Ibiza?

Indira: Yes! We have come so much around this residency this summer, it’s been a very big but exciting project. What we are bringing to the club and the island is new, as my goal is to make the experience of going to a club opulent and sexy, rather than dark and sweaty. I think we will achieve this, having seen the booth and room designs. I can’t wait for everyone to see it on the 4th of July when we open.

EDMTunes: In 3 words, describe what we can expect from your upcoming debut album?

Indira: My life story
Support Indira Paganotto and Artcore on socials, and check out her latest release below.

The post [Interview] Indira Paganotto Discusses Her Electrifying Performance At Coachella And Her Upcoming Exciting Projects appeared first on EDMTunes.
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Kevin de Vries Drops New Single ‘Crashing Down’ with Bigfett & Frýnn

Kevin de Vries teams up with Bigfett and vocalist Frýnn for ‘Crashing Down’, a new single released on April 18, 2025, via Ame Records. This track showcases de Vries’ signature melodic techno sound, blending emotive vocals with driving rhythms to create a compelling dancefloor experience.
‘Crashing Down’ opens with floating vocal layers that evolve into a hypnotic build, anchored by deep bass and precise percussion. The drop lands with impact, balancing melodic lift and rhythmic force—perfectly tuned for both festival mainstages and late-night warehouse floors.
Fans can catch Kevin de Vries at several major events this year, including DGTL Lima on May 9, Ikarus Festival on June 6, Kappa FuturFestival on July 4, and Awakenings Festival on July 12. With fresh music and a packed global tour schedule, 2025 is already shaping up to be a major year for one of melodic techno’s most consistent artists.
Listen to Kevin de Vries – Crashing Down below.

The post Kevin de Vries Drops New Single ‘Crashing Down’ with Bigfett & Frýnn appeared first on EDMTunes.
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JULES LIESL Rises Fast with Packed Shows, 11M+ TikTok Views, and Debut Single ‘Cherry’

Pop newcomer Jules Liesl is off to a rapid start. Her debut single “Cherry”, released via Halogen Entertainment, is already gaining traction in clubs and online alike—most recently at a packed-out release celebration at West Hollywood’s legendary Abbey.
The energy in the room was palpable as the crowd danced, filmed, and sang along with the track, highlighting a rare early-career moment where an artist’s music immediately is finding it’s audience early on. Watch the clip here.
Liesl – originally from a small town and now based in California – has quickly built a digital audience of over 11 million views across TikTok and Instagram, gaining attention for her unapologetic style and infectious performance energy. Her live schedule is already filling up, with appearances at Miami Pride and Winter Party placing her squarely in the spotlight of LGBTQ+ nightlife and dance culture.
The single “Cherry” brings together elements of early-2000s dance-pop and contemporary club production. Bold and rhythm-forward, the track delivers a fast-fueled sound designed for the dancefloor while maintaining an very present personality placed in the music. Produced with a polished, high-gloss finish, it’s already being picked up by DJs, radio stations, and playlists – with a full remix package is on the way, featuring Grammy-nominated and internationally known producers including Mousse T, James Hurr, and Birdee.
“Cherry” also plays a key role in the upcoming season of America’s Top Choreographer, where it will be the featured track in a dedicated episode. Liesl is set to appear as a guest judge alongside choreographer Richard Jackson, best known for his creative work with Lady Gaga.
Backed by Halogen’s Phoenix Stone and Sybil Hall – industry veterans known for working behind the scenes with names like The Backstreet Boys, HAIM, and Maty Noyes – Liesl is entering with both talent and serious support behind her.
Her early performances, digital momentum, and first official single suggest that “Cherry” is only the beginning of what could be one of 2025’s most compelling breakout stories.
The post JULES LIESL Rises Fast with Packed Shows, 11M+ TikTok Views, and Debut Single ‘Cherry’ appeared first on EDMTunes.
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Alex Wann & Shimza Release New Afrotech Single ‘Skill of Love’

Afrotech talents Alex Wann and Shimza have teamed up for their new single ‘Skill of Love’, releasing today via Helix Records. Listen below.
Premiered during their back-to-back at Miami Music Week and later performed at the Pyramids of Giza, the track blends atmospheric vocals with uplifting piano chords and a tense, evolving bassline. The result is a restrained yet emotional piece that reflects both artists’ distinctive styles.
Alex Wann, known for his breakout track ‘Milkshake’, continues his rise with performances at Tomorrowland, Pacha Ibiza, and CRSSD, alongside recent collaborations and remixes supported by names like Adriatique and RÜFÜS DU SOL.
Shimza, one of South Africa’s leading Afrotech exports, builds on his global presence with his Kunye label and shows alongside Black Coffee, CamelPhat, and more. His ‘Karma Karma’ radio show now reaches over a million listeners weekly.
‘Skill of Love’ showcases the subtle power of Afrotech—emotive, groove-driven, and built for both intimate and expansive stages.
The post Alex Wann & Shimza Release New Afrotech Single ‘Skill of Love’ appeared first on EDMTunes.
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Music Industry Says Goodbye to Legal Heavyweight Joel Katz

Photo Credit: Joel Katz, courtesy of the Katz family
Powerful longtime music attorney Joel Katz, whose clients included James Brown, B.B. King, Willie Nelson, and the Recording Academy, has passed away. He was 80 years old.
Joel Katz was the founding chairman of the entertainment and media practice at top law firm Greenberg Traurig, and was heavily involved in the Recording Academy and Country Music Association. He negotiated major deals for both. Katz represented artists like James Brown, Willie Nelson, Michael Jackson, and Senator Orrin Hatch, and oversaw the $300 million purchase of Big Machine Records by Scooter Braun’s Ithaca Holdings in 2018.
No cause of death was cited, but reports say he died “peacefully at home, with his wife Rikki by his side.”
Katz spent decades as one of the most high-powered attorneys in the music business, where he negotiated the Recording Academy’s $600 million 10-year agreement with CBS for the Grammys. That deal ends next year, as the Grammys move to their new home at Disney. He was also a prominent figure in Michael Jackson’s estate’s $750 million sale of its stake in Sony/ATV Publishing.
He resigned from Greenberg Traurig at the end of 2020 and was nominally retired. But he continued his work as a top-level player for artists like Justin Timberlake, Jimmy Buffett, George Jones, Kris Kristofferson, Jamie Foxx, George Strait, Kenny Chesney, Tim McGraw, and Faith Hill, as well as the Recording Academy and numerous executives.
In 2016, he was honored with the City of Hope’s Spirit of Life Award, joining such prominent figures as Irving Azoff, Coran Capshaw, and Lucian Grainge.
“The architect is gone, but the blueprint he left behind — of boldness and belief in his clients — will shape this industry forever,” said longtime client Jason Owen, CEO of The Sandbox. “Joel was my friend, my champion, and a once-in-a-lifetime force. He believed in me before I believed in myself. I will miss his laugh, his wit, and his ability to bill me back for 15 minute conversations. I loved him like family and will miss him every single day.”
Part of the Northside Parkway in Atlanta is known as Joel Katz Parkway due to his contributions to the state of Georgia as an Atlanta resident. At the University of Georgia campus at Kennesaw State University, he launched a commercial music program that now includes over 500 students. He also led philanthropic endeavors in education and in cancer research.
Katz worked extensively with programs like the Recording Academy’s Grammy in the Schools Program, the Atlanta Downtown Partnership’s Music Industry Symposium, and many lectures and panels for the Entertainment and Sports Industry Forum of the ABA, and the Entertainment and Sports Law Section of the State Bar of Georgia. In February 2024, he was honored with a Recording Academy Trustee Award in recognition of his contributions to the field of recording.
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