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Conner Jay Goes In Depth About His New Single ‘Q The Love’

Fibre Records launches into 2024 with a compelling House track from Fibre resident Conner Jay. Pairing succinct piano stabs with uplifting vocals to create a euphoric atmosphere atop a driving beat with unparalleled energy, Q The Love is yet another uplifting House Banger from the Fibre crew. Stamping their mark on the modern house scene with their recent run of releases this is an essential anthem in the making. We had the pleasure of sitting down with Conner Jay to talk everything about it.
Hi Conner, first of all, how are you today?
I’m great thank you!
You’ve just released your latest single Q The Love, could you tell us about the inspiration for this track?
The legendary Courtyard Party returns at Fibre Leeds this Bank Holiday Sunday, so I had this in mind whilst making Q The Love. I wanted to make a really nice euphoric feeling track for my set – once I finished it and showed the rest of the Fibre team they said it would be a perfect release for the label, which is amazing because it was only intended for my Courtyard Party set!
What was the writing process?
Once I had the vocal sample everything else just fell into place so naturally! Music-heads will have noticed the vocal sample is inspired by Brownstones ‘If You Love Me’. I wrote the bassline around the piano chord progression, and it all just jelled so nicely with the vocals! The track has Fibre written all over it, and it has gone down a treat on Fibre’s dance floor.
How did you get involved with Fibre?
I first got involved with Fibre over 4 years ago helping them with their social media. I would capture Instagram stories for them around the bar on a weekend before I got the job running their social media & website full-time under the Brand Manager role. I had already been DJing for years before this so when the opportunity arose to fill in for cover sets I put my name forward. The Directors loved my sound and I soon became a resident DJ for Fibre.

Could you tell us more about your role with Fibre Records?
Once I became Brand Manager for Fibre it was clear to me that the next step for Fibre was a record label. It was an idea that the Directors had played with before but they never felt the timing was right. I presented them with a plan on how I see the label running and how to make it successful – They were just as confident as me that now was the time, and they were happy for me to take the lead on it!
Which artists would you say are your biggest influences?
I grew up listening to a lot of Bassline/Speed Garage and Leeds legends like Danny Bond & Paul Sirrell were a big part of that, they influenced me a lot growing up and they still do today. Nowadays, I’d say Franky Rizardo is one of my biggest influences, I’m a huge fan of his sound. Fibre resident Habbo Foxx has also influenced my sound over the past year too after lots of studio sessions together.
Do you have any exciting releases coming up?
I’m sat on so many unreleased tracks, I’m really picky about what I put out which is definitely holding me back – I’m going to focus on not worrying about which tracks to release and just get my music out for everyone to hear. The feedback I get on all my unreleased tracks is really positive.
Where will you be playing next?
My next set is the Fibre Courtyard Party – on Sunday 31st March.
What are your goals for 2024?
To release more music & continue helping Fibre Records reach its potential!
Stream this single below.
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Joseph Capriati brings Metamorfosi this summer at Amnesia Ibiza

Joseph Capriati‘s Metamorfosi brand is coming back to Ibiza at Amnesia this summer of 2024. Every Friday from 19th July to 6th September, eight unmissable events will feature a carefully curated selection of Capriati’s closest friends and musical peers. It will also include next-level production and a scintillating soundtrack across both rooms of the Amnesia Club.
Metamorfosi is renowned for bringing a widescreen musical experience to Amnesia. Each party sees the ever-evolving and influential Italian go deep into many different aspects of his sound. You can expect to hear his early house roots as well as his contemporary take on techno. Joseph Capriati personally oversees every aspect of each event. This includes the light effects as well as the sound and the production.
This winter Joseph Capriati and Metamorfosi didn’t stay still waiting for summer. Metamorfosi has hosted sold-out road-block events in special places across Europe. This year’s summer residency has grown from five to eight events.
Metamorfosi was one of the highlight events of last summer. Get your flights booked and prepare for another super summer of sound with Joseph Capriati’s Metamorfosi.
Other events at Amnesia Ibiza include Claptone bringing his The Masquerade party and Pyramid special for the opening night.
The post Joseph Capriati brings Metamorfosi this summer at Amnesia Ibiza appeared first on The Groove Cartel.
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California To Mandate Drug Testing Devices In Nightlife Venues

California is taking significant steps toward safer nightlife experiences with a new law that requires bars and nightclubs to provide drug testing devices for patrons’ drinks starting in July. This groundbreaking initiative aims to drastically reduce drink spiking incidents, ensuring that individuals can enjoy their night out with an added layer of protection. California’s move places it at the forefront of safety innovation within the nightlife industry.
Proactive Protection for Patrons
This initiative empowers patrons to actively ensure their drinks are safe, addressing potential dangers in social settings designed for enjoyment but marred by risks. Devin Blankenship from the Department of Alcoholic Beverage Control highlights that this law allows patrons to immediately test their drinks if they suspect tampering. Bars and clubs will need to keep testing kits on hand, making it easy for guests to check their drink’s safety. This measure requires establishments, particularly those with Type 48 licensing, to display signs clearly indicating the availability of testing kits, which may be provided for a small fee or for free.
Community Endorsement and Impact
Local businesses and community members have warmly received the new law. Madison Smith of 201 Main in downtown Salinas sees the law as providing an extra layer of security for guests. The increase in reported drink-spiking incidents makes this law particularly relevant and necessary. Isaac Rodriguez from Alvarado On Main commends the law for deterring potential offenders and praises California’s proactive role in tackling this issue.
Lastly, with around 2,400 licensees across California gearing up for this change, July 1 marks the beginning of a safer era in nightlife. This law not only changes how establishments ensure their patrons’ security but also serves as a model for other states. Furthermore, this potentially transforms nightlife safety standards not just in California, but nationwide.
Read more about the new law on the California Department of Alcoholic Beverage Control website, here.
The post California To Mandate Drug Testing Devices In Nightlife Venues appeared first on EDMTunes.
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Mathame Announces NEO: Their New Friday Residence At Amnesia Ibiza

One of the most successful duos inside the melodic/progressive scene have some explosive news. Today, the Italian duo Mathame announced their new performance show. Titled NEO, it will bring the duo’s energetic performance and distinctive sounds into the industry’s most famed island: Ibiza. Kicking off on June 7th, it will most certainly become one of the places to be this summer. Mathame will bring their NEO show to one of the island’s most legendary clubs: Amnesia.
“NEO will be a unique experience of connection, almost spiritual“
NEO
This is the only information we’ve received regarding this new show so far. Known for being one of the first duos to rise in the current industry while playing and producing melodic and progressive-influenced tracks, Mathame is one of the most distinctive artists on this side of the industry. The duo, which has spent the last months touring Europe, sets its sights on one of the most iconic venues in the world. Amnesia is, without a doubt, one of the most iconic clubs in the entire world. Getting a residence there, if done properly, puts you on par with some of the biggest names in the industry.
Mathame’s NEO residence will take place during 8 weekends. The residency will start on Friday, June 7, and it will end on September 27. Their performances will take place in the iconic room known as “The Terrace”. Tickets are now available here. We can’t wait to see what Mathame has prepared for this one. Amnesia is a perfect venue for a show that focuses not only on the music but on a multi sensorial experience as well.
Mathame is ready to bring NEO to Amnesia. One of the most iconic clubs on the white island. A surreal show that will capture all of your senses and take you on an unforgettable journey.
The post Mathame Announces NEO: Their New Friday Residence At Amnesia Ibiza appeared first on EDMTunes.
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Framework And Solomun Team Up For A Show At An Abandoned Power Plant In Southern California

An iconic venue and a very iconic DJ. Solomun’s latest announcement is definitely a big one. The DJ is teaming up with the event brand Framework to bring a brand-new event to a surreal location. The Mandalay Generating Station, an abandoned power plant in Southern California, is without a doubt one of the coolest locations we’ve heard of recently. Solomun’s event in collaboration with Frameworks will take place on the first day of June.
Solomun is undoubtedly one of the industry’s favorite performers. His work ethic and clear love for the music, paired with a long career, make him a seasoned veteran who dominates the art of DJing and reading crowds. More recently, he’s ventured into the studio to release a solid series of tracks. These have further boosted the value and demand of his performances. Now, he teams up with a partner of many years to bring a party that’ll be hard to forget for anyone lucky enough to attend.
Framework and Solomun are longtime partners. They’ve worked together in countless events, and now look to deliver an ambitious event. A 56-acre power plant is a location straight out of a fantasy story. To be able to properly hold an event here, you need the absolute best of the best. Nonetheless, we’re confident both Solomun and Framework will live up to the task.
As the industry continues to grow, the demand for original events, held in exotic venues, seems to increase more and more. Promoters, brands, and artists fight to find that extra element that allows them to stand out from the rest. And we at EDMTunes are, certainly, very excited to see what the next big and iconic location for raves will be.
Pre-register for Solomun X Framework
Pre-registration for the event is available now – sign up now for pre-sale access on Wednesday, March 27 at 10 am PST. General on-sale for Framework presents Solomun on Wednesday, March 27 at 3 pm PST.
The post Framework And Solomun Team Up For A Show At An Abandoned Power Plant In Southern California appeared first on EDMTunes.
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[Event Review] Sub Focus, Dimension, Culture Shock, & 1991 Bring WORSHIP To New York

Drum & Bass has been taking off the last year in the States. While it was always popular across the pond in The UK, here in The U.S. it took some time. But, now it is hot and people can’t get enough. I haven’t seen people go this wild in a while. Sub Focus, Dimension, Culture Shock, & 1991 brought their WORSHIP show to New York for the 3rd time.
This was by far the biggest edition with it being held at The Great Hall in Brooklyn. The venue is perfect for every genre of dance music. The Great Hall is not your average warehouse. It is equipped with lights not just covering the roof but the beams themselves. There is ample space to get your feet moving. With bars extending almost the length of the venue ensuring you are never waiting in line.
Sub Focus, Dimension, Culture Shock, & 1991
I will admit I am a late bloomer when it comes to listening to DnB. However, in the last couple of years, I have fallen in love with the energy and beauty of the genre. It encompasses the ability to make you jump up and rage but also has beautiful vocals over a heavy bassline. It also can get funky, deep, and ethereal.
These 4 artists are some of the best in the game and they put on an awesome show. The crowd was absolutely loving it the whole night.
Culture Shock kicked off the Quartet and got the people ready to move. He played some of his bangers including his new track ‘Get To Me,’ his remix of ‘Panic Room,’ and the electric tune ‘Bunker.’
Dimension was next on the deck and surprisingly kicked it off with my favorite DnB track ‘DJ Turn It Up.’ I would have expected him to wait for the middle or end of his set but no, this man went for it right away. His remix of Armin van Buuren’s ‘Lose This Feeling’ was loved by all but not as much as ‘Where Do We Go’ with Poppy Baskcomb. And I can’t forget his remix of Dom Dolla’s ‘Rhyme Dust.’
Of course, he and Sub Focus have quite a few collaborations together. ‘Ready to Fly’ and ‘Desire’ were crowd favorites and had all the feelings. Dimension had my favorite set of the night with banger after banger.
Sub Focus was the main show of the night and the people packed in for him. There are not many bigger names in the genre than him and for good reason. He has more hits than you can imagine from the collabs with Dimension to ‘Solar System’ and ‘Off The Ground.’
His remix of ‘So Much In Love’ is a personal favorite of his as well as ‘Fine Day.’ Sub Focus has an incredible range within his set feeding off of the crowd. This is the 2nd time seeing him live and I can’t wait for the next one.
1991 closed off the night in style with his remix of ‘Perfect (Exceeder) and ‘Tell Me Why.’ He was an awesome cherry on top of an incredible night.
This is the group’s 3rd time they are taking it to North America. This is by far the biggest iteration with them going to San Jose, Chicago, New York, Washington D.C, Toronto, and Los Angeles. These artists also attended Ultra Miami for an electric weekend.
You can find tickets here for the remaining shows!
The post [Event Review] Sub Focus, Dimension, Culture Shock, & 1991 Bring WORSHIP To New York appeared first on EDMTunes.
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Marsh Unleashes Brand New Emotional Single ‘Warrior’

Nothing like a brand new track with an emotional story behind it to brighten up your hump day. Out now on Anjunadeep is UK progressive house producer Marsh’s new single ‘Warrior’.
Story Behind ‘Warrior’
Marsh shares the story behind his latest release ‘Warrior’. The song is a tribute to his best friend, Jimmy, who fought with leukemia in 2022 and 2023. Marsh wanted to showcase the qualities of confidence, fearlessness, and power that Jimmy embodied during his battle. The main theme of the song is to pay homage to Jimmy’s strength and courage. The track takes listeners on a sublime journey, telling a tale of strength that one would have heard on the dance floor during any of Marsh’s sets this past year. The song starts with a dark instrumental and an intense buildup in the first 50 seconds before transitioning into a melodic techno sound. This track is one of Tom’s best pieces of work so far. The instrumental of this heartwarming track conveys the compelling story and takes me back to Marsh’s all night long set at Coda in Toronto last December.
In honor of Jimmy coming out a winner from his battle, Marsh not only released ‘Warrior’ but also wanted to give back. Tom orchestrated an exclusive, intimate kick-off event for ‘Warrior’ at The Ton of Brix in London, with the entirety of the proceeds earmarked for Leukaemia UK. The release is complemented by a live stream hosted at Kew Gardens, further cementing Marsh’s commitment to supporting this cause.
Marsh’s Live Stream from Kew Gardens Tom has had a busy and exciting start to 2024, he is introducing a new hybrid club show concept called ‘‘Aria”. This exciting new venture will include live vocals from long-term collaborators and friends Leo Wood and Jodie Knight. The first two shows will be this May in London at HERE at Outernet and Manchester at New Century Hall. Checkout his tour dates for this Spring here.
We hope you enjoy ‘Warrior’ as much as we did. Stay tuned to EDMTunes for all the exciting electronic music updates!
The post Marsh Unleashes Brand New Emotional Single ‘Warrior’ appeared first on EDMTunes.
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"Things Had to Change": WORSHIP on the Drum & Bass Revolution in the United States

Drum & bass has functioned as the heart and soul of the UK electronic music scene for decades, but we've only recently seen it blow up in the United States. Why has its emergence taken so long?
Enter Dimension, Sub Focus, Culture Shock and 1991 of WORSHIP, a supergroup of influential drum & bass artists redefining the genre for a new generation of fans. We caught up with the collective and their manager, Sebastian Weingartshofer, to discuss the genre's stateside boom—and its longevity within the electronic music scene.
"For a long time, a lot of drum & bass artists were drawing huge audiences around the globe, then traveling to the U.S. and playing to half-empty clubs," Dimension tells us. "Artists were left demotivated. I had the same experience. After a bad show in New York, I remember phoning Seb and we agreed things had to change."
"I remember the moment of driving back to the airport in New York City with Rob [Dimension] and saying, 'It shouldn't be like this,'" adds Culture Shock. "We then really made a conscious effort to put our heads together and present the music the way we thought it should be. We've had to invest a huge amount but it really feels like it's working and the momentum is building."
Amid drum & bass' volcanic rise in the U.S., the group developed a master plan. They saw major potential in North America, Dimension says, to "create something fresh" by joining forces.
"Our goal was to help bring the genre back into vogue by encouraging a fresh, young, inclusive community of fans into the genre through investing heavily in production and creative, while working with top venues and promoters," he explains. "It’s been unbelievably humbling seeing a new community of fans grow, with crowds and venues increasing in size. We like to think we've played a key role in this growth."
1991, Culture Shock, Dimension and Sub Focus of WORSHIP.Sam Neill
When it comes to each of WORSHIP's members, it's clear they believe drum & bass culture is a priceless part of the electronic music zeitgeist, and its spirit simply can't be captured anywhere else. They've always lived and breathed the genre, and they're now positioning themselves as lynchpins of today's movement.
"I got into drum & bass pretty much at its inception, as it morphed from jungle," Sub Focus recalls. "It means so much to me to now be a part of its story. I love how it’s like a secret subculture that we are all a part of."
"My love for drum & bass started around 15 years ago," 1991 adds. "What largely drew me to it was how much of a rogue genre it is. It’s not always been the coolest genre, but it’s certainly the most fun. For the most part, it’s an inclusive scene where anyone is welcome. I think that’s why I’ve always stuck by it. It feels like a family."
Taking the necessary risks
Ever since drum & bass first piqued their interest, Culture Shock, Dimension, Sub Focus and 1991 have spent years climbing to its upper echelon at breakneck tempos of over 174 BPM. Getting to the top, however, was only the beginning of their widespread influence. 
While their dedication to the culture is an important factor, many risks needed to be taken in the States for drum & bass to have real staying power.
"Big homegrown acts are a big part of what leads the scene to thrive in different areas," says Sub Focus. "There's Pendulum and Luude from Australia, Netsky from Belgium, Camo & Krooked in Austria and many more examples across the globe. Homegrown drum & bass acts from the U.S. flourishing will help the scene no end here."
As artists like REAPER, Kumarion, AIRGLO, Justin Hawkes and so many more lead the charge in the U.S., the growth of drum & bass has continued to skyrocket. WORSHIP are doing their part too as their current tour continues on as one of the electronic music scene's most in-demand.
Sam Neill
They're immensely grateful for the stateside promoters who took a chance on them in the beginning.
"We’ve been building this project for four years now," Dimension explains. "I remember for the first tour we literally had to create a presentation explaining who we are, what country we were from, and list everything we were doing differently in order to make the tour tickets sell. We had to put ourselves out there with the very real possibility that the whole WORSHIP tour could be a complete failure."
"Deep down, all of us really believed in the idea, but in hindsight, it was the promoters and agents that took on the most risk," he continues. "The North America drum & bass scene was in such bad shape that we arguably had nothing to lose, but the promoters and agents deserve a massive amount of gratitude for backing us and believing in our concept."
Keeping the drum & bass revolution alive
Ultimately, WORSHIP did become a key player in drum & bass' growth in the region—but their work isn't done yet. Trends, especially in electronic music, can be hot and cold.
However, something as addictive as drum & bass has major staying power for a multitude of reasons.
"The energy of the genre is addictive and unparalleled, whilst constantly pushing boundaries and setting the standard," says Weingartshofer, WORSHIP's manager. "Generally the demographic of the genre remains young, which helps refresh engagement in consumption and event attendances over many generations."
Culture Shock agrees, calling the energy of drum & bass crowds "unmatched."
"As an artist, it's a really fun genre because you can incorporate any style you like," he says. "I feel like other genres within electronic music can be more restrictive and don't allow for as much expression."
WORSHIP North America 2024 Tour (0:17) The unbridled energy of drum & bass isn't its only cornerstone—its origins are just as pivotal. The underground is crucial to any genre of music, considering its artists challenge boundaries when things above become stale.
"Drum & bass is completely on its own in terms of style and speed—there really isn’t any other genre like it," says Sub Focus. "It’s got a rich history and a fertile underground scene, which has given it huge staying power. Whilst it has had moments of commercial success, it has always had a large group of people pushing its limits and boundaries away from the glare of the spotlight."
Hitting the road (again)
With a great deal of both experience and passion, the WORSHIP collective are flying the flag of drum & bass in the States. It's their third collaborative North American tour, which culminates in their biggest show to date on March 30th at Los Angeles' famed Hollywood Palladium.
A few months later in May, the entire crew will return for one of the most anticipated performances at EDC Las Vegas, one of the world's biggest electronic dance music festivals.
"Being part of this tour has been one of the most satisfying projects I have had the pleasure of been involved in," Dimension gushes. "It's been so rewarding seeing the community explode. I'm predominantly a solo artist, so achieving something together with your friends has made it extra special. Personally, I would love for fans to walk away from our shows feeling that a drum & bass party can be a crazy amount of fun for anyone. Everyone is accepted."
"The more people who enjoy what we do, the more fulfilling and inspiring it is for us as artists," 1991 adds. "I’ve left the two previous WORSHIP tours feeling inspired to come back bigger and better, so that’s all I can really hope for again this time around."
View the original article to see embedded media.
While WORSHIP's crusade to embed drum & bass into the American electronic music terrain has been a long and tortuous uphill battle, 2023 was a breakthrough year for the genre. And we've only seen it take off further in the early months of 2024—a trend Weingartshofer believes is here to stay.
"We’re now seeing both fans and DJs who are more open-minded to the genre, as well as other genres in dance music in the post-dubstep/EDM boom," he explains. "Headliners like Tiësto, John Summit, David Guetta and Dom Dolla are playing drum & bass in their sets and getting great reactions."
Weingartshofer also credits grassroots artists and brands in North America for propelling the scene forward with unabashed passion.
"Brands like Brownies & Lemonade are creating culture on the ground with their DNBNL series, exposing impressionable dance music fans to the genre," he continues. "Record labels like Deadbeats and Monstercat are getting behind the music and supporting artists from around the world. A decade ago this infrastructure didn’t exist. It’s great to see more confidence towards drum & bass in all areas."
You can purchase tickets to WORSHIP's North American tour and find out more about the collective here.
Follow WORSHIP:
Website: worshipartists.uk
Facebook: facebook.com/worshipartists
X: x.com/worship_artists
Instagram: instagram.com/worshipartists
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Joseph Capriati’s Metamorfosi Returns to Amnesia Ibiza With Biggest Season Yet

Joseph Capriati’s Metamorfosi brand is the most talked about new party in Ibiza and in summer 2024 is back with more events than ever. Every Friday from 19th July to 6th September, eight unmissable events will welcome a carefully curated selection of Capriati’s closest friends and musical peers with next level production and a scintillating soundtrack across both rooms of the world renowned club.
Says Joseph “It is with immense pride that we announce Metamorfosi is back in Ibiza this summer! Marking it our third consecutive year of residency at Amnesia Ibiza. This journey is one we have nurtured and shared with the crowd, growing year by year, together: we started with 3 showcases in 2022, expanding to 5 shows in 2023, and now presenting a remarkable 8 dates for 2024. Eager to unveil what lies ahead. Ibiza 2024…We are ready!”Metamorfosi is renowned for bringing a widescreen musical experience to Amnesia. Each party sees the ever evolving and influential Italian go deep into many different aspects of his sound, from his early house roots to his contemporary take on techno and everything in between. He personally oversees every aspect of each event from the light to the sound to the production to ensure that they offer a musical adventure like no other.After a busy winter in which Metamorfosi has hosted sold out road-block events in special places across Europe, this year’s  summer residency grows from five to eight events. Each week, Capriati will be joined by an irresistible mix of guest DJs who will play across a broad spectrum of house, techno, and plenty in between. From new school tastemakers to pioneering legends, all bases will be covered at Metamorfosi this summer.These events were some of the highlights of the summer last year so get your flights booked and prepare for another super summer of sound with Joseph Capriati’s Metamorfosi. The post Joseph Capriati’s Metamorfosi Returns to Amnesia Ibiza With Biggest Season Yet appeared first on EDMTunes.
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Released 23 Years Ago: Daft Punk – Aerodynamic

Twenty-three years ago, Daft Punk, the pioneering French electronic music duo, released ‘Aerodynamic’, a track that further solidified their position as innovators in the electronic dance music scene. Part of their iconic 2001 album ‘Discovery’, ‘Aerodynamic’ showcased Daft Punk‘s unique ability to blend house music with elements of rock and funk, creating a sound that was both futuristic and deeply rooted in musical history.
‘Aerodynamic’, known for its distinctive guitar riff and futuristic synth sounds, broke the mold of traditional electronic music at the time. The track seamlessly transitions from a melodic, almost ethereal introduction into an electrifying guitar solo, reflecting Daft Punk‘s flair for combining different musical genres and styles. This blend of electronic beats with rock elements exemplified their innovative approach to music production and their influence on the broader electronic music genre.
Daft Punk, consisting of Thomas Bangalter and Guy-Manuel de Homem-Christo, had already achieved critical acclaim with their debut album ‘Homework’ in 1997. However, ‘Discovery’, and particularly ‘Aerodynamic’, marked a new direction for the duo, incorporating more refined production techniques and diverse musical influences. This track, along with the rest of the album, played a significant role in shaping the future sound of electronic music and influencing a new generation of producers and DJs.
Today, ‘Aerodynamic’ remains a seminal track in the world of electronic music, a testament to Daft Punk‘s enduring legacy and their contributions to the evolution of the genre. The track’s lasting popularity underscores the duo’s visionary approach to music-making and their impact on the electronic music landscape.
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Calvin Harris Fires Back at Critic of His Ultra Music Festival Set

Calvin Harris is defending his musical choices after a fan criticized the set he played as the closing performance at Ultra Music Festival 2024 in Miami this past weekend.
The Scottish DJ/producer took to social media to respond after a festivalgoer called his Ultra headlining set “underwhelming” in a comment. Harris did not mince words in his clapback.
“You expect me to play none of my songs? 3 songs since 2014 hmm how deep is your love – billion streams, this is what u came for – billion streams, my way – billion streams, slide – billion streams, feels – billion streams, one kiss – billion streams,” Harris fired back, listing off many of his biggest commercial hits over the last decade.
He continued, “and the other 5 half a bil and before 2014 another 20 and not cheesy shit proper fucking songs with real artists and you’d rather I play Fein trap edits today.. spent months making new versions of everything for this and you wonder why I never play edm festivals..“
Harris closed by saying “at least people I saw irl had a great time and I can be happy with that but fuck at this point whatever I do is gonna piss you off.“
The multi-platinum artist’s rebuttal highlights the divide between the mainstream pop/dance hits he has become known for and the sound preferred by more hardcore electronic dance music fans.
As one of the biggest acts to headline Ultra’s flagship event, Harris seemingly prioritized his widely popular radio-friendly bangers over underground house and techno tracks.
While huge crowds sang along to smashes like “How Deep Is Your Love” and “This Is What You Came For,” some festival diehards felt Harris’ setlist catered too much to casual pop fans.
The social media exchange shows Harris has little interest in deviating from his proven formula of massive crossover hits when making festival appearances. His dozens of songs with billions of streams speak for themselves.
Whether keeping it more mainstream or not, Harris contends the live crowd seemed to enjoy his Ultra closing set, even if he can’t please everyone decrying his tendencies towards pop-friendly dance music.
The dustup seems to be just another day in the life of a top DJ/producer who has achieved unprecedented mainstream success alongside intense scrutiny from more underground-leaning dance fans.
Calvin Harris defends playing his biggest hits at festivals after fan criticism on Instagram The post Calvin Harris Fires Back at Critic of His Ultra Music Festival Set appeared first on The Groove Cartel.
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TCE Presents And Broadwick Announce A New Venture

TCE Presents, leading event design/promotion company from New York, has teamed up with innovative British music and culture powerhouse, Broadwick. This new transatlantic partnership is about a venture in the United States that both brands are currently developing that will shape how live events will take place and how event organizers can organize these events in a spectacular manner.
Both TCE Presents and Broadwick will work on a series of projects that aim to enhance live event experiences into colorful creative spaces that will transform the New York nightlife into one that is much more vibrant and unforgettable than ever before. After reading this post, definitely check out TCE Presents’ Instagram page and also the same goes for Broadwick’s page as well. Checking out their socials will allow everyone to keep up with more information regarding this exciting event partnership.
TCE Presents And Broadwick, The Two Independent Event Promoters Who Will Bring Their Own Unique Visions To Enhance New York Nightlife
TCE Events has built a fantastic reputation as one of New York’s leading names in independent music event promotion. This promoter has hosted a diverse and vast array of events throughout and outside of New York City that the underground House and Techno powerhouse, Teksupport, has led over the years. TCE Events produces over 150 events per year and with this new, exciting partnership, people will be excited to see more wonderful events that will light up the New York night sky even brighter.
Broadwick has continued its path to the top of the UK live event promotions industry since 2010 and it is still growing stronger each year. With the grand number of event spaces and projects that Broadwick has produced, this spectacular event promoter has taken over more than 30 venues and entertainment spaces and sold more than 1 million tickets. The promoter has also worked alongside prominent names in the UK entertainment industry such as Printworks London, DRUMSHEDS, and Depot Mayfield. For anyone who loves going to live events in New York City, stay tuned for more details about the upcoming projects that TCE Presents and Broadwick will have in store for the rest of 2024 and beyond.
The post TCE Presents And Broadwick Announce A New Venture appeared first on EDMTunes.
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David Guetta Presents ‘The Monolith’, A New Spectacular Performance

Global dance icon David Guetta presents ‘The Monolith’, his groundbreaking production set in the magical ancient desert setting of AlUla, considered by many one of the wonders of the world.
Against a jaw-dropping desert background, the multiple Grammy winner performs a breathtaking, specially-crafted set full of new mashups and edits while, all around him, The Monolith’s staggering light show does justice to its historical setting.
The artistic direction was supervised by David Guetta, Jean-Guillaume Charvet and Romain Pissenem for Highscream, and with special thanks to the Royal Commission for Al Ula,  the producers What A DJ and the executive producers MDLBEAST for FILM ALULA.
 
Those who attended Ultra may have witnessed The Monolith for the first time in the US as Guetta brought the production to Ultra Miami last Saturday.
Guetta has won numerous awards, including multiple DJ Mag Top 100 DJ polls. He’s sold millions of albums and singles worldwide and continues to be a major force in Dance music. His influence extends beyond the genre, though, with his crossover hits blending Electronic sounds with Pop sensibilities.
The post David Guetta Presents ‘The Monolith’, A New Spectacular Performance appeared first on EDMTunes.
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R3HAB x FAST BOY Spark The Dancefloor With ‘Electricity’

Introducing a must-listen track, the skyrocketing duo FAST BOY has joined forces with multi-platinum DJ and producer R3HAB on their new single ‘Electricity‘. This powerful combination of R3HAB and the FAST BOY duo, composed of brothers Felix and Lucas, is a very exciting pairing. It results in a new banger that is likely to become a new Electronic Dance Music anthem this year. Infused with a contagious beat and hype energy capable of pulling everyone to the dance floor, ‘Electricity’ is a hit released under Virgin Records. The single is available now on all major digital streaming platforms. Expected to make waves, the new track remains loyal to each producer’s signature styles. The combination of talents in this collaboration has taken this release to the next level: it has become an exhilarating track that will play on repeat, since it exudes talent in this collaboration and presents an uplifting dance floor banger. All in all, it is poised to become a must-listen and must-dance-to track to ignite the upcoming spring-summer.
FAT BOY
FAST BOY continue on a promising path to the top of their game in a skyrocketing and exciting music career. They have amassed over 850 million streams across all platforms. Besides, they collect over 10 million monthly listeners on Spotify alone. The career of the brothers includes thrilling collaborations with artists such as Tiësto, Öwnboss, Goodboys, Nico Santos, Topic, and Ofenbach. Their hit ‘Bad Memories‘, produced with Meduza, James Carter, and Elley Duhé, has already surpassed one billion streams. Moreover, it received multiple platinum recognitions, including remixes by top artists such as David Guetta and Felix Jaehn. As the cherry on top of their achievements, the duo has also gained over one billion streams combined as songwriters.
Injecting his contagious and unique music style into this track is R3HAB. The artist has earned his place in the industry with a remarkable career. Maintaining a steady presence in Spotify’s Top 400 most-streamed artists, the DJ and producer also ranked 14th in the DJ Mag Top 100 DJs chart 2023, and his music has garnered over 11 billion streams across platforms. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, Jason Derulo, Ed Sheeran, Tyga, Ellie Goulding, The Chainsmokers, P!nk, to name only a few, to collaborations with the likes of Ava Max, Luis Fonsi, Sean Paul, Afrojack, Armin van Buuren, Lukas Graham, Icona Pop, the impressive career of R3HAB also includes more than 80 recognitions between diamond, platinum and gold certificates, and global hits like ‘All Around The World (La La La)‘ and ‘Lullaby‘.
Even better news, we have an exclusive interview with R3HAB coming up this week, we were able to discuss this sick track and his next endeavors. Can you feel the energy? Here is ‘Electricity’…
The post R3HAB x FAST BOY Spark The Dancefloor With ‘Electricity’ appeared first on EDMTunes.
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Tomorrowland Is Coming To Thailand In 2026

Tomorrowland is coming to Thailand for the very first time in 2026. Government spokesperson Chai Wacharonke stated on Friday that Tomorrowland, as well as Japan’s Summer Sonic music festival, will both make their Thailand debut.
Chai stated that the hosting of international music festivals helps promote tourism and boost the economy. As part of the government’s policy to drive economics, the goal is to make Thailand a global festival hub.
Summer Sonic Bangkok 2024 will take place this August 24th-25th at Impact Muang Thong Thani in Nonthaburi province. Chai noted that this marks the first ASEAN leg of the successful festival and the second time it will be held outside Japan. The government and festival organizers plan to hold an official press conference next Wednesday, March 27th, to discuss Summer Sonic Bangkok 2024.
As for Tomorrowland, the first event is planned for 2026, and could be held for 10 consecutive years, according to Chai. There are also plans in the works to host other internationally renowned festivals in Thailand. According to Chai, Prime Minister Srettha Thavisin has been in discussion with organizers such as the Formula One Group, Formula E, and Art Basel.
Tomorrowland
Belgium’s sold-out 2024 edition of Tomorrowland is set to take place from July 19-21 and July 26-28, in Boom, Antwerp, Belgium. Uniting 400,000 People of Tomorrow from over 200 countries, the festival will celebrate 20 years this summer with an extra special lineup, 16 mesmerizing stages, and the new ‘LIFE’ theme. With over 400 artists on the lineup, guests can look forward to ACRAZE, Adam Beyer, Afrojack, Alesso, Amelie Lens, Anyma, Armin van Buuren, Boris Brejcha, David Guetta, Hardwell, Lost Frequencies, REZZMAU5, Sara Landry, Sebastian Ingrosso, Swedish House Mafia, Tale Of Us, Tiësto, Timmy Trumpet, and many more.
Stay tuned for more info on Thailand’s Tomorrowland.
[H/T]: Nation Thailand
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Under the Electric Storm: Here's What You Missed at Ultra 2024, a Rainy Rave Dreamscape

Many in our world see Miami's Ultra Music Festival as the ultimate escape, a place that envelops us in a cocoon of sun rays and the pure, unfiltered energy of dance music.
That all changed, however, over the weekend, when an unprecedented deluge of rain battered the festival on its first day. But while the elements transformed Bayfront Park into a quagmire, they were no match for the team behind Ultra and the tens of thousands of ravers for whom they tirelessly worked.
Under the storied festival's lights, a different storm raged. Rain-slicked hair whiplashed through the air. Mud squelched under glittering boots. Ponchos became capes. And music proved the ultimate shelter.
Fans raving in the rain at the 2024 Ultra Music Festival in Miami.Kelly Knisel/EDM.com
Devising a festival that gleamed with nostalgia and novelty alike, organizers in 2024 reinforced Ultra as a radiant touchstone for electronic dance music lovers worldwide. Together with the rain, they cultivated a fertile ground for the genre's growth by delivering a plethora of musical rarities, like Calvin Harris' first Ultra set in over a decade.
And their eyes are still on the sky after they announced the dates and released tickets for their 25th anniversary festival, which is scheduled for March 28-30, 2025.
But it'll be a long 12 months before that historic weekend. In the meantime, read on to discover what you missed at this year's remarkable Ultra Music Festival.
SLANDER's head-banging set amidst torrential downpour
In a true "you had to be there" moment, SLANDER transformed a rainy nightmare into festival folklore on Friday night as lasers sliced through torrential downpour. The duo's punishing dubstep matched the energy of the rain's relentless onslaught during their performance, the last on the Mainstage before Ultra shut down for the night.
The streets of Miami turned into a pool party
Although it was clear and sunny for Ultra's remaining two days, Miami on Friday reportedly received 2.34 inches of rain, a daily record for the city. White shoes turned into mud bricks as Ultra's free-spirited ravers frolicked through the flooding, partying and bellyflopping in the streets.
View the original article to see embedded media.
Ultra icon Hardwell's set was cancelled, but the city of Miami came through
"I'm crying right now," Hardwell said in a post on X after his set was cancelled due to the weather. "3 months of work by the team and myself. Wow."
It was at this point when the festival's organizers faced their biggest stress test, finding themselves in a pressure cooker as they scrambled to deliver a prevailing Ultra icon. They ultimately pulled off the unthinkable after the city of Miami made the unheard-of decision to lift its sound ordinance, leading to an extra hour of Ultra—and a breathtaking Hardwell set.
Calvin Harris' first Ultra performance in over a decade
In a festival flush with surreal moments, Calvin Harris' Mainstage finale on Sunday felt like its undeniable highlight. Harris returned for the first time in 11 years and put on a masterclass in crowd-control, turning us into puddles at times with classics like "Feel So Close" and galvanizing techno-fueled purges at others, like during his spectacular coda.
View the original article to see embedded media.
Martin Garrix played a slew of unreleased songs
One of the biggest crowds of the weekend came on Saturday night, when Martin Garrix delivered a typically electrifying set replete with unreleased music. After another instant-classic Ultra outing, Garrix, who is considered by many as the world's quintessential DJ, seems to be building a Hardwellian legacy at Bayfront Park.
Armin van Buuren brought Jon Bon Jovi onstage to perform a new song
One of the weekend's most unexpected moments unfolded when Armin van Buuren brought out rock legend Jon Bon Jovi. Together they debuted an unreleased collaboration, the former's hair-raising remix of the latter's timeless 1992 track "Keep The Faith."
View the original article to see embedded media.
420 drones lit up the night sky above the Mainstage
The technological terra firma beneath Ultra's feet remained at the bleeding edge this year. The festival's organizers developed a magnificent drone show on Sunday night, when 420 choreographed copters danced in the night sky and morphed into a celestial ballet as the beats boomed below.
View the original article to see embedded media.
RL Grime and Knock2 brought out ISOxo to unveil a huge collaboration
Prior to Ultra's start, an indisputable focal point of its lineup was the rare b2b set between RL Grime, one of the electronic music scene's most revered producers, and Knock2, a flag-bearer of its future. They ultimately delivered arguably the weekend's top performance, at one point bringing out another rising superstar, ISOxo, to debut a monster collaboration.
Peggy Gou made her debut at Ultra's iconic RESISTANCE Megastructure
Noticeably absent from Ultra's beloved RESISTANCE Megastructure this year was Carl Cox, whose annual performances on the stage are considered one of Ultra's biggest draws. Peggy Gou stepped in as a de facto replacement on Saturday night, closing out RESISTANCE with a cathartic performance.
View the original article to see embedded media.
Chase & Status' show-stopping drum & bass set on the Worldwide Stage
Chase & Status' victory lap continued at Ultra's jaw-dropping Worldwide Stage, where the legendary drum & bass duo, who were named on EDM.com's list of the best music producers of 2023, threw down one of the weekend's best sets.
View the original article to see embedded media.
ILLENIUM joined Excision for a surprise appearance on the Ultra Mainstage
Excision's larger-than-life performance on the Mainstage felt like a watershed moment for dubstep music. The energy bubbled over when he invited ILLENIUM onstage to perform their soaring collaboration, "Feel Something."
A special Tiësto sunset performance in the rain
Billed as a special "sunset slot," Tiësto's Friday DJ set offered neon-drenched visuals and nostalgia as the Dutch dance music icon laid down spins of "Adagio For Strings" and Corona's "The Rhythm of the Night," among other classics.
View the original article to see embedded media.
Follow Ultra Music Festival:
X: x.com/ultra
Instagram: instagram.com/ultra
TikTok: tiktok.com/@ultra
Facebook: facebook.com/Ultra
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Miami Resident Group Furious That Ultra Ran Later On Days One And Two

Ultra Music Festival in Miami is known for bringing the bass but also the usual complaints from neighbors. This year, however, some residents are feeling the aftershock, with complaints that the party extended beyond permitted hours.
Here’s the breakdown: Ultra is contractually bound to wrap things up by midnight. Residents reported late-night noise on both Friday and Saturday. Festival organizers acknowledge going past curfew, but blame it first of all on the massive crowds exiting safely. But most importantly they also pointed to the crazy Miami weather causing a seven-hour delay on Saturday due to a messy cleanup from heavy rain and storms.
Let’s be real, late-night thumping isn’t exactly ideal for catching some good night’s sleep. Residents deserve a peaceful night’s rest, especially after putting up with a music marathon all day.
Unusual Weather & Safety Conditions
Ultra admits fault for exceeding the time limit, but considering the massive delays and exceptional conditions Ultra had to deal with this year, the delay seems more than reasonable. First of all, safety was a major factor in some of the delays, and we all agree on one thing, safety first. Moreover, with challenging post-COVID finances and to keep the longevity of the festival and its reputation, organizers had no choice but to run late, all while getting a green light from the authorities.
Finding A Common Beat
There’s always room for improvement. Perhaps clearer communication between organizers and residents could prevent future frustrations. Maybe even exploring sound-dampening solutions around the venue.
At the end of the day, Ultra is a huge economic boon to Miami, bringing in millions of dollars and tourism. Striking a balance between keeping residents happy and the festival thriving is key.
The post Miami Resident Group Furious That Ultra Ran Later On Days One And Two appeared first on EDMTunes.
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The Biggest Resistance Bangers of Miami Music Week

Miami Music Week 2024 has come to a close. While we rest and recover, it’s time to take stock of the slew of absolute bangers that ruled MMW24. As you may know, Music Week is the time when all the artists road test their new music that will carry them through the Summer and sometimes the rest of the year. The ID bangers are plentiful and you probably heard them a few times already last week. They’re so good that you’ll be hearing them for some time to come. We listed all of the biggest bangers from Resistance and the spiritually related techno parties during Music Week.
Mathame, Lyke – Discovery Channel
This track came out of nowhere but managed to find itself played pretty much every day of the week. Kicking things off with Mathame‘s set at Afterlife on Wednesday this melodic techno rework of The Bad Touch by the Bloodhoung Gang was everywhere. This one continued to get plays at John Summit’s Experts Only party, during Adam Beyer‘s sets at Drumcode Miami and the Resistance Megastructure, and then again at Mathame’s Ultra set.
P Diddy, Keyshia Cole – Last Night (ID Remix)
Given the news concerning P Diddy over the weekend, this one is doubly ironic. Millennials are now at the age where their childhood songs are being remixed for modern audiences. This classic “diddy” made its way into several sets at the Megastructure and at Factory Town. It got plays from Adam Beyer and a more chilled-out remix
KILL SCRIPT – On The Low
This one first made its way into the scene from Tale of Us during their Latin American tour. During Music Week it was everywhere, with notable plays from Camelphat, ARTBAT, Mathame, Tale of Us, and more.
Chris Avantgarde & Kevin De Vries – Killa
This latest banger from Chris Avantgarde and Kevin de Vries comes to us from John Summit’s Experts Only label, and it was a staple in many techno sets during the week.
Anyma & Chris Avantgarde – Eternity (Massano Remix)
With GENESYS II dropping on Friday, we were bound to see a few of those Anyma remixes pop off this week. Massano‘s intense remix of Eternity got play at both Afterlife and even from Adam Beyer himself.
Rebūke – Along Came Polly (Konstantin Sibold & CARMEE & ZAC Remix)
This track isn’t a new ID, but it still has major staying power. It found its way into many sets of the course of the week, just as it has for the past year or so. It got played by Joris Voorn and Kolsch, Vintage Culture, Anyma, and more.
Sweet Disposition (John Summit & Silver Panda Remix)
Of course this banger was gonna get more play during the week. Frontman, John Summit, had sets at LIV and Factory Town where this one was dropped. It also got played by Mahmut Orhan at The Cove, Armin van Buuren & Gryffin for SiriusXM and more.
PATT (Adam Beyer, Layton Giordani, Green Velvet)
Without a doubt, this was the track of the week for Resistance if not for the entire music week. This dance floor destroyer first made the rounds in January when John Summit, Layton Giordani, and Adam Beyer began teasing it out. Since then it has been killing the clubs every time it’s played, and Music Week was no different. It’ll be one of the biggest tracks of 2024, no doubt.
The post The Biggest Resistance Bangers of Miami Music Week appeared first on EDMTunes.
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We Need To Talk About ShockOne

2024 has been going great for ShockOne so far. From going on tour in New Zealand and Australia, and supporting Pendulum on their UK Tour, to releasing his third album Organism Algorithm on his Darkmachine Records. With this new album, he once again makes his mark on dancefloor drum & bass, with collaborations with Lee Mvtthews, Freaks & Geeks, Reija Lee, and many others. 
ShockOne opens up a conversation about both the new age of drum & bass music and how artificial intelligence fits in all of this. “I’ve been obsessed with this idea for quite some time, particularly with the recent popularisation and widespread access to AI. I find it interesting that the more we learn about ourselves, the more blurred the lines become between intelligence and artificial intelligence, and how we define the two”.
Hi ShockOne, how are you doing? You recently released your debut album, toured New Zealand and Australia, and you’re also supporting Pendulum on their UK tour…
I’ve known the Pendulum guys for quite a while, basically my whole adult life. I toured with them in Australia last year, and that went really well. They did an arena tour down here in October last year. Most Pendulum fans are also ShockOne fans. So, it’s a pretty easy job for me, I don’t have that much warming up to do. People are usually pretty ready to go. I think because we’re all such old friends, the whole touring experience is fun and pretty frictionless. To be honest, most of my prep work the last couple of days has been sorting out how I’m going to film it all on stage. I’m getting some new camera setups, I’ll be recording all the sets. I just finished my New Zealand and Australian leg of the tour for my album, so I’m pretty on form at the moment on the decks. I’m pretty busy. There’s always something different going into big arenas, though. That’ll be fun. 
What do you have planned for your UK shows?
The only difference from my New Zealand and Australian shows is I’ll be playing for 40 minutes instead of an hour and a half. I’ve got to try and figure out what not to play. That’s the hardest thing. I struggle with such a short set. It’s like really a matter of working out what not to play. To try and fit all the ShockOne hits in 40 minutes, as well as some new music and music from other people that I like.
It’s actually nice, I honestly don’t know what I’m not going to play. It is hard because even when I play for an hour and a half or an hour it is hard. There were a couple of shows on the NZ and AUS tour where I didn’t have to stop after an hour and a half. I think I ended up playing for a bit over two hours. I have a lot of stuff that I want to play, and if you add in all the new music that’s been sent to me from other people which I really love… I could play for a long time. It is trickier to decide what I’m not going to play.
With your newest album Organism Algorithm out, there’s even more stuff to play! Can you tell me the story behind this album? 
I wouldn’t call it a concept album per se, but the term Organism Algorithm came from a book I read by a guy named Yuval Noah Harari. I don’t know if he coined that term or not, but the more
neuroscientists study our brains, the more they start to realise that so much of our behaviour comes down to the result of biochemical algorithms in our brains. It brings the idea of free will into question because we think we’re making these choices but actually when you get really down to it, it’s all algorithmic. I found that really interesting, and coupling this idea to the emergence of AI and how those two dovetail and marry. It brings me to the point of, “What’s the difference between organic intelligence and artificial intelligence?” If so much of us is already algorithmic, how can we differentiate ourselves from artificial intelligence that is algorithmic anyway? Not all of the songs of this album have this theme, but a lot of the songs are inspired by this idea. These ideas are inspired by certain concepts, it’s about building a world where the music exists in a framework. It was the same with my previous album which was probably a lot more conceptual, that one was almost like I was writing the soundtrack to a movie that I had in my head but didn’t have the skills or budget to make. This new one is kind of the same thing, for example, ‘Follow Me’ was the first song where this world started to grow, and that’s why it’s still on the album, even though it’s quite an old song. I wanted to put it on the album because that was where this idea arc kind of started. 
Can you tell me about the other songs on the album?
There’s ‘Follow Me’, there’s ‘It’s All Over’, there’s ‘Hardwired’… ‘It’s All Over’ was a song I wrote during the pandemic when I was feeling very apocalyptic. Those three songs I just mentioned came out when I was stuck in Western Australia. I never really felt like they got their time in the sun. I never got to tour those songs when I was releasing them, even though they were all very successful songs for me, so it felt nice to put them on the album. I’m also touring a lot in the US these days, and I feel like there are actually a lot of people who might not have heard the older songs, I’m playing to a lot of new people there. This album is a good way for them to be exposed to it and hopefully discover it for the first time. I’m proud of this body of work, and I’m glad that I pulled it all together to be in one place. Every time I do an album, it really is like bookends on a period of production for me. Then I can put it away and be done with it. Afterwards, I can start fresh and move on to my next thing. 
Talking about this bookend on a period of time, and moving on to the next thing… What do you have planned for that?
What I have in mind is putting away old sounds, certain drum sounds, certain synth things, certain templates… I’m really keen to put them away and go back to the ground floor of creativity again and start building from fresh. That’s what excites me. By this point, I’m quite bored of those sounds that I’ve been using for the last few years. Certain drum sounds that people come to associate me with, I felt like I just had to get that all out of my system, which I’ve done now. And now I’m really keen to just start making different things.
It’s very exciting to have that fresh slate and really go back to the granular levels of production and building new snare drums and new kick drums, without any songs in mind. The last few years I’ve had so many half-finished songs and I just needed to get them done. I’ve been very much in song mode for the last year and now I’m not in song mode. I’m just making sounds and that’s really freeing to do, that’s how all those ideas start. Every song starts from a place of literally kind of throwing stuff at the wall, experimenting and trying, actively trying not to write a song for as long as I possibly can to let those ideas grow naturally. That’s probably the most exciting part of the creative process. I’m really excited to be back at that point now.
Absolutely, it’s almost like you have to let your inner child out again. Let it play with the music. 
Big time, it makes me think of the fact that more and more, there isn’t space for that kid to play because of the way that artists have to exist within the music industry these days. We’re so pressured to have constant output because of streaming culture. What you find is that you fall into this trap of just putting stuff out all the time, no matter if it’s good or not. You’re not going like, “Well, hold on a second. Is it good? Do I like it? When was the last time I just spent hours, days, weeks at a time playing around?” 
Everyone’s looking for the quickest way to get from here to there. “If I can make as many songs as possible and put out a new song on SoundCloud every single week, that’s the key to success.”  It’s a way to success, but what are you saying? But are you proud, have you done anything new? Have you broken any new ground? Is anyone going to listen to this song in 10 years?  It’s okay to mess around in the studio for months at a time. You might do something brilliant that you might not have done if you had to put a new song out this week.
Is that how you created Organism Algorithm and your other work?
Less so with this album than my first two, because I felt like I had those pressures and it was only midway through doing this album that I realised what I was doing. I had that realisation in myself that I’d kind of fallen into this trap of getting obsessed with just releasing stuff every month. Now that I’ve done this album, I’m really like, “Everyone can back off now.” I’m going to go and be creative in my own time. The world in 2012, when I made my first album, is very different from the world we’re in now, the music industry in particular. I took my whole life to create my first album. I really was going at my own pace, and there are certain songs on there that I spent literally years on. Some songs were two years in the making, tracks like ‘Light Cycles’ and ‘Chaos Theory’. For example, I had the intro for ‘Chaos Theory’ for a year and a half, and I think I wrote seven different songs that followed that intro. While from a business perspective, that’s terrible, from a creative perspective and an artistic perspective, what I ended up at was game-changing for me. I had the same thing with ‘Light Cycles’. I listened to that song recently and it’s still the only song of mine that I can listen to where it actually gives me goosebumps. 
When I look at the climate that I and every other artist have to exist in today, and when I think about whether I could have done the same thing now… I don’t think I could. Everyone would say, “You can’t take two years on a song that’s ridiculous.” I don’t apologise for it at all, I think it’s a song that 10 years later, I still get people messaging me saying that song is the thing. In all these different facets of life, people have come to me and said, “That song is what I listen to when I need to feel something.” For example, a particle physicist messaged me and told me he listens to this song to get in his zone. That’s amazing. That to me is timeless. It’s totally worth it.
How else have  you evolved from your earlier albums?
Universus came out in 2012, A Dark Machine in 2019, and then this one. I’ve had two kids, and that definitely changes the way I work. I can’t be as self-indulgent as I used to be because I might get on a vibe at 3 PM and then it’s time for daycare pick up or something, but I think I actually got more productive since I had kids. The other biggest impact has been the way the music industry and the climate in which we have to create art have changed. As much as I go on about streaming culture ruining art, the flip side of that is, that me whining about it isn’t going to change things. 
On a more positive note, a funny thing, I was saying this to the master engineer the other day.  I was listening to the vinyl pressing of Organism Algorithm and I was thinking how the vinyl pressing sounded better than my last album and then I realised it’s not the vinyl pressing it’s the mixdowns and the production that I’ve gotten better at. When I released my first two albums, I suffered from imposter syndrome. Right now, I’ve developed the skill set and developed my craft enough to be able to finish something, be done with it, and go on to the next one. I’m able to be a lot more linear in my output, which is nice.
There are a lot of collaborations on this album. How did you end up working with them?
My primary drive for working with people is really just getting on with them, it’s as simple as that. I like making music with people who I get on with. The Lee Mvtthews guys, we get on super well. Freaks & Geeks guys as well. Very rarely am I looking at a collaboration from a strategic point of view like, “I’ll get them on a song and it’s going to do well for streams.” With Pauline Herr, I was just a big fan of her music, and at the time she was dating another friend of mine who’s also a producer, that’s how we connected. I asked her to record a vocal for one of my tracks and within a couple of days she sent back this amazing vocal. That literally took the song up a couple of notches. It’s probably my favourite song on the album. 
Have your kids listened to the album?
My daughter’s favourite song is ‘Heart On Fire’ on this album, she loves that one. She sings it all the time, it’s great. But it’s funny you mentioned that. I’ve started doing this thing ever since my daughter was born, she’s six now. When I had my daughter I had this realisation that by the time she’s all grown up, I’m not gonna know what was on my Spotify playlist. It might not even exist by then and then all this music that I was listening to, I won’t be able to share with her. With digital streaming culture, there’s no archive. I would go and buy albums that meant a lot to me on vinyl, almost purely as an archival thing. So, when she is old enough she can flick to a record collection. It’s good to have at least my last two albums on vinyl, my first album never got pressed which still gives me pain. I want to do a limited pressing of Universus so I can have all three on vinyl. 
Thank you for the interview! Any final thoughts?
I hope people enjoy the album and if they’re coming to any of the arena shows on the Pendulum tour, I’ll see them there!
Follow ShockOne: Apple Music / Spotify / Website
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Tomorrowland Thailand Set To Take Place In 2026

Tomorrowland is set to make a landmark expansion to Thailand, with plans for the iconic music festival to debut in Bangkok in 2026. This move is part of a broader strategy by the Thai government to boost the country’s tourism and economy by hosting major international events. The festival is anticipated to run for ten consecutive years, marking a significant step as Thailand becomes the first ASEAN nation to host Tomorrowland.
This development is in line with Thailand’s efforts to attract international visitors through various means, including easing tourist visa restrictions and hosting other prominent events. Besides Tomorrowland, Thailand will also host Japan‘s Summer Sonic music festival in Bangkok this August. This is in sync with the Thai Prime Minister Srettha Thavisin‘s vision to revive the country’s economy through tourism and international events.
The addition of Tomorrowland to Thailand’s event calendar is expected to significantly boost local businesses and the overall economy. The festival, known for its grandeur and world-class electronic dance music acts, has a history of successful editions in Belgium and other locations like Brazil and the United States.
While specific details about Tomorrowland Thailand 2026 are yet to be announced, the anticipation is already building among EDM fans and festival-goers worldwide. The Belgian edition of Tomorrowland, renowned for its stunning stage designs and diverse lineups, has consistently sold out, indicating the potential success of the festival’s Thai edition.
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Introducing ‘Ellipsis’: the Hard-Hitting Techno Production From the Talented Cody Chase

Cody Chase returns with another release, this time dropping a hard-hitting Techno gem titled ‘Ellipsis’; set for release via his own label, Chasin’ Records, this gripping new production is sure to hypnotise listeners around the globe, demanding attention with its dark energy and enigmatic vibes. A Producer and DJ whose continued passion and love for Electronic Music have appeared distinctly apparent throughout his musical journey, this latest production from Cody Chase no doubt shows him to be keeping his drive high as he finds even more innovative and refreshing ways to stand out. 
With a release catalogue detailed with numerous striking productions, Cody Chase has been making powerful waves within Electronic Music, exciting fans with tracks that keep the bar raised, performances that remain memorable and electrifying, and unmissable episodes of his radio show, ‘The Chase’. Having set up his label Chasin’ Records with the goal to showcase some of the most talented Artists on the scene, Cody Chase’s love for Electronic Music keeps shining through whilst ensuring his influential impact on the genre continues to be felt.  
‘Ellipsis’ propels listeners into its powerful and mighty-sounding soundscape from the very start, introducing high-octane beats and gritty melodic lines that layer to create an engaging journey of musical intrigue. As Cody Chase leads listeners through ‘Ellipsis’, his unique approach towards music production takes centre stage, shining through in the twists and turns of the track; with pulsing details and growling lines, this new production from Cody Chase spotlights his ever-developing style as a Producer and his confidence to push boundaries to present his listeners with fresh and inventive music. 
So, for Cody Chase’s fans and lovers of the style itself, ‘Ellipsis’ appears as a must-listen production, one that surely breathes exciting energy into both Cody Chase’s release catalogue and the genre. A talent to keep an eye on, make sure to follow Cody Chase across social media to stay in the know about his upcoming releases and performances. ‘Ellipsis’ is out now via Chasin’ Records and is available to stream and download across platforms. 
Listen and buy ‘Ellipsis’ now:  
Beatport 
Cody Chase Online  
Website | Instagram | Soundcloud  
The post Introducing ‘Ellipsis’: the Hard-Hitting Techno Production From the Talented Cody Chase appeared first on EDMTunes.
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Breaking Boundaries in Electronic Music: A Conversation with DJ/Producer IND:RA

Today, we’re excited to chat with DJ/Producer IND:RA, a key figure in advancing Electronic music culture in India and beyond; having his journey into Electronic music begun in 2001, this talented DJ/Producer has honed his skills to develop a sound that showcases his vision and influences, that have lead him to get the attention from top artists in the industry, an opportunity to become a resident at Hakkasan London, and developing the idea to found his own label Desert Disco Records. 
Join us as we delve into his journey, motivations, challenges, and future plans. 
 
Hello IND:RA, how are you? To start, can you tell us about your journey into Electronic music and how it all began for you? 
Hi guys. Interestingly, my journey into Electronic music happened after my journey into DJing. I started DJing in 2001 and used to play club music back then, which mostly consisted of classic House and Trance. I discovered their subgenres as I got exposed to more Electronic music via watching international artists online. Internet was just blowing up in India and I remember seeing Tiësto’s Dance Valley set, Fatboy Slim’s Brighton Beach set, Berlin Love Parade sets and I fell in love with the storytelling of these sets, along with the crowd control that they had. My trips to Goa during those times also helped me get exposed to a variety of Electronic music which came straight from Ibiza and London.  
You’ve been a key figure in advancing Electronic music culture in India. What motivates you to continue pushing boundaries in the scene? 
I grew up and started DJing in Gujarat, a state where alcohol is prohibited, and hence there were no clubs or raves or any Electronic music culture. While discovering amazing artists and records, I had to throw my own parties to be able to play those records. I had some great sources online, and had a great collection of records which other DJs did not have, and I really enjoyed playing something that people heard for the first time. I felt that just because we did not have clubs does not mean people shouldn’t get to hear good music. I started throwing raves, warehouse parties and hired various venues and converted them into temporary clubs to give them the experience I wanted to share with them. I still try and give back, and hope to get some big Dance music brands back home whenever I tour.  
How would you describe your sound and style, and how has it evolved over the years? 
In the past 24 years of DJing I have moved across multiple genres. From Psy Trance to Progressive Trance, early Electro and Acid House, Ethno Techno, Progressive House, and now I like to play and produce Melodic House and Techno. However, I like to merge lines between sub-genres and usually travel between genres while maintaining a particular sound through the set. I love playing records according to the vibe and feel of the set rather than a particular genre. The one common thing about my sound across genres and years is it has always been Melodic and usually synth heavy. I also enjoy lush pads, and am biased towards records which use them well.   
What are some of the challenges you’ve faced as an artist, and how have you overcome them? 
There were too many to mention here. It has not been an easy road, especially early in my life when resources were a problem, but I think it would be the same for a lot of artists in that time. I used to be heavily booked early in my career, but I moved away from commercial music to concentrate on more underground sound in that time. It caused me monetary loss, but I wanted to play a sound that I related to and helped me play the kind of sets I wanted to. It was tough, as Electronic music had just started growing in India, and getting clubs to book you to play those sounds was rare. I eventually started getting booked across India through word of mouth from people who heard me play, and I was part of the artists in early 2000s who pushed the Indian Electronic music scene.  
Being the only Indian artist with a residency at Hakkasan in London is a remarkable achievement; what does this residency mean to you? 
It is always a privilege to work with a global brand like Hakkasan, especially in their flagship venue in London. It was different from what I was usually used to, but an amazing experience. I played for both their venues at Mayfair and Hanway Place, and I enjoyed playing the signature Hakkasan sound.  
Your label, Desert Disco Records, celebrates various genres of Electronic music, what inspired you to start the label, and what’s your vision for it? 
Starting Desert Disco Records was born during peak Covid time. I had recently moved to London, and the club and festival scene was completely shut. I know a lot of talented music producers from India, who don’t get global representation for their records, and the reason for starting Desert Disco Records was to get some of these sounds out globally and get them heard to an audience who have not discovered the Indian Electronic music talent. I hope to continue doing the same and also include upcoming Electronic Dance music artists from across the South Asian community who need a platform to release and get heard.  
You’ve played alongside some of your biggest musical inspirations; can you share a memorable experience from one of these shows? 
I can’t quite share a lot of them here, haha. But one of my best memories is spending time with Simon Posford while he performed for a private crowd of around 20 odd people in my city during his first India tour. I have loved Sphongle and Younger Brother from the early days and hearing him play a 7-hour set creating a journey across his music from these acts was quite something.  
 
How would you describe your style to someone new to your music? 
My music, across my productions and sets, is never random. It revolves around the melodic element, but is like a good Hitchcock movie which has a slow and steady start, and then adds characters. It has suspense, drama a build-up and then the big reveal.  
 
What advice would you give to aspiring DJs and producers looking to make an impact in the Electronic Dance music scene? 
I would say that talent can get you started, but it takes a lot more to make an impact in the current scene. The best thing is to ask questions and learn, collaborate with people who are more experienced than you, or have a skill set you don’t, but most of all, always think of what you can give, rather than what you want from someone. Understanding the value you can give and developing it, will open many doors for you.  
 
What can we expect from IND:RA in the near future? Any upcoming releases or projects you’re excited about? 
2024 has started with a bang. Ended 2023 with an amazing India tour and started 2024 with signing releases to 2 of my favourite labels. I will also be hosting a weekly radio show, called RE:SET Radio, which would be broadcasted across multiple countries and stations across the world, and will have a large listening audience. There will be quite a few releases this year, starting with my single releasing with Silver Panda’s amazing record label Panda Lab Records, which is currently a top 10 Melodic Techno label, on 12th of April.  
As we wrap up our conversation with IND:RA, it’s clear that his passion for Electronic music is boundless. From his beginnings in Gujarat to becoming a trailblazer in the global Electronic music scene, IND:RA’s journey is an inspiring display of perseverance and creativity. While he continues to work on his upcoming releases and shows, make sure to follow him across social media to not miss any updates about his latest news, as this DJ/Producer shows no signs of halting soon. 
IND:RA Online 
Instagram | Soundcloud | Mixcloud 
The post Breaking Boundaries in Electronic Music: A Conversation with DJ/Producer IND:RA appeared first on EDMTunes.
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Exclusive Interview with Jay Newman: Unveiling the Journey of a World-Class DJ

Welcome to our interview with Jay Newman, a talented DJ and Producer known for his dynamic style and sound that’s ready to take the Electronic music scene by storm. Jay’s journey began as a passionate raver, exploring various genres before finding his niche in Deep House, Melodic and Progressive House. 
 
In this interview he talks about his beginnings, experiences and the plans and projects for the months ahead, join us as we learn more about this skillful DJ and music Producer. 
 
Hi Jay! How are you? To start, can you share a bit about your journey into the  world of Electronic Dance music and how you developed your unique style as  a DJ and producer? 
My journey into the world of Dance music started as a raver on the dancefloors. Enjoying exploring all genres & finding what style of music I liked. I quickly found a love for Trance and Progressive music at festivals, following names like Above & Beyond, Tiesto & Armin Van Buuren. 
My style then changed into House & Tech as I started DJing and running events as this because hugely popular at the time. But now, I have matured as an artist I have really found my true sound as a Producer which spreads across the spectrum of Deep House, Melodic & Progressive House.  
As a former Worldwide Touring Artist for Ministry Of Sound & Formula 1, what  were some of the most memorable experiences from your tours and performances? 
A few memories spring to mind, warming up for Fatboy Slim @ Snowbombing Festival on the main stage was up there. So too was DJing on Eddie Irvines Yacht at the Monaco Grand Prix overlooking the track! 
Your music has been supported by several prominent artists in the industry; how does it feel to have such recognition and support for your work? 
It’s always an exciting feeling seeing your idols supporting and playing your own productions. Finally, after 8 years of producing music do I honestly feel like I have now found my sound as an artist, so it’s even more rewarding now. 
What inspired you to start Pro-ject Warehouse and Pro-ject events, and how  do you envision it contributing to the Electronic music scene? 
I started running my own events under the Pro-ject brand as a way to establish my name as an artist & DJ. After a few years of success I quickly decided to grown this and opened a 500 capacity warehouse venue in my hometown Worcester. 10 years later we are still running the events in my hometown. We’ve supported so many artists over the years, giving young talent a stage to perform, I take huge satisfaction being able to do this.  
You’ve performed at various festivals and events around the world, is there a particular show or venue that stands out as a highlight in your career? 
I think for me it was hosting a room and headling at Warehouse project Manchester. Me and my friends really fell in love with the Electronic music scene as party goers at WHP, so to be able to return a few years later and host / DJ there with all of my friends with me was a huge buzz! I still have the flyer for the night in a frame in my studio!  
Your productions often blend Deep House, Melodic, and Progressive House elements. Can you walk us through your creative process when producing a track? 
I’ll be honest, I don’t have a specific process, I feel more comfortable nowadays to open a blank project and just go with the flow of what emotions and feelings I have at that time. I feel that I enjoy the process more when I don’t put pressure on myself to make a certain type of style. Once I’ve made a few records, I can then decide which tracks go together for an EP and for which labels I think they suit.  
How do you approach selecting tracks for your sets, and how do you keep  your performances fresh and engaging for the audience? 
I have my favourite tracks I always like to play and I also make sure I dig out a few classics to jog people’s memories in every set I play. I don’t like to plan too much though, it keeps me on my toes when I start digging through playlists. I always do however mix in key and like to keep a groove to my sets.  
What advice would you give to aspiring DJs and producers looking to break  into the industry and establish themselves as artists? 
Be nice, go to parties and meet DJs and promoters. I networked (partied) really hard when I was getting a name for myself, you really have to meet people and don’t just rely on social media / messaging.  
What are your upcoming projects and releases that fans can look forward to in the near future? 
I’m looking forward to my next release “With You” on Eton Messy Records. Then a release with the wonderful Armada Music.  
How do you see the Electronic music scene evolving, and what role do you hope to play in its continued growth and innovation? 
It’s vital that local cities have events and venues, it’s all good for huge festivals and events with big budget headliners, but it’s important that we ensure the grass roots events are continuing, with the closure of so many clubs in the UK, it’s very different nowadays.  I will always run my own events, so I like to think I can continue to support upcoming talent and help as many people as I can along the way!  
We thank Jay Newman for his time sharing a deeper look into his story, background and vision. His love for Electronic music together with this driving mission to continue to open a platform for emerging artists to showcase their talent through his events that keep building a community around Electronic Dance music, play a significant role in him cementing his name as one to follow closely. 
Jay Newman Online  
Spotify | Instagram 
The post Exclusive Interview with Jay Newman: Unveiling the Journey of a World-Class DJ appeared first on EDMTunes.
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Discover DJ Dris: A Trailblazer in Afro-Infused Electronic Music

Introducing DJ Dris, a London-based musical explorer whose eclectic blend of Afrohouse, Funky House, and Tribal House reflects a lifelong passion for music. From his early days growing up in South London, where he was exposed to a diverse range of musical influences, to his current status as a pioneer of Afro-infused electronic sounds, DJ Dris’s journey has been defined by a deep connection to music and a desire to create memorable experiences for his audience.  
As he continues to build his career, DJ Dris aims to showcase his unique sound and style, through powerful releases that bring an uplifting message of self-empowerment; join us in this interview to learn more about this talented DJ and music Producer. 
 
Hi DJ Dris, it’s a pleasure to meet you! How are you doing?  
I’m doing great, enjoying every day. 
Can you tell us about your musical journey and how you got started in Electronic Music? 
Well, I got into music when I was about 14 years old when my mum used to run various youth projects in South London. As part of it, she asked me what would be a good thing for the projects and the 1st thing I said was turntables. From there the rest is history. 
Who was your favorite artist growing up? And what would be one of your favorite shows you’ve ever attended?  
My favourite artist growing up would honestly be Nas, due to his lyrical art, however this changed once I heard Donaeo on ‘Devil in a Blue Dress’. Reason being, it was an unbelievable mesh of Soul and Funky House.  
My favourite show honestly was Eminem at Wembley Arena and it was just the start of seeing what the power of music can do. I saw people crying, people going crazy, people absolutely in love with his music. I aspire to being able to create moments like that. 
How has your background influenced your current sound and style?  
It’s funny because when I started my journey in music, being of African decent wasn’t as cool as being Caribbean or American so I was really into early Bashment. I was always surrounded by my Nigerian family and loved all the lingo and the culture. So I always had a passion for Afro infused music and then Afrobeats landed and it definitely shaped my taste. 
What was the ‘moment’ that had catapulted you to transition to pursuing Electronic Music?  
I think it was always a passion due to the way I believe it made people feel. The Funky House and Deep House era really made it imperative to me to bring out Electronic music that I believe could make people feel an emotion when listening. And hopefully get them dancing too!
How has your time in the music scene in the South East of London shaped your approach to creating music?  
The beauty of South East London is that there is a bit of everything when it comes to music. So, it’s always made me feel that no matter what happens I can always do what I feel. That for me is key and what I believe is really cool about being from south. 
What challenges have you faced in your career, and how have they influenced your artistic development?  
My biggest challenge musically has always been where do I fit. I always believed that what I was creating felt good – at least to me anyway, so it’s always been difficult for me to say ‘this is the genre of music I make’, as I never have had a structure per se. I have always created based on how I feel in the moment which means the sounds can vary. Now, I really just think create and let people hear it. That’s all. 
 Can you discuss some of the themes or messages you aim to convey through your music?  
I believe in mood music, so I really try to ensure listeners can feel what I felt when I created the music. All of my songs have a deeper message or a story. 
For example, I released a song called ‘Unstoppable’ and the message is for listeners to recall a time where they felt unstoppable or to remind them that they can’t be stopped by anyone apart from themselves. 
Generally, the themes always revolve around Love and Self-Love or Self-Empowerment, as I like to elevate people through my art. 
 Looking ahead, what are your goals and aspirations for your music career?  
I aim to be an internationally recognised artist with an award winning catalogue and a immense and loyal fan base. 
Fans make music all the more worthwhile, because they love you for you and what you do. For me numbers is not necessarily the game, passion is. 
 What can we expect from DJ Dris in the coming months? 
Its release, release, release and performance, performance, performance with a splash of build build build. 
We thank DJ Dris for his time sharing more details about his background and career so far; with a true passion for music and for creating special moments for his listeners and followers, DJ Dris certainly keeps the bar high when it comes to live performances and compelling productions. Be sure to follow him across social media to learn more about his upcoming projects, live shows and releases, as he promises more news to come. 
DJ Dris Online  
Website | Spotify | Instagram 
The post Discover DJ Dris: A Trailblazer in Afro-Infused Electronic Music appeared first on EDMTunes.
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