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[Electric-Mode] Contatto: Milan’s Unmissable Tuesday Night at Bobino Club

Every Tuesday, Milan’s iconic Bobino Club transforms into a vibrant haven for music lovers with Contatto, a night that starts at 7 PM with an aperitif and dinner (reservations required) and continues into the evening with a diverse musical journey. The event is led by Milanese DJ and producer Sandro Bani, whose eclectic style has made him a key figure in the city’s nightlife scene.
Since 2019, Bani has been the resident DJ at Bobino, bringing his signature cross-genre sound to the club each week. Known for his ability to surprise the dancefloor, Sandro blends a range of styles, effortlessly shifting the energy to match the vibe of the crowd. His sets and releases reflect his love for diversity, often introducing clubbers to new sounds they didn’t even know they were craving.

Sandro’s DJ career spans over 15 years, starting in 2005, with performances across Europe in some of the continent’s most renowned venues. From the vibrant clubs of Barcelona like The Room to legendary Croatian hotspots such as Noa Beach Club, Papaya, and Kalypso, Sandro has made a mark on the global dance music scene. He has also graced the decks at Ibiza’s Tantra and is a regular headliner at the Zrce Spring Break Festival in Croatia, where he’s been a resident since 2017. Additionally, Sandro has played at exclusive spots such as Aprés Ski Snowbar Ruacia in Selva di Val Gardena, and shared stages with industry giants like Fedde Le Grand, NERVO, R3HAB, DJ Sneak, and Brennan Heart.
Sandro’s versatility also extends beyond the club scene. His unique musical style has led him to perform at prestigious fashion shows for Armani, Moschino, JOEONE, and Elisabetta Franchi, blending high fashion with the world of dance music.

As a producer, Sandro Bani has released tracks with major labels like Spinnin’ Records, Ultra Records, X-Energy, d:vision, and Blanco Y Negro. In 2018, he co-founded the Jackpot Records label with his friend and collaborator Davide Svezza. The label’s mission is to bring together the world of house music, uniting producers and DJs from across the globe and creating a platform for innovative ideas in radio, clubs, and festivals. Their latest compilation, The Best of Deep & Tech House, was released on January 3, 2025, showcasing the best of what the duo and the label have to offer.
If you’re in Milan on a Tuesday, Contatto at Bobino is a night that shouldn’t be missed – an unrelenting celebration of music, energy, and the art of DJing.
The post Contatto: Milan’s Unmissable Tuesday Night at Bobino Club appeared first on Electric Mode.
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[UKF] Workforce: ‘Nothing Iz Scared’ – and that’s the point

Workforce returns with ‘Nothing Iz Sacred’ – an LP that both embraces and pushes against the evolving landscape of drum & bass. Released on his own imprint, Must Make Music, it delivers eight tracks that sit at the typical 174 BPM, but veer into some atypical sounds and production – all while subtly challenging the constraints of modern music consumption.
This project marks a shift from his 2022 album ‘Set & Setting’, which was deeply considered, interwoven with interludes, and sculpted during lockdowns when clubs were closed. Now, in a post-COVID world, Jack Stevens is a father, a seasoned label owner, and an artist with less time for overthinking and over-tinkering. There’s no meticulous sequencing here, no endless tweaking – just raw, focused expression, free from self-imposed perfectionism.
That mindset fuels the title, ‘Nothing Iz Sacred’ – a reflection on how streaming, algorithmic curation, and even AI-generated music have reshaped listeners’ relationships with art. Music doesn’t linger like it used to. In the interview, Stevens recalls ‘The View’ by LSB, DRS & Tyler Daley as the last drum & bass track to truly resonate across the entire scene. Can a track still do that today? If any from this project could, it’s Falling Down – a soulful collaboration with Tyler Daley and pianist Ed Zuccollo, born from a chance encounter and stitched together in an organic, instinctive way.
The LP as a whole is a masterclass in balance – abrasion and groove, rawness and warmth, structure and spontaneity, and a dark tension held throughout. Guest vocals from Bobbie Johnson and Tamara Blessa lavishly reinforce the moody foundations, while Leroy Horns returns to infuse the record with textured brass. And while this project is more direct than its predecessor, the LP format still gives Stevens room to explore ideas beyond what would fit on a single or EP – rewarding those who engage with his music on a deeper level.
While ‘Nothing Iz Sacred’ embraces creative freedom, it also reflects Stevens’ shifting perspective on what success means in 2025. In an era where streams often dictate an artist’s trajectory, he remains focused on deeper connections – both with listeners and with the artists he supports through his label. He’s selective about his releases and his approach to events – and he’s got no interested in chasing trends. As the interview reveals, this isn’t about playing the DSP game – it’s about making music that hopefully resonates beyond the moment.
Last time UKF spoke with you, it was about ‘Set & Setting’ in 2022. How has life been since then?
I put so much into ‘Set & Setting’ that I struggled to find the energy to dive back into the studio afterward. I’m not someone who likes to rinse and repeat what I’ve done before – there’s always going to be a core DNA to my music since it’s all within drum & bass, but I want each project to feel fresh.
After ‘Set & Setting’, I worked on the ‘Echoes’ project, which was essentially a collection of tracks that didn’t quite make the album. Once that was out, I hit a bit of a creative block – there was a lot going on, like moving studios and just life in general. 
This new album, though, kind of came together naturally. I wasn’t overthinking it; the ideas just started flowing again. Having my son nearly a year ago has also been a huge motivator – it’s made me much more focused with the time I have. Most of the music was finished before he was born, and since then, it’s been about finding the right moments to handle the artwork and animation in between everything else.
It sounds like completely different ways of making albums. ‘Set & Setting’ you were locked in a room basically, whereas ‘Nothing Iz Sacred’ feels a bit more like… a healthy headspace, would you say?
I think they’re just different. When I was making ‘Set & Setting’, it started in 2020, and it came out in 2022. There were no clubs at the time, so I just wrote whatever I wanted, with no external pressure.
Because there were no gigs, I could work nights, Monday to Friday, and just treat it like a regular creative process – go in, make music, and see what happened. COVID was a strange time, but in some ways, it gave me the freedom to experiment. Since I’m self-employed, I was eligible for government subsidies, plus I could still sell merch, so financially, I was comfortable enough to focus purely on creativity.
This new album, though, was a different challenge. A big part of that was adjusting back to normality – clubs were open again, gigs were happening, and the landscape had shifted. But also, ‘Set & Setting’ felt like my first true Workforce album. Even though I’d done longer projects before, like the ‘Late Night Soundtrack’ and ‘Your Moves’ on Exit, this was the first one where I consciously tried to build a full album – interludes, themes, and a cohesive journey.
By the time it was done, I was totally drained. I’d put everything into it, and stepping away from the ideas that consumed me during that period felt strange, almost sad, because I’d been so invested in them. After an album like that, it’s hard not to feel exhausted and unsure about what comes next.
So this project felt less exhausting than Set & Setting?
Not really – I don’t think it’s about exhaustion as much as intent. This one just came together naturally. But at the same time, there are tracks on it that wouldn’t exist if I didn’t work on long-form projects. Or maybe they would exist, but they wouldn’t necessarily get released.
There’s a certain type of weird music I enjoy making that just doesn’t work as a standalone single. If I were only releasing singles, those tracks would never see the light of day. So in that sense, the album format feels necessary – it allows me to showcase a broader spectrum of what I like to create.
Did writing an album give you more freedom to experiment, rather than focusing on singles that need to stand out?
With this project, and others more recently, I’ve been trying not to overthink. My natural tendency is to overanalyze everything, but you can’t always think your way out of creative challenges. ‘Set & Setting’ was exhausting because it was so considered and meticulous, but I’m proud of the result. That said, it took a toll – on my energy, my mental health, even my ability to interact with people. I pushed myself too hard.
Now, I still love making music, but I’m trying to find a better balance. Maybe at some point, I’ll feel like diving into another exhaustive, conceptual project, but right now, I just want to write music across a broad spectrum and put it together in a longer format – without it needing to feel like a front-to-back album experience. It’s more like what I did with ‘Late Night Soundtrack’ – a collection of tracks that work together but still stand individually.
I guess I just approached this one differently. Or maybe I didn’t think about it at all.
Your last album had clear statements woven throughout – whether literally or thematically. This one seems to have that too. Can you talk about the message behind it?
Yeah, I think a big part of my frustration after ‘Set & Setting’ was that I put so much into it, but I’m at odds with a culture that doesn’t really foster or appreciate long-form projects like albums. There are obviously people who do, but on the whole, we’ve been conditioned to consume music in a way that’s more transient. Stuff comes out, disappears, and doesn’t really connect with people on a deeper level.
I don’t know if that’s just the nature of DSPs or something bigger, but there’s definitely a shift in how music is valued. There’s a Rick Rubin quote that resonated with me – he talks about how artistic expression isn’t something that can be judged as ‘right’ or ‘wrong’. It’s just a reflection of the artist, like a diary entry. That idea runs through the album. It’s still just drum & bass, but I like weaving in broader concepts and letting them sit there subtly, rather than making an overly pointed statement.
The title ‘Nothing Iz Sacred’ is a reflection of that throwaway culture. And that’s why I asked when this interview is going out – because a week before the album drops, I’m releasing an alternate version called the ‘Distorted Unlistenable Version’. It’s the entire album, but completely destroyed – distorted beyond recognition, to the point where it sounds awful.
Interesting…
It’s basically a comment on how music is treated. If platforms, consumers, and even artists don’t respect music as an art form, then why not just put out trash? Why not deliver something in a format that reflects how disposable everything has become? It’s not even me saying that’s objectively true – it’s more of a provocation. A reminder that people can engage with music on a deeper level, and that behind every track, there’s an artist making something personal. And as we move into an era where AI-generated music is being slipped into playlists, that connection is going to get even worse.
So yeah, I just thought, fuck it – let’s do it. My distributor asked if we should go through with it, and I was like, yeah, why not? Even if it just sparks conversation, that’s the point. It’ll drop out of nowhere – no announcement – just this wrecked, unlistenable version of the album appearing on DSPs. People will ask questions, wonder why it’s there. 
Guerilla marketing?
I guess, but not in a cynical way. If I’m going to talk about things being disposable and sacred, what better way to provoke that conversation than by releasing something deliberately trash?
It feels like every artist I’ve spoken to in the past year has faced the same dilemma – do I release an album? Do I adhere to Spotify and social media, or reject it completely? Where do I sit on that spectrum?
Yeah, that’s exactly it – everyone’s playing someone else’s game.
I actually wrote something about this recently: It’s a response to the inertia of music. A reflection of an industry that prioritizes volume over value, where human creativity is sidelined by algorithms churning out lifeless slop – cheapening our societal relationship to art and threatening real artists’ livelihoods.
So the idea is, if you push that to the limit – if you deliberately make something sound like trash – it becomes a reflection of the way music is treated. Trash begets trash.
Yeah, and this whole shift of art and music becoming ‘content’ feels problematic. Things come out, people have a fleeting relationship with them, and then they’re gone.
Exactly. It’s like music has been absorbed into the broader content machine, which just means it’s disposable. Tracks come out, people connect with them briefly, but then they disappear.
I can’t even remember the last tune that truly grabbed everyone – that actually resonated in a lasting way. Maybe ‘The View’ by DRS, Tyler Daley, and LSB – that’s the last one I can think of from my world that still carries real emotional weight, years later.
What does success look like for this album? Is it about streams, purchases, or something else entirely?
Success changes depending on the day. Some days, it’s just writing a tune I really enjoyed making, regardless of whether it performs well commercially. I’ve had tracks where I know they won’t do anything in terms of streams or sales, but for me, they were still a success. If even a small group of people appreciate the full breadth of what I do, that means something.
For me, it’s about security – the ability to keep making the music I want, without being boxed in by numbers. But it’s easy to get caught up in it. You check Spotify stats and think, Oh, that track did well – should I make more like that? And that feedback loop isn’t good.
Spotify, for example, always favors liquid drum & bass over harder tracks. I’ve seen artists outside of D&B blow up because one song got added to big playlists, often with passive listeners – people who just have it on in the background, like on a ‘bath time’ playlist or something. Suddenly, that artist shifts their whole sound to chase that audience. But are you reaching actual fans, or just people who listen passively? Spotify doesn’t differentiate between an engaged fan and someone who’s half-listening while scrolling their phone.
So yeah, success is hard to pin down – it’s always shifting.
That algorithm-driven approach to music feels like part of that ‘enshittification’.
Yeah, there are a few things at play. Part of it is just how people’s behavior has changed – the way we consume media in general. I’m not immune to it either. The constant dopamine hits from scrolling, the way social media rewires our attention spans – it’s all connected.
I saw something recently about Netflix telling screenwriters to make sure characters say what they’re doing in every scene, so people watching with their phones out can still follow along without paying full attention. That blows my mind. We’re being conditioned to accept sloppy, low-effort content as the norm.
I don’t want to sound like I’m just complaining – I actually feel quite optimistic. My goal is to keep pushing, to keep things interesting, and to avoid dumbing it down into the kind of disposable slop that algorithms encourage. If I can keep that connection with fans who actually care about the music, that’s what matters most. 
Yeah, it comes from a place of wanting it to do well. 
And wanting better for the culture. 
Exactly – this [drum & bass and music in general] is your life, it’s our lives. 
Yeah, I’m a huge fan of Stewart Lee. I don’t know if you’ve ever watched his stand-up, but he’s probably the most successful comedian in the UK that no one’s heard of. Instead of doing the O2, he’ll do Leicester Square Theatre for 100 nights straight.
His comedy is really meta – he deconstructs what he’s doing while he’s doing it, breaking the crowd into groups: some people who get the joke, some who don’t, and some who are just confused. It’s abstract and deliberately challenging.
That aspect of his work really resonates with me – the idea that art doesn’t just have to be palatable, it can push the audience a little too. It still delivers on its core purpose – people laugh, they enjoy the show – but at the same time, they’re being prodded and engaged on a deeper level.
Obviously, I know I’m just making drum & bass – I’m not pretending it has the same effect as stand-up comedy. But it does give me the opportunity to have interesting discussions and experiment with ideas, like dropping a completely distorted version of my album. Why not push things a bit?
Do you see boutique labels like yours, Gemini Gemini, Rubi Records, and the like, as pushing against some of these trends?
Yeah, I think by their nature, they have to. Ultimately, it’s artists saying, I just want to do my own thing – to have complete creative control without being beholden to anyone else.
Running your own label gives you the purest, most unfiltered platform for expression. You’re handling the art, the schedule, the A&R – it’s entirely on your terms. I was talking to someone about this recently, and there’s a huge freedom in that. But at the same time, sometimes you do wish there was someone there to say, “this tune is done – put it out as it is”.
I think we’re all at risk of playing the DSP game to some extent, but I also work with a distributor that’s open to trying things differently, which helps. The key is remembering that DSPs aren’t the be-all and end-all. I see them as a shop window, not the whole business model. They exist somewhere between radio and direct sales – it’s not as simple as give me your money, here’s your product.
With boutique labels, I think Alix Perez has set the perfect example. He’s built a strong brand with 1985 Music – consistent, high-quality releases, never straying off-brand. He’s created a real pathway for fans to discover the music, become hardcore supporters, attend events, and eventually buy the merch.
I don’t mean this in a negative way, but it’s almost tribal – not in a cultish sense, but in the way he’s built a true community around the 1985 sound. That’s what makes it so powerful. It’s not just a label – it’s an ecosystem that people want to be part of, whether as fans or artists. That’s what I see as an alternative to the more disposable, algorithm-driven side of the industry.
Totally agree about 1985. How is Must Make going? You had Azifm on the label – do you have more releases coming up from other artists?
Yeah, after this album, I’ve got two releases lined up from other artists. I won’t say who just yet – one of them is quite unexpected and outside the box – but this year, I definitely want to release more music from other people.
When I started Must Make, I never intended it to be a label for other artists – it was just a platform for me, kind of like how Calibre started Signature. But when I heard Azifm’s music, I couldn’t not release it. It was too good. From there, it snowballed, and I started realizing that I actually enjoy working with artists.
That said, I’m not the type of label head who wants to micromanage. I don’t like heavy-handed A&R – when I was releasing on other labels, I never liked that myself. My approach is more about helping artists get the best out of their music rather than pushing them in a certain direction.
For example, I’m working with an artist right now who was finishing an EP but felt like he was one track short. Instead of forcing something to fit, I just said, Why not take a risk? Try something different – don’t worry about making a dancefloor track. He went away and made this incredible experimental drum & bass tune, something really different for him. That’s the kind of environment I want to foster.
I don’t have some big grand plan for the label – it’s all about the music presenting itself naturally. If I hear something I love, and the artist is someone I genuinely vibe with, then I want to support it. These days, I find myself caring just as much about who I work with as I do about the music itself. I’d rather release a solid tune from a good person I respect than a massive track from someone I’ve never met and don’t connect with. I don’t know why, but that’s just how I’ve come to approach things.
Exciting times for the label, even if you’re taking things as they come.
Yeah, and Azifm has a big project in the works. He relocated to Melbourne after spending some time in the UK, and we’re working on something bigger for him now. His music really lends itself to a larger project – he’s got a distinct sound, but he’s also branching out into different tempos and styles. Hopefully, it’ll come together by the end of the year, but we’re still working out the timing.
‘Falling Down’ is an obvious stand-out from the project. How did this one come together?
That track started with a pianist named Ed Zucollos, who I met at Northern Bass years ago. He’s a Kiwi musician, a bit of a legend out there. He was posting these piano clips online, and it turned out his family lived just around the corner from me in Worthing – crazy coincidence. A few years ago, we did some sessions together, recording a bunch of piano, but nothing came of it at the time.
Fast-forward to this album – I knew I wanted to work with Tyler, so I hit up Ed, and he sent me a load of stems. I found a loop I liked, built the track around it, and it all came together super quickly. 
Love these encounters. How about the rest of the album coming together production-wise?
There was definitely more freedom on this record. Some tracks came together naturally, without me pulling them apart too much. On ‘Set & Setting’, I was hyper-focused on arrangement, trying to create these intricate structures. You hear it in Kendrick [Lamar] albums – where he’ll throw in a completely different section in the middle of a track before snapping back to the original groove.
With this album, ‘Deep Ones’ was probably my most indulgent track in that sense. It started as a simple club tune – just drums, bass, and some bleeps. But then I got Leroy Horns, the saxophonist from ‘Set & Setting’, to lay down parts, and that’s when it really evolved. I added key changes, small extra bars here and there – little details to break up the structure.
I hadn’t really thought about any of this until you asked, but yeah – this album was much more about going on feel rather than obsessively planning everything. That was probably a reaction to how much I overthought ‘Set & Setting’. With that record, I could explain every single decision, every structure, every transition. This time, there was intention behind what I did, but I wasn’t constantly analysing it.
It’s all drum & bass, but it really has a sonic uniqueness to it.
That’s definitely a conscious choice – maybe to a fault. I never want my music to sound too similar to anyone else’s. But at the same time, it still has to sit within the framework of drum & bass. It’s a balance.
With ‘How They See It’, for example, I wanted to take the energy and sonics of modern jump-up and present it in a more underground way. Some people have even messaged me calling it ‘tasteful foghorn’, ha, which I’ll take as a compliment. That was the idea – capturing that energy but presenting it differently.
What’s next? Anything for the label, or Workforce? 
For Must Make, I’ve got a couple of releases lined up from other artists over the next few months. Some bigger projects are coming, including more from Azifm.
Personally, I’ve actually got a lot of new music ready to go this year – unlike after Set & Setting, where I had nothing lined up. I’ve been working on a project with LSB, which might turn into a proper collab release. I’ve also done remixes for Halogenix and LSB – LSB’s will be out on the ‘Annotations’ V/A later in March.
Beyond that, I’ve got a remix for Bobbie Johnson, the rapper from ‘Deep Ones’. She’s got some really cool music that I might help with this year. And I’m currently working on a track with DRS, which is sounding really tight – I was working on it right before this call.
For gigs, I’m being selective. I’ve got Bass Coast in Canada, which I’m really excited about. But with a young son at home, I’m prioritising quality over quantity. I want to focus more on the studio than chasing every festival slot.
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[Electric-Mode] CASH ONLY, China Charmeleon and Kyra Join Forces On ‘Holy Water’ For Revered King Street Sounds

CASH ONLY, China Chameleon, and Kyra deliver a soulful powerhouse with ‘Holy Water’ on King Street Sounds. Combining their signature styles and individual successes, this collaboration is set to be the ultimate club cut for the Summer.
 
‘Holy Water’ proudly blends Afro House rhythms with a rich atmospheric depth, elevated by jazz/soul artist Kyra’s emotive songwriting and vocals. Penned by Kyra, the track expertly showcases the trio’s ability to curate a deep and dynamic sound whilst exploring themes of spirituality, love, and euphoria to deliver a deeply resonant experience. Listeners can expect a soul-stirring journey that resonates deeply, connecting on both personal and universal levels.

Having firmly established itself as one of the most respected and influential labels in dance music today, King Street Sounds, relaunched in 2024 by Armada Music, remains one of the few labels continuing to thrive, whilst crossing genres and maintaining a cohesive vibe. A true authentic NY Label, King Street Sounds has consistently remained at the cutting edge of the global dance scene, bringing soundscapes that showcase Soulful and Vocal House, Deep House, Garage,and Afro/Latin/Jazz influences to the forefront.
 
A clear testament to its legacy, King Street Sounds has hosted legends that include Kerri Chandler, Dennis Ferrer, Louie Vega, David Morales, Danny Tenaglia, Kenny Dope, and Roger Sanchez and now welcomes CASH ONLY, China Charmeleon, and Kyra to its ever growing roster of talent.
 
A key figure in South Africa’s thriving Deep House scene, China Charmeleon has seamlessly transitioned from local resident DJ to global talent, gracing numerous labels along the way. After seeing Kyra perform in Manchester, CASH ONLY was captivated by her vocal richness and presence.

British singer / songwriter Kyra has quickly gained recognition with her soulful, jazz-infused sound, earning support from BBC Radio and features on top streaming playlists. With sold-out shows and collaborations with Blue Lab Beats, she’s poised to become an exciting breakout artist in 2025.
 
CASH ONLY is fast becoming recognised for reshaping the current House scene with his own unique sound. With releases on Nervous, DVINE and his brand new Famous When Dead Records on the way, this pairing cites the start of an exciting new era for the trio. 
 
China Charmeleon, CASH ONLY, and Kyra’s Holy Water is set for release on March 21st, blending their unique styles into an unforgettable release. 
 
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The post CASH ONLY, China Charmeleon and Kyra Join Forces On ‘Holy Water’ For Revered King Street Sounds appeared first on Electric Mode.
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[EDMTunes] Lollapalooza 2025 Returns With Olivia Rodrigo, Sabrina Carpenter, Rufus Du Sol, and More

Lollapalooza 2025 is shaping up to be a very exciting festival! The four day festival returns to Grant Park, Chicago from July 31st to August 3rd for an iconic summer. Headliners for the music extravaganza include Olivia Rodrigo, Tyler The Creator, Sabrina Carpenter, Rufus Du Sol, Luke Combs, Twice, A$AP Rocky, Korn, Gracie Abrams, and Doechii.

Olivia Rodrigo debuts this year and Sabrina Carpenter’s rising stardom adds to the pop excitement. TWICE headlining represents the growing global influence of K-pop and is an exciting time for the festival. What’s more, Luke Combs is the first country artist to close the show. EDM acts include Martin Garrix, Samy Virji, Dom Dolla, Mau P, Flux Pavilion, Gryffin, and more to get your dance on. The festival will host over 170 artists over 8 stages from well known artists to emerging stars. The lineup features a diverse mix of multiple genres fro electronic music, hip-hop, pop, to rock–definitely offering something for everyone. The massive lineup is below, go check it out!
The festival is known for its vibrant and diverse atmosphere, high-energy performances across multiple stages, and unique festival vibe. It boasts community, excitement and celebration at Grant Park. The urban setting under the Chicago skyline is a perfect backdrop for the festival, and a perfect bucket list item to add (even just once). Past lineups featured world-renowned artists such as Billie Eilish, Kendrick Lamar, Metallica, and Harry Styles. Just last year, Lollapalooza debuted an all electric Main stage featuring SZA, Blink-182, The Killers, Hozier, Skrillex, Tate McRae, Zedd, Fisher, Four Tet.
This year, expect a plethora of headliners, emerging talent, and crowd favorites to make Lollapalooza 2025 a can’t-miss event. Additionally, luscious food, drinks, and sweets from Chicago’s favorite restaurants await you. It’s fun in the sun, with food, friends, and nothing but good vibes. So let the good times roll this summer with all the best in music.
Pre-sale starts Thursday, March 20 at 10am CT with guaranteed lowest-price 4-Day Tickets for ONE HOUR ONLY. Sign up now at lollapalooza.com.
The post Lollapalooza 2025 Returns With Olivia Rodrigo, Sabrina Carpenter, Rufus Du Sol, and More appeared first on EDMTunes.
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[EDMTunes] Mochakk Debuts First-Ever ‘MOCHAKK CALLING FESTIVAL’ In Malta This Summer

Mochakk is hosting his first-ever event with Mochakk Calling Festival this summer. It is set to take place in picturesque Ta’ Qali, Malta. Headliners for the two-day festival set for July 26-27, 2025 include Bonobo, Desiree, Seth Troxler, Honey Dijon, RHR, DJ Swisha, Mall Grab, and more. Following a year of global success with sold-out ‘Mochakk Calling’ events, the Brazilian DJ and producer is elevating his status. The festival shall showcase lots of love for Brazilian beats, house, and techno. With exclusive after-hours events in Attard, this festival signifies a major expansion for both Mochakk’s career and the ‘Mochakk Calling’ brand.
Analu and Badsista come to blend Brazilian rhythms like baile funk with techno. Similarly, Cesar Nardini strongly focuses on house and techno, known for his groove and energy. London-based duo, Chaos in the CBD, will bring deep house filled with soulful melodies, smooth grooves, and warm atmospheric textures. And we can expect Dennis Ferrer b2b Honeyluv to combine their signature house styles for an energetic set with lots of soul.
What’s more, Dixon is known for his renowned deep and melodic house. His intricate crafted sets blend emotional depth with dancefloor energy. DJ Holographic brings the Detroit techno and house with funk and soul elements for a frenetic frenzy. Lastly, HAAi specializes in techno, house, and breakbeat while Todd Terje is known for his nu-disco and house music for an undoubtedly infectious time with retro vibes. Other artists to expect include Viot, Sterium, RHR, Pricilia Diaz, nocapz, Lovefoxy, and Jay Mariani.
Mochakk, born Pedro Maia, has a background in skating and hip-hop culture which has shaped his musical influence. In addition, his love for funk, disco, rock, and blues diversifies his style. Major events and venues include Circoloco Ibiza, Coachella, Time Warp, EDC Las Vegas, and more. We look forward to seeing his high-energy performances.
Pre-sale for the boutique Mochakk Calling Festival tickets go on sale March 27th, with general on-sale on March 28th. Secure your spot early at the link here. For more information, check out the website here and stay tuned for the full lineup reveal.

The post Mochakk Debuts First-Ever ‘MOCHAKK CALLING FESTIVAL’ In Malta This Summer appeared first on EDMTunes.
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[Decoded] The Art of Hip Hop Brings The Smithsonian’s Eyejammie Hip-Hop Photo Collection to Miami

It was during the Eighties, when Bill Adler was the director of publicity at Def Jam Recordings, that he first began working with a number of talented photographers who were then documenting hip-hop in all its forms. “Something about the culture’s astonishing vitality and visual appeal began catching the eyes of these photographers in the Seventies, even before anybody began making rap records,” he says. “And the quality of those images ultimately played a huge role in the promotion of hip-hop globally.”
In 2003, Bill doubled down on his longstanding appreciation of that work by establishing the Eyejammie Fine Arts Gallery, which was devoted to hip-hop photography. And in 2015, some eight years after the closing of the gallery, The Smithsonian Institution’s National Museum of African American History and Culture acquired 400 Eyejammie photo prints by 59 different photographers.
Beginning on March 22, 2025, The Art of Hip Hop in Miami’s Wynwood Arts District will be bringing a selection of these photographs back to the light in a new immersive and interactive way that has never been done before. “We need to teach the next generation about history in a way they want to learn it – in an environment that authentically conveys important cultural information that also looks cool on their TikTok page,” said Allison Freidin, co-founder of The Art of Hip Hop. Immersive elements to the show include rare ephemera such as a white 1986 Mercedes, reminiscent of rapper Rakim’s iconic “Benzeeto” that he posed with in 1988 during a photoshoot with Michael Benabib in the heart of New York City’s Bleeker Street.
With the exception of the work of Janette Beckman, The Art of Hip Hop’s lead curator Alan Ket selected images from photographers whose works have never been exhibited in Miami or the exhibition’s other pop ups in Austin, TX and Seoul, Korea. Iconic images will include vintage portraits of hip-hop immortals like Sylvia Robinson, Run-DMC, Flavor Flav, Bun B, Cypress Hill, Eazy E, Dondi White, Slick Rick, T.I., Pitbull, Biggie Smalls, Snoop Dogg, and David Banner, as well some of the reggae greats whose work preceded and was influential to hip-hoppers, starting with Lee “Scratch” Perry. The celebrated photographers who created these portraits include Harry Allen, Michael Benabib, Adrian Boot, Julia Beverly, Brian Cross, Al Pereira, Sebastian Piras, Ricky Powell, Peter Rickards, Jack Thompson, Val Wilmer, and, as noted, Ms. Beckman.
The post The Art of Hip Hop Brings The Smithsonian’s Eyejammie Hip-Hop Photo Collection to Miami appeared first on Decoded Magazine.
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[DA] Coachella reveals lineup for Quasar stage’s 2025 return: Alesso, Gorgon City, Kaskade, and more

In 2024, Goldenvoice surprised everyone by unveiling Quasar, a brand-new outdoor stage at Coachella. Quasar’s stage design — courtesy of Vita Motus — positions the artists between two large LED screens, showcasing stunning visuals that are custom-tailored to both the artist in front of the Coachella Valley desert landscape. Last year, Coachella hosted unforgettable performances from artists like Michael Bibi, Anyma, Eric Prydz, Solomun, RÜFÜS DU SOL (DJ Set), and more. And for 2025, Goldenvoice has upped the ante for its second go-around, bringing a star-studded lineup across both weekends.
Set to kick off Friday during weekend one, The Martinez Brothers and Loco Dice are teaming up to deliver groovy, minimal tech-house in an extended set that’s guaranteed to feature a bevy of IDs. Day two will showcase a unique grouping as Barry Can’t Swim, 2manydjs, and salute join forces to blend their distinct styles of dance music into one electrifying performance. To close out weekend one, the legendary icon that is Tiësto returns to Coachella after 15 years. Known as one of the pioneers of trance music, many are expectedly eager in hopes that he will deploy iconic classics like “Adagio For Strings.”
Quasar’s second weekend billing also starts strong, with deadmau5’s Testpilot alter-ego and ZHU’s Blacklizt alter-ego bringing high-energy techno. On weekend two’s second day comes one of the most anticipated back-to-back sets of the weekend will take place, with Kaskade (Redux) and the acting legend that is Idris Elba — who last appeared at Coachella’s Yuma Tent in 2023 — blending their contrasting house music styles. And last but not least, Alesso will bring Body Hi — his tech-house alias that he debuted at the Do LaB stage in 2024 — for a back-to-back with Gorgon City that’s guaranteed to be a can’t-miss house set.
In addition to the star-studded DJs at the Quasar Stage, Goldenvoice will debut a new 20,000-square-foot structure known as Red Bull Mirage. Designed as a pyramid and located next to the Quasar Stage, this viewing area will be accessible to all festival attendees, with artists, guests, and media having exclusive access to the top-level decks. The highly anticipated Red Bull Mirage will continue to elevate one of the most talked-about stages on the festival grounds. With its innovative designs, Coachella remains one of the top festivals in the world, constantly pushing the boundaries of what a music festival is capable of.
Featured image: Coachella/Instagram
The post Coachella reveals lineup for Quasar stage’s 2025 return: Alesso, Gorgon City, Kaskade, and more appeared first on Dancing Astronaut.
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[EDM.com] XYST Agency Announces Miami Music Week 2025 Events and Showcases

Each spring, like clockwork—or perhaps more like an over-caffeinated metronome—Miami Music Week descends upon South Florida and transforms the city into one endless dance party. From March 25-30, Miami will once again trade in its pastel Art Deco for laser-laden raves and euphoric, sleep-deprived grins for the nation's largest electronic music summit.
Yes, it’s that time of year when personal boundaries blur, hotel pools morph into clubs and the concept of "meals" devolves into a couple chicken tenders scarfed between sunrise DJ sets. Those who have attended know that Miami Music Week is surivival of the fittest, a takeover where Red Bull-vodka is the currency and adult responsibilities are checked at the TSA line.
While the broader event serves as North America’s de facto electronic music summit, it's the underground architects like XYST Agency who sculpt the week's many unforgettable moments. The agency is no stranger to organizing stellar parties, but they're bringing the heat in 2025 with Zack Martino and more.
You can find a breakdown of XYST's MMW 2025 events below and purchase tickets here.
Tuesday, March 25: Resonance Pre-MMW Industry Event
Location: Sherry Bar & Lounge - 6565 Collins Ave, Miami Beach, FL 33141
Time: 7pm
Artists: Bamb!no, Blank Checks, Brandon Alex, more
Tickets
Wednesday, March 26: Zack Martino & Friends MMW
Location: Esme Rooftop - 1438 Washington Ave, Miami Beach, FL 33139
Time: 3pm
Artists: Zack Martino, Club Rapture, Danny Quest, more
Tickets
Thursday, March 27: La Casa Bomba MMW
Location: Mezcalista - 921 Washington Ave, Miami Beach, FL 33139
Time: 8pm
Artists: Chec, HP, Bodega, more
Tickets
Friday, March 28: Vortex Decoded x Club Rapture MMW
Location: Sandbox - 6752 Collins Ave, Miami Beach, FL 33141
Time: 8pm
Artists: TBA
Tickets
Follow XYST Agency:
Instagram: instagram.com/xystagency
Facebook: facebook.com/xystagency
SoundCloud: soundcloud.com/xystagency
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[EDM.com] DJ DALI on How His Travels Shape His Signature Sound: "All About Pushing Boundaries and Growth"

For DJ DALI, electronic music is about much more than just making people dance. It's about making them travel.
The fast-rising DJ and producer has carved out a niche with his unique sound, blending sultry Afro-house rhythms with heady, textured production in a way that's making industry veterans sit up and take notice.
His breakthrough track "Baglami" serves as a perfect case study in cultural fusion done right. After a transformative Turkish sojourn, DALI incorporated the bağlama (a traditional Turkish string instrument) into his production framework, creating a hypnotic earworm that caught Virgin Records' attention.
With over 170 performances under his belt last year, the prolific DJ's 2025 trajectory looks promising. Beyond electronic music, he's also expanding into fashion through his Riders Movement brand, a move that echoes the cultural amplification that defines his productions.
We caught up with DALI to discuss his breakthrough and what the future holds for his artist project.
c/o DJ DALI
EDM.com: Your music blends cultural influences beautifully. Have you ever traveled somewhere that profoundly impacted your sound?
DJ DALI: Travel has been one of the biggest inspirations for my music. My trip to India deeply influenced me with its rhythms and traditional sounds, inspiring me to blend Indian Punjabi vocals with electronic grooves in "Nateka."
Another transformative experience was in Turkey, where I discovered the Bağlama, an instrument that shaped my track "Baglami." Traveling allows me to absorb different cultures and incorporate their unique musical elements into my work.
EDM.com: What was the pivotal moment when you realized fusing world music with electronic sounds was your unique path in music?
DJ DALI: The turning point was when I created "Baglami." I incorporated the rich, emotional sound of the Bağlama with hypnotic rhythms, and the response was incredible. That moment made me realize that cultural fusion wasn’t just an experiment but the foundation of my artistic identity.
EDM.com: How do you balance keeping your cultural roots intact while evolving your sound for a global audience?
DJ DALI: It’s all about respect—respect for tradition and innovation. I deeply study the musical elements I incorporate and make sure they aren’t just gimmicks but authentic integrations. I blend them with modern production techniques, ensuring they resonate both emotionally and rhythmically with audiences worldwide.
EDM.com: With versatility being key in the dance scene, how did your style develop over the years?
DJ DALI: My style evolved organically as I transitioned from producing to DJing. My production background allows me to blend sounds uniquely, incorporating world music elements into electronic beats while always staying open to new influences.
EDM.com: What’s been your most unconventional experiment in music so far?
DJ DALI: Sampling an Indian Punjabi song and merging it with deep electronic grooves for "Nateka" was an exciting challenge. The contrast between the raw vocals and hypnotic beats created a fusion that felt fresh and dynamic.
EDM.com: What’s next for you in 2025 in terms of new music and live performances?
DJ DALI: I’m working on new tracks that push my fusion of electronic beats with world influences further. I have international shows lined up and plan to expand into fashion and storytelling through my brand, Riders Movement. 2025 is all about pushing boundaries and growth.
Follow DJ DALI:
Instagram: instagram.com/djdali
Facebook: facebook.com/djdaliofficialpage
Spotify: tinyurl.com/2pyvhb3z
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[EDM House Network] David Guetta’s massive Monolith tour arrives to Tallinn Song Festival Grounds on August 23

Tallinn Song Festival Grounds will transform into a massive dance floor, when on Saturday, August 23, the world’s largest dance and pop music icon, David Guetta, will take the stage. He will bring his “The Monolith” production to the Baltic and Scandinavian audiences for the first time, marking the biggest dance music show in our region’s history.
This will be the only performance for David Guetta in Estonia, Latvia, Lithuania, Finland, Sweden, Denmark and Norway, attracting a large number of international visitors.
David Guetta is one of the most influential DJs and producers in the world, shaping the sound of electronic dance music. His hits such as “Titanium,” “When Love Takes Over,” “Without You,” “She Wolf,” and “Turn Me On” have conquered charts worldwide, earning him several awards, including two Grammys.
In Tallinn, Guetta will present his largest dance music production, “The Monolith,” to the Baltic and Scandinavian audiences for the first time. It promises to be an unprecedentedly powerful audiovisual experience, combining top-tier lighting, sound, and visual effects to create a truly immersive show.
Tickets are now on sale on Piletilevi.
The event is organized by Baltic Live Agency.

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[EDM House Network] Bad Nonno & Lucky Rose Unite To Take Over The House Scene With ‘One More’

Bad Nonno is not just any producer or artist in the dance music industry, he has inspired change throughout his career. Earning acclaim for his genre-defying sound design and blending nostalgia within his production, from his breakout collaboration “Inside Out” with DVBBS to his reimagining of Diana Ross’s “Upside Down” with Ultra Records, Bad Nonno has proven his talent for crafting any genre he puts his heart and soul into. Uniting with French-Canadian duo Lucky Rose, the house music scene is about to level up with the release of their latest collaboration “One More” out on March 14, 2025. 
A mesmerizing house music track that is charged to energize dance floors worldwide. Featuring enticing vocals and hypnotic grooves, the track showcases the artist’s vision to start a movement in the house music scene. “One More” is sure to resonate with fans of house music everywhere and these two artists are only getting warmed up. Sharing their thoughts behind the single, Lucky Rose describes the latest single as a “vibey house banger at its finest,” while
Bad Nonno ensures fans this is “a song you have to play one more time.”
With Bad Nonno garnering millions of streams and a growing catalog, he continues to make his mark with duo Lucky Rose. While the duo of Vincent Carrier and Marc-Antoine Thibeault, has become a staple in the electronic music scene with their signature mix of catchy hooks and energetic rhythms. From their breakout track “The Way You Want Me” to their Gold-certified hit “Wild One,” Lucky Rose has amassed nearly 100 million streams and multiple accolades. 
Together with Bad Nonno, they deliver a track that is destined to leave listeners wanting just “One More” on the dancefloor.
‘
Connect with Bad Nonno:
Instagram | X I Soundcloud |Spotify
Connect with Lucky Rose:
Instagram | Facebook I X I Soundcloud |Spotify

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[EDMTunes] Club Space Teams Up with Eleventh Street Pizza for Miami Music Week

Miami Music Week is about to get a whole lot tastier. Forget late-night bodega runs – this year, the iconic Club Space is teaming up with none other than Eleventh Street Pizza, recently crowned one of the world’s best pizzas, for a collaboration that’s as delicious as it is unexpected.
Imagine this: you’ve just danced your heart out on the Space Terrace, the sun is rising, and your stomach is rumbling. Instead of settling for something mediocre, you can now stroll around the corner to Eleventh Street Pizza’s Downtown location and dive into a slice of pure culinary genius.
But this isn’t just any pizza. Eleventh Street, known for their dedication to quality and innovative flavors, is unveiling a limited-edition Shakshuka Pizza exclusively for this partnership. Yes, you read that right.
From Monday, March 17th to Monday, March 31st, you can experience this unique creation, inspired by the beloved Middle Eastern breakfast dish. Think spiced red pepper and tomato sauce, caramelized onions, garlic, mozzarella, and perfectly cooked eggs, all topped with feta and fresh parsley. It’s a symphony of flavors that’s sure to fuel your post-Space adventures.
“We wanted to create something truly special for Miami Music Week,” says [Insert Fictional Eleventh Street Pizza Representative Name Here], “and what better way than to combine the energy of Club Space with the comfort and innovation of our pizza? The Shakshuka Pizza is a celebration of both Miami’s vibrant culture and our commitment to pushing culinary boundaries.”
And the best part? If you’re rocking a Club Space wristband, you’re in for a treat. Eleventh Street Pizza is offering 10% off the Shakshuka Pizza and a free soft drink to all Space attendees (in-store only). It’s the perfect way to refuel after a long night (or morning!) on the dancefloor.
With its prime location around the corner from Club Space, Eleventh Street Pizza is the ultimate post-party destination. It’s a testament to the thriving Downtown Miami scene and the power of collaboration between two local legends.
So, whether you’re a seasoned Space veteran or a first-time Miami Music Week attendee, make sure to add the Eleventh Street Pizza Shakshuka Pizza to your itinerary. We’ll be heading over there this week to sample the pizza for ourselves! It’s a limited-time experience that’s guaranteed to be a highlight of your week.
Here’s the breakdown:
What: Limited-edition Shakshuka Pizza collaboration between Club Space and Eleventh Street Pizza. Where: Eleventh Street Pizza Downtown location (around the corner from Club Space). When: Monday, March 17th – Monday, March 31st. Special Offer: 10% off the Shakshuka Pizza and a free soft drink for guests with a Club Space wristband (in-store only). Get ready to dance, eat, and repeat. Miami Music Week just got a whole lot more delicious.
The post Club Space Teams Up with Eleventh Street Pizza for Miami Music Week appeared first on EDMTunes.
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[DA] SOREN’s innovation shines on first release of 2025, ‘HAUNTED BY YOU’

Few producers bring the energy as competently and as consistently as SOREN does. And as his first single of the year thunderously affirms, the Dirty Workz signee has plenty of tricks up his sleeve. Of course, the track’s progression from an atmospheric slow-burn to a climactic surge of pure hardstyle power that hits hard without being too raw is among them. So are the vocals from Dutch singer-songwriter Jorik Burema, whose fervent topline on “HAUNTED BY YOU” marks a departure from the female vocals present on several of SOREN’s recent one-offs, like “ON MY OWN” (KITA), “BLACK TEARS,” “IT HURTS,” and “COLD HEARTED.”
SOREN’s answer to “AVALON” (his last release of 2024), hits digital streaming platforms just ahead of the American DJ/producer’s San Francisco debut at August Hall in support of Darren Styles on March 29. Tickets to the Basscon event can be purchased here and SOREN’s latest, streamed below.
Featured image: Courtesy of SOREN
The post SOREN’s innovation shines on first release of 2025, ‘HAUNTED BY YOU’ appeared first on Dancing Astronaut.
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[EDMTunes] Feel ‘All Right’ with Tiesto & Dyzen’s New Hit

Tiësto & Dyzen have released a melodic techno hit that is sure to become a crowd pleaser this upcoming festival season. This collaboration brings us a track that is well balanced, giving us the best of both worlds: the high energy of Tiësto and the emotional depth of Dyzen. Let’s dive right into their latest hit ‘All Right.’
The New Hit
This track begins with a solid beat that’ll keep you glued to the dance floor. As it builds, we get components of arpeggiated synths, layered melodies, and emotionally charged vocals that finally collide. The drop is very Dyzen-esque with his usual airy layered melodic sound and crisp baseline. We can hear Tiësto’s influence through the production in the overall track, giving it a very clean mastering production tone. The blend of both artist’s individual styles come to fruition and sets an euphoric mood.
This collaboration highlights Tiësto’s shift toward deeper, melodic sounds and Dyzen’s rise in the melodic techno scene. It is a fusion of festival energy and underground depth. ‘All Right’ strikes a balance between introspection and release. This new hit perfectly suits a late-night set or even a bittersweet sunrise set.
Tiësto & Dyzen: An Unlikely Duo
The well renounced producers are both making waves in 2025 with exciting new projects and performances.
Tiësto, long known for his dominance in the trance and big-room house scenes, has been leaning into deeper, melodic sounds while maintaining his signature high-energy style. Following the success of his 2023 album Drive Tiësto plans to play major festivals like Ultra Miami and Tomorrowland this year. Fans can expect a mix of his classic hits and fresh new hits.
Dyzen, on the other hand, continues to rise in the melodic techno world with emotionally charged releases like ‘Time Flows‘ and ‘Radiant‘. His growing reputation for deep, cinematic productions has landed him high-profile collaborations and spots on some of the biggest European festival lineups.
The recent collaboration on ‘All Right’ showcases the perfect balance of Tiësto’s club-focused precision and Dyzen’s melodic depth. This new hit signals an exciting year ahead for both artists. 
The post Feel ‘All Right’ with Tiesto & Dyzen’s New Hit appeared first on EDMTunes.
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[EDMTunes] Martin Garrix Teams Up With Global Icon Arijit Singh For ‘Angel’s For Each Other’

Dance music’s biggest star Martin Garrix has teamed up with global icon Arijit Singh. The highly anticipated single, ‘Angel’s For Each Other’, is out now via STMPD RCRDS. Arijit is the most followed artist on Spotify with nearly 140 million followers
This anthemic and uplifting track masterfully blends Singh’s signature Hindi vocals with his first-ever English performance, seamlessly intertwined with Garrix’s soaring production. In a surprising twist, Garrix himself also contributes his own vocals for the first time—something he teased earlier this week on social media.
A song that celebrates the simplicity of life and the power of compassion, ‘Angel’s For Each Other’ is a stunning fusion of two musical worlds, proving once again why Garrix and Singh are true visionaries.
The music video for the track is Garrix performing live in Mumbai, India, at DY Patil Stadium on March 14. He will be headlining Ultra Music Festival in Miami later this month, closing out the mainstage.
With a groundbreaking 2024 behind him, including the release of his IDEM EP, the Billboard Dance Chart-topping hit ‘Told You So,’ and being crowned DJ Mag’s No. 1 DJ for the fifth time, Garrix continues to push boundaries—this time, with a collaboration that transcends borders.

The post Martin Garrix Teams Up With Global Icon Arijit Singh For ‘Angel’s For Each Other’ appeared first on EDMTunes.
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[EDMTunes] ‘Throwing Stones’ by Massano is the Perfect Dark Club Track

UK-based producer Massano returns with another standout release, ‘Throwing Stones’, a track that seamlessly blends melodic house & techno elements. Known for his cinematic soundscapes and dynamic production style, Massano crafts an emotionally rich experience filled with pulsing rhythms, hypnotic synth lines, and an undeniable sense of progression.
‘Throwing Stones’ builds with a deep, rolling bassline and airy vocal chops, creating a moody yet euphoric atmosphere. The track’s driving percussion and swirling melodies keep the tension rising, leading to an expansive drop that delivers both energy and emotion—a signature of Massano’s style. Perfectly suited for sunset festival sets and intimate club moments, this release further cements his place as a standout name in the melodic house & techno scene.
Following a streak of successful releases on Afterlife, Oddity, and Running Clouds, Massano continues to evolve his sound, proving once again why he’s a name to watch.
Listen to Massano – ‘Throwing Stones’ below:
The post ‘Throwing Stones’ by Massano is the Perfect Dark Club Track appeared first on EDMTunes.
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[EDMTunes] Instagram Now Allows Music Sharing Through DMs

Meta has a new Instagram update to provide more functionality to direct messages (DMs) on the app. They added translating, music sharing, message scheduling, and more.
New Instagram Update
The translation feature allows communication all over the globe without the language hurdle. You can now hold a message down and click on ‘translate’, which will make the translated message appear below the original.
In addition, music sharing is now available for artists on the sticker menu. Sharing a track will be as easy as clicking on the music icon and choosing a song to send from the Instagram Library. The sent track will show as a spinning vinyl with a 30-second snippet the receiver will be able to hear.
Next, artists and creatives can now also schedule messages in DMs so they’re sent at the right time. You can now schedule reminders for merch drops or your next exclusive events so followers are the first ones to know. To schedule a message, hold down the send button. Then, you can choose the date and time the message will be sent, and lastly tap ‘Send’ to schedule it.
The new Instagram update also allows for group chats to have pinned messages at the top of them. Meaning, the information is easily available and not lost in long chats. To pin messages, hold down on the message and tapp ‘Pin.’ The message will be at the top of the DM screen each time it is opened. You can pin up to three messages at a time. If you need to unpin them, just tap the message select ‘Unpin.’
At last, Instagram is adding a personalized QR code for each group chat. Users can now show the personalized QR code, and whoever scans it instantly gains access to the chat. Group admins can change and reset the QR code, keeping control over who gets into the group chat.
What are your thoughts? Will you be taking full advantage of all these add-ons?
The post Instagram Now Allows Music Sharing Through DMs appeared first on EDMTunes.
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[EDMTunes] Day Zero Festival Returns to Tulum in 2026

The wait is over! Day Zero Festival 2026 is officially returning to Tulum on January 10, 2026. Founded by Damian Lazarus, this legendary event has become one of the most anticipated underground music festivals in the world. As in previous years, it will deliver mesmerizing soundscapes, otherworldly production, and a deeply spiritual atmosphere.
If you’re a fan of techno, house, and deep electronic beats, this is a festival you won’t want to miss. Set against the mystical backdrop of Tulum’s lush jungle, Day Zero is more than just a party. It’s a transformative experience where music, nature, and ancient rituals collide.
What Makes Day Zero Tulum So Special?
Unlike traditional festivals held in massive stadiums or beaches, Day Zero Tulum takes place in the heart of the Yucatán jungle. It offers a truly immersive and organic setting. Surrounded by ancient ruins, cenotes, and lush vegetation, the festival seamlessly blends nature with cutting-edge production. This creates a dreamlike atmosphere.
The setting alone makes Day Zero Festival a standout event. Picture yourself dancing under a canopy of stars, surrounded by the sounds of the jungle and the hypnotic beats of world-class DJs. The connection to nature elevates the experience, making it feel more like a sacred ceremony than a typical music festival. The vibrant, natural beauty of Tulum enhances the feeling of escapism, allowing festival-goers to lose themselves in the music and the moment.
Day Zero Tulum is more than just an electronic music festival—it’s a ceremonial journey. The event incorporates rituals, shamanic performances, and cosmic visuals to enhance the experience. From fire dancers to breathtaking art installations, every detail is designed to take you on a transformative adventure.
Inspired by the end of the Mayan calendar in 2012, Damian Lazarus envisioned a festival that would honor ancient traditions while celebrating the future of electronic music. The first Day Zero took place on December 21, 2012, marking a symbolic rebirth and aligning with the spiritual energy of the region. Since then, it has evolved into an annual pilgrimage for techno and house music lovers from around the world.
About the Creator
Damian Lazarus isn’t just a DJ—he’s a musical visionary with a deep understanding of the connection between sound, spirituality, and human experience. As the founder of Crosstown Rebels, Lazarus has been a key figure in the global electronic music scene for over two decades. His DJ sets are known for their deep, mystical undertones. He blends tribal beats with hypnotic melodies to create immersive sonic journeys.
Lazarus has said that his goal with Day Zero Tulum was to “create a sacred moment where music, art, and ancient energy collide.” His ability to curate both the lineup and the atmosphere has made Day Zero one of the most respected and sought-after festivals in the world.
In 2025, Lazarus has been busy expanding his creative reach. He’s been performing at top-tier festivals like Burning Man, Coachella, and Circoloco in Ibiza. He delivers his signature blend of deep house and spiritual rhythms. Additionally, he’s been working on new music projects under his Crosstown Rebels label. He is collaborating with artists like Bedouin, Seth Troxler, and Jamie Jones.
Lazarus has also been involved in curating intimate, high-concept events, such as Get Lost in Miami. These events focus on creating immersive musical and visual experiences. His creative direction has leaned heavily toward blending ancient cultural influences with cutting-edge electronic production. This is sure to be reflected in Day Zero Tulum.
Tickets and What to Expect
While the official Day Zero 2026 lineup hasn’t been announced yet, past editions have featured some of the biggest names in the electronic music scene, including: Black Coffee, Bedouin, Jamie Jones, The Martinez Brothers, Maceo Plex, Art Department, amongst others. Expect a carefully curated selection of techno, house, and deep electronic music from top-tier international DJs and underground legends.
Tickets for Day Zero Festival 2026 will likely sell out fast. This exclusive event has limited capacity to maintain its intimate, magical vibe. Pre-sale & Early Bird Tickets will be available for those who register early on the official Day Zero website. General Admission & VIP: Prices will vary, with VIP tickets offering perks like express entry, exclusive lounges, and prime stage views.
Why You Can’t Miss Day Zero Tulum
Day Zero is not just a festival—it’s a sensory experience that transports you into another world. With its breathtaking jungle location, mind-blowing music, and spiritual energy, it’s no surprise that this event has gained a cult-like following among electronic music lovers.
If you’re looking for an unforgettable rave experience in one of the world’s most mystical locations, Day Zero Tulum 2026 is the place to be.
Are you ready to dance under the stars and lose yourself in the magic of the jungle?

The post Day Zero Festival Returns to Tulum in 2026 appeared first on EDMTunes.
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[EDMTunes] Here’s All of EDMTunes’ Miami Music Week Event Guides

Miami Music Week 2025 is gearing up to be an absolute whirlwind, and navigating the sheer volume of events can feel like trying to find a needle in a pulsating haystack. Fear not, fellow ravers! We’ve compiled the ultimate resource to ensure you don’t miss a beat. From meticulously crafted daily guides highlighting the must-see parties, to specialized deep dives into the legendary Resistance Miami and the always-on-point Link Miami Rebels lineups, we’ve got you covered. Get ready to dive into the definitive collection of Miami Music Week event guides and plan your perfect week of electronic bliss.
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Link Miami Rebels Events (Space, Factory Town, Floyd, The Ground, Jolene)
Resistance Miami Events
The post Here’s All of EDMTunes’ Miami Music Week Event Guides appeared first on EDMTunes.
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[EDM House Network] DJ DALI Chats Performing At Festivals, Music Inspirations, Pressure To Follow Trends & More

DJ DALI has made a name for himself by blending Afro House with Middle Eastern influences, carving out his own lane without chasing trends. His sound reflects his roots while embracing modern production, creating a distinct style that resonates globally. Performing at festivals around the world has sharpened his ability to read a crowd, teaching him how to adapt his sets without losing his identity. Large-scale events call for high-energy performances, while more intimate settings allow for deeper, more intricate selections—both approaches shaping his perspective as a DJ and producer.
For him, a great set isn’t just about playing crowd favorites; it’s about structure, flow, and knowing when to build or pull back. Outside of music, he draws inspiration from art, fashion, and travel, all of which feed into his creative process. While there’s always pressure to follow industry trends, he stays focused on innovation rather than imitation, ensuring his music reflects his own vision. ‘Baglami’ was a defining moment in his career, a track that captured his approach and proved that authenticity leads to success. Looking ahead, his ambitions extend beyond music—he wants to create a lasting cultural imprint, bridging different art forms and inspiring the next wave of artists.

How has performing at different festivals influenced your style?
Every festival has its own vibe, and playing in different environments has taught me how to adapt while staying true to my sound. Large festivals demand high-energy sets, while intimate ones allow for deeper, more emotional journeys. Performing globally has expanded my understanding of crowd dynamics and given me new perspectives on how to structure my sets.
What do you think makes a great DJ set?
A great set tells a story. It’s not just about playing hit tracks—it’s about crafting an emotional arc, balancing tension and release, and taking the audience on a journey. It’s also about reading the crowd and responding to their energy, making every performance a two-way conversation.
What inspires you outside of music?
Art, fashion, and travel all play a big role in my creativity. I draw inspiration from visual artists who experiment with form and structure, as well as from different cultural aesthetics I encounter while traveling. All of these elements inform my approach to sound design and performance.
Have you ever felt pressure to conform to mainstream trends?
At times, but I’ve always believed in staying authentic. While I listen to what’s happening in the industry, I make sure that my work is a reflection of my personal vision rather than a reaction to trends. Longevity in music comes from innovation, not imitation.
What’s one track that changed your life?
“Baglami.” It was the track that solidified my identity as an artist and opened doors for me. It represents everything I love—deep cultural roots, hypnotic rhythms, and electronic experimentation.
What’s your ultimate dream for your career?
To create a legacy that transcends music. I want to build a brand that brings together different forms of art, creates global cultural conversations, and inspires the next generation of creators.
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[EDMTunes] Coachella Partners with Loop Earplugs for Ear Protection

Today, Coachella announces its exclusive partnership with Loop Earplugs including a limited edition Loop x Coachella Experience 2 Earplug and Link designed in a gradient hue inspired by the California desert sky. The collaboration introduces the limited-edition Loop x Coachella Experience 2 earplugs, designed to elevate the live music experience through unmatched sound clarity and style.
Festival Fasion & Volume Control
Sharing the intersection of music and fashion, Loop and Coachella unite to encourage attendees to “go front row” for the ultimate festival experience – this year featuring artists including Lady Gaga, Green Day, Post Malone and Travis Scott. With 17 dB (SNR) of filtered noise reduction, Loop x Coachella Experience 2 ensures clear sound while protecting ears – all without missing a beat.
“Coachella sets the stage for cultural trailblazing and creativity, which perfectly aligns with our vision at Loop,” says Loop co-founder Dimitri O. “We’re thrilled to co-create something that not only meets the standards of one of the world’s most celebrated festivals but also raises the bar for live music experiences globally.”
Desert-inspired designs
Drawing from Coachella’s California sunrise and sunset, the earplugs feature a unique gradient design blending warm desert hues like soft peach and dreamy blue. This dynamic palette reflects the festival’s evolving atmosphere from dawn to dusk.
Each set comes with a matching Loop x Coachella Carry Case, with the optional Loop x Coachella Link connector cord available separately to keep earplugs secure as festival-goers dance the day – or night – away.
How To Get Them
Those who secured Coachella passes during the November 2024 advance sale were given the first opportunity to shop the limited-edition earplugs.
Loop x Coachella Experience 2 earplugs ($39.95) and Loop x Coachella Link connector cord ($29.95) will be further available:
Online at loopearplugs.com from March 18, 2025, until stocks last, Onsite at Coachella merch stands and mobile Loop Earplugs vending booths during both festival weekends, April 11-13 and April 18-20, 2025. The post Coachella Partners with Loop Earplugs for Ear Protection appeared first on EDMTunes.
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[EDMTunes] Live Nation Antitrust Lawsuit Will Continue Under Trump

A recent federal ruling has allowed the US Department of Justice’s lawsuit against Live Nation and its subsidiary, Ticketmaster, to move forward, dealing a significant blow to the ticketing conglomerate. The lawsuit, filed in May 2024, accuses Live Nation of monopolizing the live entertainment industry and engaging in unlawful practices that stifle competition.
Lawsuit Details and Ruling
Recently, On March 14, 2025, US District Judge Arun Subramanian denied Live Nation’s motion to dismiss two critical parts of the antitrust case.
The “Tying” Claim:
This claim alleges that Live Nation forces artists to use its concert promotion services if they want to perform at Live Nation-owned venues. The judge is allowing this part of the lawsuit to continue. He believes there could be evidence showing that artists are coerced into using Live Nation for promotion.
Overall, the lawsuit alleges that Live Nation coerces artists into using its promotion services if they want to perform at its owned venues. This is called the “tying” claim. Judge Subramanian upheld this claim, stating that the evidence could show that artists are effectively locked into working with Live Nation due to its dominance in the large-amphitheater market. He emphasizes that if artists are indeed coerced into this arrangement, it could lead to a viable antitrust case.
State Attorneys General’s Standing for Consumer Damages Claim:
The judge upheld the right of state attorneys general to seek damages on behalf of consumers. Those who may have been overcharged due to Live Nation’s alleged anticompetitive practices in the primary ticketing market. This allows states to continue pursuing the case regarding potential consumer harm caused by Live Nation’s practices.
Altogether, The DOJ seeks to break up Live Nation and Ticketmaster, asserting that their monopolistic practices harm both consumers and artists. The outcome of this case can reshape the industry and impact how tickets are sold and promoted in the future.
A list of venues owned or operated by Live Nation:
The Forum – Inglewood, California Hollywood Palladium – Los Angeles, California Gorge Amphitheatre – George, Washington The Fillmore (3 locations) Red Rocks Amphitheatre – Morrison, Colorado (operated by Live Nation in partnership with the city) Lakewood Amphitheatre – Atlanta, Georgia Jiffy Lube Live – Bristow, Virginia DTE Energy Music Theatre – Clarkston, Michigan Verizon Wireless Amphitheater – Alpharetta, Georgia BB&T Pavilion – Camden, New Jersey Nissan Pavilion (now known as Jiffy Lube Live) – Bristow, Virginia Hollywood Bowl – Los Angeles, California (operated by LA Phil, but concerts often booked by Live Nation) Bank of New Hampshire Pavilion – Gilford, New Hampshire Case Files
In summary, the antitrust case against Live Nation is moving forward after a federal judge denied the company’s request to dismiss key arguments. Overall, the case attacks methods the company uses to force artists to use its promotion services. Especially if they want to perform at its venues. Now, The U.S. Department of Justice and 40 attorneys general can continue to push forward and seek to break up the company.
The post Live Nation Antitrust Lawsuit Will Continue Under Trump appeared first on EDMTunes.
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[EDM House Network] Lollapalooza Announces Massive Lineup For 2025

Lollapalooza has always been a festival of great genre diversity where you can find anything from pop to thrash metal. For 2025 it continues this long-standing tradition with a lineup that sees the likes of Olivia Rodrigo, Korn, Sabrina Carpenter, and Luke Combs headlining who all have vastly different styles. Along with all this they have gone big with their selection of electronic music artists.
They’ve managed to snag a whole lot of huge names while also keeping up the genre diversity as there’s a selection of tech house, drum & bass, dubstep, and plenty of other twists on various genres. Despite Martin Garrix’s focus this year being production over performing, he will be returning to Lollapalooza after last appearing in 2022 at Lollapalooza Argentina. Another name making their return is the high-flying Dom Dolla who will be bringing the tech house vibes along with debutants Mau P, and Cloonee.
Breaking into the headliners for this year are the Australian trio of Rüfüs Du Sol who are sure to knock it out of the park with a huge performance. The hits keep on coming as Chase & Status are making their long-awaited return to bring their unmatched drum & bass power after last appearing in 2014. July will be a great month for Barry Can’t Swim fans as within the space of only a couple of weeks he’ll be dropping his new album ‘Loner’ followed up by heading to Lollapalooza.
Those searching for dubstep are in for a treat as coming off the back of his recent ‘nolimit’ album the unstoppable Knock2 will be hitting the stage as well as the legendary Flux Pavilion to bring the bass to Chicago. Keeping it heavy and getting the crowds heads banging will be the fast-rising ISOxo looking to continue his monumental growth.
The list of names goes on with other great artists such as Two Friends, Bunt, and Marlon Hoffstadt to name a few which add yet more hype for electronic music fans. There’s an insane amount of electronic music representation making Lollapalooza an unmissable festival. Pre-sale tickets will become available on March 20th so make sure you’re ready.
Sign up for pre-sale through the link below:
lollapalooza.com: Lollapalooza Announces Massive Lineup For 2025
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[EDM.com] Amelie Lens Reveals New Live Visual Concept, "Aura"

Techno sensation Amelie Lens is poised to elevate her live performances with the announcement of "Aura," a brand-new visual concept the DJ is implementing at her shows in 2025.
The Belgian electronic music superstar developed the concept in partnership with High Scream Studios, the production company renowned for their cutting-edge work with David Guetta, Ushuaïa Ibiza and UEFA Euro, among others.
According to Lens, her new show concept focuses squarely on the energetic exchange that has become her trademark. Rather than overwhelming the audience with gratuitous production elements, "Aura" aims to amplify the communal experience that has been central to her rapid rise in the techno world.
"'Aura' is all about energy—mine, yours, and the energy we create together," she said in a statement. "With my new show, I want to add an extra dimension without distracting from what matters most to me: the music and the connection between all of us."
Tomorrowland
The visual direction will explore "abstract artistic themes of light versus darkness, shadows, structures, movement and the natural world," creating a sensory environment that complements Lens' driving, hypnotic sound.
"Working alongside Amelie Lens on her new solo show, 'Aura,' has been an incredible experience," added High Scream founder Romain Pissenem. "The concept, which revolves around the captivating dance of shadows and light, perfectly aligns with Amelie's unique vision and energy."
The debut of "Aura" is scheduled for June 14th, 2025 at Espacio Riesco in Santiago, Chile, with additional dates to be announced throughout the year. Select festival audiences will also experience the new visual concept, though details remain limited on which appearances will feature the full "Aura" production.
Follow Amelie Lens:
X: x.com/AmelieLens
Instagram: instagram.com/amelie_lens
TikTok: tiktok.com/@amelielenske
Facebook: facebook.com/amelielensmusic
Spotify: tinyurl.com/bd5s394c
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