Jump to content

News

Stay in the loop with the latest updates, event announcements, and everything happening in the world of dance music — brought to you by RaveLink. 🤖💜
Show all categories

Freekbass Brings The Groove With ‘FREEK MACHINE’

Freekbass presents his newest House/Funk/Disco track, ‘FREEK MACHINE’, a driving production that places his compelling signature sound at its centre. As he continues to carve out his place within Electronic Dance Music, ensuring his individuality remains paramount throughout his work, Freekbass is becoming known for his sonic innovation and integration of live instrumentation, both within his productions and live performances. With the release of this latest single, Freekbass adds another energetic production to his discography, once again inviting listeners to discover the musical vibrancy of his creativity and the captivating energy of his sonic persona.
With a signature style that ties together Funk flavour with hard-hitting beats, Freekbass appears as a distinct creator on the Electronic Music scene, recently gaining attention through his work within the world of musical live streaming. Just this year, Freekbass was crowned a winner for TikTok Live Fest: an accolade that further cemented his promising potential, serving as a credit to his talents when it comes to innovating within the genre. With skills that range from playing various instruments, notably the bass guitar and keys, to constructing funky grooves and bold melodic hooks, Freekbass’ music emerges as a unique expression of his experiences and skillset, appearing distinctly original in sound.
This new track comes as further proof of Freekbass’ inventive signature style; blending energetic guitar riffs with shuffled rhythms, ‘FREEK MACHINE’ epitomises Freekbass’ sound, welcoming listeners into a groovy soundscape that pushes boundaries to showcase his individuality and creativity. As the track layers in a bouncy bassline, catchy vocal hooks, driving beats, and dynamic underlying melodies, ‘FREEK MACHINE’ delivers a refreshing sonic experience, one that will no doubt see fans of Freekbass enthralled by this latest addition to his catalogue and excited to hear what the talented Producer will offer them next.
‘FREEK MACHINE’ is out now and is available to stream and download across platforms here.
So, uncover the unique energy of ‘FREEK MACHINE’ for yourself and make sure to keep an eye on Freekbass by following him across social media.
Ravebot
Ravebot

Tom Tainted Drops Progressive House Track ‘Strong’ ft. Bee Singfield

Tom Tainted returns with his next Progressive House single, ‘Strong’, this time teaming up with the talented Artist Bee Singfield to deliver an uplifting production portraying resilience, strength, and love. Set for release via Tom Tainted’s own label, Red Trail Music, this latest track comes as an impressive collaborative effort, introducing a driving soundscape detailed with punchy beats and compelling basslines, elevated by the captivating vocals of Bee Singfield.
With a seemingly unstoppable determination, Tom Tainted continues to be a force on the Electronic Music scene, having just recently released his track, ‘Mental’, alongside his long-time collaborator, DJ Paize. As he continually welcomes fans into his powerful sonic world, expressing his original creativity through various artistic avenues, including his label and monthly Red Trail radio show episodes, Tom Tainted keeps garnering attention, establishing himself as a unique talent within the genre. Now, as he comes together with Bee Singfield, a UK-based Melodic House and Techno Producer and Vocalist, Tom Tainted once again offers listeners an immersive sonic experience, inviting them on a musical journey that will no doubt leave an impression.
As ‘Strong’ presents a thumping beat and dynamic bassline, building momentum as pulsing synths and staggering lines join the mix, Bee Singfield’s vocals take centre stage, guiding the track forward. With bold melodic hooks, intensifying elements and a mighty low-end, the track weaves together a sonic tapestry, creating a compelling energy that continues throughout. The inspiring vibes of ‘Strong’ shine through in the motivating lyrical content portrayed through Bee Singfield’s powerful vocal line, supported by the hard-hitting rhythmic details and enveloping leads. With ‘Strong’ highlighting the intense energy of Tom Tainted’s signature sound, this new release is sure to resonate with listeners worldwide, becoming a top favourite amongst his fans.
A talent who continues to prove himself worthy of his growing reputation, Tom Tainted is one to keep an eye on, following him closely as he keeps dropping productions and collaborates alongside other gifted Artists.
‘Strong’ is out now via Red Trail Music and is available to stream and download across platforms here.
So, be sure to stay up-to-date with Tom Tainted by following him across social media.
Follow Tom Tainted:
Soundcloud | Spotify | Instagram   
Follow Bee Singfield:
Spotify | Instagram   
Follow Red Trail Music:
Beatport | Website   
Ravebot
Ravebot

Eric Redd Links Up With Hady Tarek On ‘Nobody Knows’

Eric Redd has teamed up with the Producer Hady Tarek for his latest Progressive House production, ‘Nobody Knows’. Set for release via Hady Tarek’s label Kollectiv, this newest production brings together the soulful energy of Eric Redd’s unique sound with the high-octane style of Hady Tarek. Being released alongside an instrumental version, as well as a release from the Producer Narah, titled ‘The One’, the track builds into a soundscape detailed with grooving beats and layers of Eric Redd’s captivating vocals, evolving into a production sure to capture attention, energising listeners worldwide with its compelling sound and energetic vibes.
Eric Redd himself has been leading a thrilling musical journey; having embarked on his career over forty years ago, the achievements he has garnered to date no doubt serve as a credit to his talents and innate abilities. Having worked alongside genre heavyweights like Eddie Amador and Ralph Rosario, as well as lighting up stages around the globe with his vibrant energy, Eric Redd continues to make his mark.
Hady Tarek, on the other hand, has been making a name for himself through a variety of creative pursuits, whether taking to the decks at renowned events like the Amsterdam Dance Event, dropping Progressive House gems, or acting as label boss for Kollectiv, he remains an exciting talent to be watching within Electronic Music today.
Having collaborated on their track ‘All New’, a production on Eric Redd’s 2023 album, ‘Life…With Subtitles’, the pair now come together again to offer listeners a high-energy production, placing each of their signature styles in the spotlight whilst sympathetically blending their distinctive sounds to create a cohesive-sounding track.
‘Nobody Knows’ opens with a funky, thumping beat, as a driving synth enters to move the track forward; then, with the lively vocals of Eric Redd joining the mix, the infectious vibes of the track are elevated further as underlying elements build the texture and lead the listening experience. As the production moves through the breakdown, filtering details to raise the tension with the incorporation of dynamic arpeggiators, intricately woven lines of Eric Redd’s vocals, and atmospheric sonic layers, ‘Nobody Knows’ keeps the sonic intensity high, continuing to engage the listener with its original sound and captivating energy. With the structure and arrangement of ‘Nobody Knows’ creating a sonic journey that leads through refreshing territories, surprising listeners as the track continues to evolve, this new production comes as a must-listen for lovers of the style and a carefully considered blend of both Hady Tarek’s style and Eric Redd’s signature energy.
A collaborative effort that shows both Hady Tarek and Eric Redd to be a powerful creative force when combining each of their talents, ‘Nobody Knows’ is poised to impress, ready to energise any dancefloor around the globe.
‘Nobody Knows’ is out now via Kollectiv and is available to stream and download across platforms here.
So, discover the driving energy of ‘Nobody Knows’ for yourself and, be sure to keep up to date with both Hady Tarek and Eric Redd by following them across social media.
Follow Eric Redd:
Website | Instagram | Spotify
Follow Hady Tarek:
Website | Instagram | Spotify
Follow Kollectiv:
Beatport
Ravebot
Ravebot

Movement Festival 2024: Set Times, Stages, Lockers and Everything Else You Need to Know

This Memorial Day Weekend, Detroit's Hart Plaza will be transformed into the iconic Movement Electronic Music Festival.
A longtime wellspring of techno music, the internationally acclaimed festival showcases the genre in its birthplace across a beautiful waterfront venue and six stages.
With just a few more days to go until fans take over the city for another year of this historic festival, here's everything you need to know about Movement 2024.
Movement set times
Headliners Solomun, Richie Hawtin and Fatboy Slim are slated to close out the Movement Stage (mainstage) each night this weekend. They will be joined by a diverse cast of artists, including Dom Dolla, Chris Lake, Honey Dijon, Skream, Loco Dice, Jayda G, Nicole Moudaber, James Blake, Seth Troxler and many more.
You can view the set times for each day of the festival below.
Movement Festival 2024 Saturday LineupMovement Festival
Movement Festival 2024 Sunday LineupMovement Festival
Movement Festival 2024 Monday LineupMovement Festival
Movement stages
Movement Festival 2024 will feature six unique stages. The Movement Stage is the "mainstage" and will host performances from the aforementioned headliners. The Waterfront stage is nestled on the Detroit River which also serves as the border between the United States and Canada. Here you will find a special "30 Years of Metalheadz" takeover on the final night of the event. Just down the river is the Pyramid Stage, which is set to feature a different takeover each night of the three-day festival. 
The Stargate Stage cleverly uses its proximity to the Michigan Labor Legacy Landmark as part of its sci-fi production. On Sunday night, attendees will be able to witness a Masters At Work takeover before they close out the stage at 10pm. The Underground Stage is an intense, intimate experience that packs you into a sweaty space beneath the plaza for some of the hardest-hitting artists on the lineup. Finally, the Detroit Stage is dedicated to the genre's most important city. Here you will find a lineup made up entirely of artists from Detroit.
Movement festival map
Check out the map below for the location of Movement Festival 2024's six stages, art installations (like the "Respect The Architects" exhibition), vendors, bathrooms, food and more.
Movement Festival 2024 MapMovement Festival
Movement location
Movement Festival 2024 will be held once again at its longtime home of Hart Plaza in downtown Detroit, Michigan. Seeing as the event is in the downtown area of a major city, there are plenty of hotel and rideshare options available to festival-goers.
The official address is as follows:
1 Hart Plaza
Detroit, MI 48226 
Movement festival hours
Fans can get down to the sounds of techno at Movement Festival 2024 from these times: 
Saturday, May 25: 2 PM - 12 AM
Sunday, May 26: 2 PM - 12 AM
Monday, May 27: 2 PM - 11 PM
Lockers
Lockers are available for rent at Movement Festival 2024. The price for a general admission three-day locker is $65 and single-day rentals are $25. Each locker will include a cellphone-charging station with all-day access. You can pre-purchase your rental here.
Pre- and after-parties
With Movement Festival 2024 ending before or at midnight each night, plenty of attendees will want to keep the party going. The festival's organizers have set up various official afterparties across Detroit this weekend.
Skream, Dom Dolla, Soul Clap, MEDUZA, Defected Records and more are set to party into the early hours, while House Call Records, Glitterbox and more will welcome early arrivals on Friday, the night before Movement kicks off. You can view the complete list of official pre- and after-parties here.
Movement festival tickets
Last-minute tickets are still available for purchase and can be found here.
Follow Movement:
X: x.com/MovementDetroit
Instagram: instagram.com/movementdetroit
Facebook: facebook.com/movementdetroit
Ravebot
Ravebot

Meetch Unviels New Tech House Heater ‘Move Ya Body’

Meetch is back with another energetic Tech House production titled ‘Move Ya Body’; coming via No Definition, this brand-new single shows Meetch to be keeping his motivation high as he drops yet another track following the release of his production, ‘Upside Down,’ just last month. With each production, Meetch continues to impress, bringing impactful music to his fans around the globe as he curates intricate sonic landscapes of driving rhythms, pounding basslines, and infectious hooks. Now, with this new release, Meetch succeeds, yet again, in delivering a track that is unique in sound and energy, offering party-starter vibes that position ‘Move Ya Body’ to become a dancefloor staple.
As Meetch’s influences continue to grow, evolving from his early days in New York City to now finding inspiration in the musical landscape of Los Angeles, his signature sound remains innovative in its portrayal. With a style that works to elevate the sounds of House music, incorporating unique elements into his productions, Meetch’s creativity seems unstoppable as he keeps discovering new ways to express his musicality. Having made a name for himself on the DJing circuit, performing at top NYC venues like Pacha and Club Amazura, Meetch is no doubt on an exciting path, continuing to add more and more tracks to his release repertoire, creating music that resonates and makes an impact on listeners worldwide.
Energetic in sound, ‘Move Ya Body’ introduces intense layers of sound, incorporating thumping beats, a bouncy bassline, vibrant synth leads, and a powerful spoken vocal line. As the track continues with its mighty momentum, Meetch keeps the enthralling vibes high, leading through an intensifying breakdown detailed with lively elements and uplifting melodic hooks, introducing fresh female vocals that take the listening experience one step further. A track whose sonic character surely showcases Meetch’s signature sound, ‘Move Ya Body’ comes as the ideal listen to dive deep into Meetch’s compelling musicality and distinct creativity.
‘Move Ya Body’ is out now via No Definition and is available to stream and download across platforms here.
So, be sure to keep Meetch on your radar by staying up-to-date with him via social media as he continues to climb high on the list of Producers and DJs to watch out for within Electronic Music today.
Follow Meetch:
Spotify | Soundcloud | Instagram
Follow No Definition:
Beatport | Instagram
Ravebot
Ravebot

11 Artists You Must See at Lightning in a Bottle 2024

After last year's remarkable event, the organizers of Lightning in a Bottle are returning for another round of the beloved SoCal festival, which returns to Buena Vista Lake over Memorial Day weekend. And as usual, the boundary-breaking fest is bringing along a massive lineup to provide the soundtrack to its many kaleidoscopic backdrops.
This year the likes of Skrillex, Labrinth, James Blake, M.I.A. and more will headline LiB 2024, among others. In a lineup replete with special performances, Skream is also poised for a dubstep set and Tycho will deliver an aching sunset show.
As attendees pack up and head out for Lightning in a Bottle, which officially kicks off tomorrow, now's the time to pay closer attention to the festivals' day-to-day scheduling. So we've combed through its lineup to highlight 11 electronic acts you can't miss this year.
View the original article to see embedded media.
Ashez
Hailing from the lush landscapes of New Zealand, Ashez infuses his music with a distinct blend of Kiwi flair and international influences, building a reputation for pushing the envelope. His dynamic performances behind the decks exude an infectious energy, drawing audiences into a sonic journey that transcends boundaries and defies expectations.
Set time: 9:30-10:45pm at The Stacks Stage on Friday.
c/o Press
Barclay Crenshaw
Barclay Crenshaw has become synonymous with infectious rhythms and boundary-defying sounds. Renowned for his eclectic blend of house and bass music, he has enraptured audiences globally with his dynamic performances and genre-defying sets. 
Beyond his prowess behind the decks, Crenshaw, who also built a stellar career under his Claude VonStroke alias, is also the founder of Dirtybird Records, a seminal record label revered for its singular approach to house music. Through his relentless creativity and unwavering dedication, Crenshaw has firmly established himself at the vanguard of today's bass music scene.
Set time: 8:35-9:50pm at the Thunder Stage on Sunday.
Don Idio/DI Visuals
Bob Moses
Hailing from Vancouver, Bob Moses have garnered widespread acclaim for their emotionally resonant soundscapes and infectious grooves. With haunting vocals layered over pulsating beats and atmospheric melodies, the duo continues to captivate with their innovative approach to electronic music.
Set time: 8:15-10:10pm at the Woogie Stage on Sunday.
Garrett Poulos/EDM.com
CloZee
CloZee is a visionary electronic music producer and DJ known for her enchanting fusion of world music and bass. Hailing from Toulouse, France, her music transports listeners to a realm where cultures collide and melodies intertwine seamlessly. With her intricate compositions, characterized by ethereal melodies and organic sounds, she has carved out a unique niche.
CloZee's captivating performances, marked by her skillful mixing and vibrant stage presence, have earned her a dedicated global following. A boundary-pushing artist, she stands as a beacon of creativity and innovation in the world of dance music.
Set time: 11:10pm-12:25am at the Thunder Stage on Sunday.
c/o Press
Justin Martin
Hailing from San Francisco, Justin Martin has become renowned for bringing to the stage a distinctive blend of house, techno and bass music. As a longstanding member of the Dirtybird Records family, he has left an indelible mark with tracks that exude a playful yet sophisticated vibe. His dynamic DJ sets are characterized by pulsating rhythms, infectious grooves and a relentless commitment to keeping the dancefloor moving.
Set time: 10:15pm-12:00am at the Woogie Stage on Saturday.
Spencer Young
Maddy O'Neal
Known for her infectious beats and soulful melodies, Maddy O'Neal is a rising star in the electronic music scene. Hailing from Denver, she has quickly garnered recognition for her live sets, which blend elements of hip-hop, funk and bass music. With a background in jazz piano, she crafts tracks that are both groovy and emotive, capturing the hearts of audiences worldwide. 
Set time: 8:25-9:40pm at the Thunder Stage on Saturday.
Stephanie Parsely
Mura Masa
The inimitable Mura Masa is a visionary producer known for his genre-blurring sound and innovative production. Hailing from the remote island of Guernsey, he quickly rose to prominence on the global stage with his unique blend of electronic, hip-hop, and pop influences.
With his meticulous attention to detail and penchant for experimentation, he crafts intricately layered tracks that are both sonically rich and emotionally resonant. From breakout hits like "Love$ick" to his stunning self-titled debut album, Mura Masa continues to push boundaries and defy expectations.
Set time: 9:15-10:15pm at the Lightning Stage on Friday.
c/o Press
Nora En Pure
With her ethereal soundscapes, Nora En Pure transports audiences to enchanting realms of sonic beauty. Drawing inspiration from a deep connection to nature and her background in classical music, her music is imbued with organic elements and lush textures that evoke a sense of tranquility and euphoria. Hits like "Come With Me" and "Uruguay" have solidified her reputation as a luminary in melodic and deep house music while her DJ sets take listeners on mesmerizing journeys.
Set time: 6:30-8:30pm at the Woogie Stage on Saturday.
Acre Media
Of The Trees
A rising superstar in the bass music scene, Of The Trees was recently named to the EDM.com Class of 2024. Hailing from Portland, he has cultivated a unique sonic identity that blends elements of trap, dubstep and glitch into a brilliantly experimental sound.
Of The Trees' productions are characterized by intricate rhythms, deep basslines, and atmospheric textures, curating an otherworldly listening experience. With a string of acclaimed releases and landmark live shows, he has garnered a dedicated following and established himself as a formidable talent.
Set time: 11:30pm-12:45am at the Thunder Stage on Saturday.
Colin Webb
Skrillex
A dyed-in-the-wool electronic music icon, Skrillex needs no introduction ahead of LiB 2024. Revered for its signature blend of frenetic basslines and infectious melodies, Skrillex's music defies categorization and inspires generations of aspiring music producers. 
With timeless hits like "Scary Monsters and Nice Sprites" and "Bangarang," he reshaped the landscape of electronic music, earning multiple Grammy Awards and widespread acclaim in the process. Beyond his solo work, Skrillex is also a prolific collaborator, having produced records for countless superstars. His boundary-pushing creativity and relentless innovation continue to reinforce his status as one of the most influential and respected figures in contemporary music.
Set time: 12:30-2:00am at the Lighting Stage on Sunday.
c/o EXIT Festival
Tycho
Tycho is a visionary artist celebrated for his transcendent blend of ambient, downtempo and electronica. Known for his lush, atmospheric soundscapes and intricate compositions, he creates music that evokes a sense of introspection and wonder.
With albums like Dive and Epoch, he has garnered widespread acclaim and a dedicated global following, earning praise for his ability to transport listeners to serene and ethereal realms. Tycho's live performances, accompanied by mesmerizing visuals, are immersive experiences that captivate with their emotive might.
Set time: 7:45-9:00pm at the Thunder Stage on Friday. 
c/o Press
FOLLOW LIGHTNING IN A BOTTLE:
Facebook: facebook.com/LIBfestival
X: x.com/LIBfestival
Instagram: instagram.com/libfestival
Ravebot
Ravebot

Global Dance Festival Returns To Denver With An All-Star Lineup This July

Global Dance Festival is returning to Denver for its 21st installment this July. Brought by Global Dance and AEG Presents, Global Dance Festival will take place at the Stockyards Event Center Grounds this July 26th and 27th. The festival features an all-star lineup, enhanced VIP experience, extended event hours running from 5PM-1AM daily, and more. Following the 20th anniversary of the flagship festival, this move marks a new era for the festival inclusive of a larger event space, photogenic art installations, the best in Denver’s food trucks, multiple stages with updated production, performers, and much more to be announced.
Global Dance Festival has been a cornerstone of dance music in Colorado since the early 2000s, growing into the premiere festival at one of the best venues in the world, Red Rocks Amphitheatre, and the largest annual summer music festival in the Rocky Mountain region of the United States. In 2017, Global Dance Festival departed Red Rocks and debuted in its new home at Empower Field at Mile High in order to present an immersive festival that was not possible at the legendary amphitheatre.
Photo by @bechiefb This year’s lineup includes (in alphabetical order by line): The Chainsmokers, Duke Dumont, Fisher, Gryffin, Kaytranada, Champagne Drip, Crankdat, G Jones, Kayzo, Ravenscoon, Said The Sky, 1991, Brondo, Canabliss, Chibs, Mport, Smoakland Presents Liquid Smoak, Twinsick, Vampa, Wuki, Aramis, Chocolate Drop, Concentrates, Decker Rush, Ecotek, Faybl, Hartshorn, Lizzy Jane, Merci, Micvh, Morf, Muv, Njoy, Paws, Savage, SLWMO, WEON, Wessyde, and Zoa.
Tickets for Global Dance Festival are on sale now here. Tickets range from $99.00 – $299.00 plus applicable service charges on AXS.com. All ages are welcome.
The post Global Dance Festival Returns To Denver With An All-Star Lineup This July appeared first on EDMTunes.
Ravebot
Ravebot

Interview with Lost Frequencies at EDC Las Vegas

We sat down with Lost Frequencies at EDC Las Vegas to discuss the wide variety of genres represented in his sets, his opinion regarding the differences between the American and European rave scenes, his epic set at EDC, and his new music!

So, you just finished your set and I noticed you mixed together a lot of genres. I heard some Drum and Bass and some Techno. What influence has these other genres had on your music and is it hard to combine so many different genres in one set?

The thing is I always have this base layer, which is my original music, everything I play is the music that I produced, even if it’s going to be Drum and Bass or a bit more Techno-ish soundtrack. It’s always going to be melodic; you are always going to have vocals somewhere in the track. That is what’s going to be the glue throughout the whole set. And also, the single factor that I produce everything is always kind of the same mixing style I guess. And so, it’s not too different but genre wise it is going to change a bit. I think also because for me, it’s fun during one hour like this today, but even if a bit longer set I like to change it up, I like to play something different and to wake up the crowd a bit, challenge them and then go back to them with something else.

So how do you balance tracks you want to play based on what the crowd wants to hear?

I try to spread them out. But sometimes what I have is I think she said I have only 50 minutes left and I have to throw them all in the one that they want to listen to because there was there’s always new tracks I want and the tracks that that I want to I want to support you know, like the latest release or the latest album, and then the big ones.

So you’ve played around the world and like we’ve talked about I live in the Netherlands and you’re from Belgium. What is the biggest difference between the European rave scene and the American rave scene?

The clothing is very different. The USA is more crazy. I would say maybe not more crazy but it’s like for people when they go to electronic music festival here in the US, they really travel, it’s like a mission. You know, it’s like we go to EDC, and we got to go to this crazy festival like when I see everything here, it’s really insane. I don’t think we have something like this in Europe. We have Tomorrowland which is super big but not as big as this you know? So, I don’t know it’s very different. Also, the genre of electronic music on the lineup is very different in the US compared to Europe. So, for me as a European artist to be here on the lineup on the mainstage today was very nice.


So how do you feel about your set, happy about it? It was great from where I was standing.
Thank you. That’s the only thing I said after it’s like sometimes you play these kinds of shows and the stage is so big that you don’t really know in the moment itself, like sometimes I usually like to look back with some videos we have from the live stream to get a better perspective from because I don’t really see the crowd you know, and, and sometimes it’s hard to tell, are people dancing? Are they chilling or you know, am I getting their attention? Is this a singalong moment? Because I don’t really hear a lot, but I was trying to do my thing I know. Some people know me, but maybe a lot of people don’t really know me here tonight. So, I was really trying to play my music to try to show showcase who I am and hopefully they liked it.


You played some new music tonight “In my Bones”. Can you tell us a little bit about the inspiration behind that track?

So “In my Bones” is a track with David Kushner. The version that I played tonight is the deluxe mix. So, every single track can have an alternative version, which is going to be like you said a Techno version or a Drum and Bass version. So, because the original version is always quite slower, it’s more radio friendly. And then the deluxe mix like the one I played tonight. It was more Trance and old school House inspired with a little piano, but and then the kick coming in. It was a nice reaction, I’m happy. So, I’ve been trying it out for the last few shows and now I think I’m going to set it down and finally mix it properly and master it.

Your music is so positive. It’s really uplifting. What kind of message do you want to spread to your fans into the world especially now with so many problems going on and so many bad things?


Yeah, I usually have a lot of messages in my music that are about unity and love. I think it’s sometimes it’s quite cheesy. But at the same time, it’s also so obvious you know and when you are at a place like this, I think sometimes people do really like to hear this kind of stuff and they really connect with it. I like personally the love lyrics and sharing and spreading good vibes. And so, when I make music and I can incorporate these lyrics in the least cheesy way possible that I’m super happy that I can do something like that. And then it translates well in the crowd.




Ravebot
Ravebot

David Archuleta Defends Himself On Instagram After Attending EDC Las Vegas

David Archuleta is defending himself on social media after posting several photos of himself at EDC Las Vegas on Instagram this past weekend. The singer added to his grid three times, one for each day of EDC. Each post showed his fit of the day, as well as some selfies and videos taken at the event. While this seems like normal social media activity for any raver after attending the biggest EDM event of the year, for David Archuleta it seemingly was not.
While the comments on his posts don’t seem particularly negative, Archuleta still felt the need to explain his perspective with a lengthy follow-up post. He explains that attending a rave is no different than attending any other concert. It’s “therapeutic because you let out what you normally don’t get to,” but because it’s “loud” with a lot of “stimulation going on visually,” people draw conclusions, thinking it’s “wild.” “If people don’t like it then cool. I’m sharing my journey and I’m loving it,” Archuleta states.
In the post’s caption he explains why he feels the need to defend himself: “I know most of my audience I’ve built over the years came from when I was reserved and conservative myself. So thats why I like to explain what I do. It’s not to apologize for who I am but sometimes it is a bit odd to post new experiences I’m having and where I’m at now when it’s very different from previous years and what people relate to me for before.”
David Archuleta: From American Idol to EDC Las Vegas
Archuleta gained stardom back in 2008 when he appeared on Season 7 of American Idol. At just 16 years old, he captured hearts across America with his beautiful voice and his boy-next-door persona. He came in second to winner David Cook during his season, by a margin of roughly 12 million votes out of over 97 million, which was at that time the highest recorded vote total in the show’s history.
Since American Idol, Archuleta has spoken openly about his Mormon beliefs and devout lifestyle. He publicly came out as a member of the LGBTQIA+ community in June 2021, posting the following statement on Instagram:
Archuleta went on to encourage his followers to be more accepting of LGBTQIA+ communities as people of faith, including within the Mormon church. He asked his followers to “consider making room to be more understanding and compassionate” to those still exploring their identity.
The post David Archuleta Defends Himself On Instagram After Attending EDC Las Vegas appeared first on EDMTunes.
Ravebot
Ravebot

Celebrating 27 Years of ‘King of My Castle’ by Wamdue Project: A House Music Milestone

The 24th of May, 2024, marks the 27th anniversary of the timeless house track ’King of My Castle’ by Wamdue Project. Released in 1997, the song became a defining anthem of the 90’s electronic music scene, embedding itself in the hearts of dance music enthusiast and continues to resonate with music lovers world wide.
Wamdue Project, spearheaded by the American DJ and producer Chris Brann, originally crafted ‘King of My Castle’ as a downtempo, ambient house song (click here to listen to the original version), with the iconic refrain ‘’Must be the reason for why I’m king of my castle’’ delivered by vocalist Gaelle Adisson. It wasn’t until the Italian producer Roy Malone mixed the song however, adding irresistible energy and transforming it into a dance floor staple, that it ended up blowing up in clubs and airwaves alike.
Not only did ‘King of my castle’ reach remarkable success by reaching the nr. 1 spot on US Billboards ‘’Dance Club Songs’’, United Kingdoms ‘’Singles Chart’’, and by peaking the charts in several other countries such as the United Kingdom, Germany and Spain. It has since also been featured in countless DJ sets, compilations and remixes which has made sure to keep it relevant in the everevolving landscape of music until this day.
Listened to over 43 million times on Spotify alone, besides its musical impact, ‘King of My Castle’ has cultural significance and is a symbolic in terms of the house music explosion of the late ‘90s. As its popularity was peaking during the rise of superclubs and the global rave culture, the track highlights a period when electronic music began to achieve mainstream acceptance.
‘King of my castle’ is therefore a song that for many, serves as a nostalgic touchstone for those who experienced the prime time of house music firsthand, while it at the same time, continues to introduce new generations to the rich history of the genre. Making its ability to transcend time and remaining relevant in the modern time music scene, a true testament to Chris Brann’s innovative production and Roy Malone’s metamorphic remix.
It’s not just a song that we celebrate as we mark 27 years since Wamdue Projects ‘King of my castle’ was released. It’s an iconic piece of music history that captured the essence of ’90s house music and continues to inspire and ignite dancefloors after nearly three decades. A true celebration of the vibrant culture of house music that it represents.
Ravebot
Ravebot

Timeless waves: Saltwater by Chicane celebrates its 25th anniversary.

The world of electronic music is a big ocean with waves of sound that shape the auditory landscape with each tide. Among these waves, you can find timeless masterpieces that continue resonating with listeners long after their release. One of these iconic tracks, is ‘Saltwater’ by Chicane, which celebrates its 25th anniversary today, on the 24th of May.
‘Saltwater’ was released in 1999 by Nick Bracegirdle, the brainchild behind Chicane, and emerged during the golden era for trance music, featuring a beautiful vocal sample from Clannad’s Máire Brennan song ‘Theme from Harry’s Game’. The combination between Chicane’s masterful production and Brennnan’s ethereal vocal element created a track that is uplifting, deeply emotive and captures the essence of human experience.
It’s therefore no surprise that ‘Saltwater’ became an anthem that topped the charts in several different countries and became a staple in DJ sets around the world. The songs’ ability to feel both ancient and futuristic at the same time, created a universal appeal that bridged the gap between mainstream audiences and the more niche trance community.
As we celebrate the anniversary of ‘Saltwater’ by Chicane, a beacon of emotional depth and creativity, we are reminded of how powerful music can be. That it can transcend time, touch people’s hearts and connect people across the world – no matter the culture or generation.
Ravebot
Ravebot

SiriusXM Launches Official Radio Channel Dedicated to Avicii

The latest portal to the bygone era of Avicii comes from SiriusXM, who has launched a new radio channel dedicated to the electronic dance music legend.
"Avicii Radio" will feature the late artist's many hits as well as "never-before-heard music from his past live performances," according to a press release shared with EDM.com. The channel is produced in collaboration with the Tim Bergling Foundation, the nonprofit launched by his family following his tragic death by suicide in 2018.
It will also include appearances by a number of Avicii's collaborators, including Nicky Romero, Armin van Buuren, Laidback Luke and Aloe Blacc, the lattermost of whom will "voice the channel" as it launches with a spin of their collaboration "Wake Me Up." That track, a generational dance anthem, remains Avicii's most-streamed.
"I can't think of a better way to honor the life and legacy of Avicii," Blacc said. "This SiriusXM radio channel dedicated to the music he made, played and inspired is a lasting testament to his massive influence."
Coinciding with Mental Health Awareness Month, the channel aims to keep the conversation around wellbeing alive, fostering a spirit of community and support. To that end, it will also feature audio messaging from Vibrant Emotional Health, formerly the Mental Health Association of New York City, a community of wellness programs offering confidential emotional support to those in need.
"This is a great continuation of Tim’s relationship with SiriusXM and Geronimo, SiriusXM’s Vice President of Dance Music, who were supporters of his music very early on in his career," added Klas Bergling, Avicii's father and the director of the Tim Bergling Foundation. "We appreciate their interest in promoting the emotional well-being of young people and of the Tim Bergling Foundation and its goals."
"Avicii Radio" is available now on the SiriusXM app. 
Follow Avicii:
X: x.com/Avicii
Instagram: instagram.com/avicii
Facebook: facebook.com/avicii
Ravebot
Ravebot

Interview with Creeds at EDC Las Vegas

We sat down with French Producer Creeds during EDC Las Vegas to discuss the Hard Techno boom in the United States, his viral track “Push Up”, and some surprises during his EDC Las Vegas set.
In Europe Techno with a “K” (Tekno) is really popular, in America we don’t have that, how would you describe that to Americans and what are your thoughts on the current state of Hard Techno in the United States?

Well first, I would describe it basically as a revival of the old school Hardstyle sound, to be honest. Everyone is starting to call it Hard Techno, let’s be honest it’s a revival of the old school Hardstyle sound, Reverse Bass and stuff like that. Personally, I’m super happy to see that at many festivals now, this style is getting bigger and bigger. I believe there are many good things to do and I also think it seems to be a good path to go to the Harder Styles. I saw that over many years, young people discovering Techno, they looked at Hardcore music and thought “What the f*** is that”. And now I see that even Hard Techno now just plays sometimes some Hardcore music and Hardcore stuff. And I really, really see that it’s a good way to go into Hardcore music and to make it discoverable to younger people, then the good thing is saying to the agenda, you can play basically, anything that you want in a set, you can play some Hardcore stuff in the middle of the set if you want and most of the people like it, so I’m super happy about that.
And the good thing also playing in this kind of festival is that the Hardcore scene is now here, with many many great artists on the scene. So that mean we can do Hard Techno and, in the middle, go Raw Style or Uptempo.  So, it’s allowed now and super happy about that. Because during many years, I tried in my own set to make these things happen, you know, like I was being Psytrance music and sometimes Hardcore music, like two tracks after and so now well, we feel like it’s allowed to do so.


That’s amazing. I think it’s a great way to get people in the door. I think originally, people would be scared of 200 bpm music and think “Oh that’s scary or it’s demonic. So, I think it’s a great entryway and I love to see it as well. So, I want to talk about obviously your biggest track “Push Up”. Why do you think it blew up so much? What do you think resonated with people so much about it?


To be honest, I don’t know. On the pure production side, I would say just the melody that is super simple. And with a simple waveform, you know, in terms of production and sound design, something really, really, really easy, basically, that can stick in the mind. And also, the vocal that is really, really good by Fabian Mizzou, the guy who made the vocal actually it’s a guy, not a girl. And then after that, maybe the track just arrived at the right time and the right moment. Also, thanks to TikTok and social media like that it went way more than it could have been if it wasn’t there, you know? So, I think it’s a combination of everything that that went good.

Speaking of TikTok. So back in my day, Trance songs were seven minutes long Techno songs were like 13 minutes long. Today we’re seeing with TikTok in short form content songs getting shorter and shorter. How do you feel about that?


I don’t think it’s really up to just TikTok you know, if you look at just the way the labels even used to work back in the days, you know, they didn’t want any track more than three minutes and a half or three minutes because of the radio. So, since years and years, it’s the thing you know, you can’t really release something more than three minutes if you want to get on the radio or stuff. So, I don’t think TikTok has so much to do with it, honestly.
So maybe now composers sometimes tried to just have the right hook you know, for 10 seconds and then having a drop from 10 seconds also just to be able to tease it and TikTok maybe, but in the end it’s still like a three or four minute long tracks you know, in the extended mix. So, but I know that big levels because I also work with Sony and I know when they take a track from me, they said okay, there is the extended mix, but you need to do also a shorter version. And it’s not about TikTok is just that many labels work that way you know especially the major labels and not necessarily the underground labels.

Do you think tracks will continue to get shorter and shorter or do you think it’ll stay around the three four minute mark like you said?


No, I think it will stay the same. What you hear on TikTok is basically most of the time, I think so, I’m not that much on TikTok also myself, but I think it just an extract, a preview of what is the longer track you know, so I don’t I don’t think there is like a 20 second track. It doesn’t exist, it’s always at least two minute and a half and on TikTok. You just see this little snippet, you know, but I don’t think no, there will not be. Well, I hope so.

So speaking of EDC you’re playing tonight, I’ll be there of course, what can we expect from your set any surprises or anything you can tell us about?

Well, tonight I don’t play and my solo project as Creeds. I play with Helen Ka, a French singer I have a project with and we play more Frenchcore and we compose Hardcore and Frenchcore. So she’s a singer so she writes her own lyrics and singing on top of the production that we do together. So, we are more the 200 BPM thing you know, it’s because of the lineup, it was supposed to be well Warface before us, and then another duo that makes also Frenchcore at 200. So it didn’t make sense to have just a creative project on this timeline basically. So, this is why our agents said okay, let’s put it with Helen Ka and so we can play 200 BPM tracks so it’s gonna be way more hardcore that I what I usually do as Creeds solo.


So what’s your favorite type of Hardcore? Or what genre do you prefer to play? Or do you like to do a little bit of everything?


To be honest to play Frenchcore, Hardcore and Hard Techno is what I like the most, but to be honest, I tried also to make sometimes some more to Hard Groove tracks seven minutes long, like we said  and to mix it’s really it’s pleasant, it’s super nice to be able to put like two or three tracks because it’s not full tracks you know, it’s just empty tracks basically with just symbols and stuff. So, it’s, it’s good to mix but no, no, honestly hard techno for me is the is the way to go.

So, because you do cross so many boundaries and borders when it comes to genres, do you like to put yourself in a hard techno category or a hard dance category? Or what would you say about that?


Well honestly, I don’t really care what it’s called. I feel Hard Dance might be a little bit more accurate you know, because it can really show much more of the of the style you know but if people want to call it Hard Techno let’s call it Techno you know, but in the end there are many tracks that mix between kind of Hard Psy stuff with the Hard Techno bass and that goes Reverse Bass also in a more gated kick that goes more Hardstyle would work too.


So how do you balance what you want to play with what the crowd wants to play? Do you change your sets based on Europe or in the US?


At first, I was because I’m not familiar to DJing you know, basically, I’m more of a composer so I don’t even have like a CDJ at my home. So, I just, I have a bunch of tracks and when I see what the audience likes or not, I change the sets. That’s the way it seems to work, but it’s every time I still have Hard Techno or Reverse Bass Hardstyle or Hardcore, you know, if the people don’t like it, I’m f***ed.







Ravebot
Ravebot

K-Pop and EDM Collided at LA's Academy Club for "Electrik Seoul"

Two of the hottest genres in contemporary music were celebrated in a big way earlier this month in the City of Angels.
Producer Nino Lee, also known as Niniboi, took over Academy LA for a sold-out "Electrik Seoul" party on May 2nd, 2024. With an emphasis on the intersection of K-pop and EDM, fans of both genres hit the dancefloor to get down to remixes of international anthems.
Filipino dance music star Manila Killa helped provide the soundtrack of the night as he took the stage for a special K-pop set and hip-hop star Dumbfoundead made a surprise appearance.
"Electrik Seoul" at Academy LA.Steven Garcia
Aside from the event's crossover appeal, there were many music-adjacent activities in which attendees could indulge. There were photo card giveaways, photo booths, karaoke and even spiked boba tea to energize the clubbers.
After the massive success of the outing, Lee revealed that "Electrik Seoul" will be coming to Los Angeles' famed Avalon club on June 13th, 2024. He promises a "next level" event that will make use of the entire 1,500-cap space.
"Electrik Seoul" at Academy LA.Steven Garcia
While both events have a home in Los Angeles, Lee has bigger plans for "Electrik Seoul." He says he may expand the show to other major cities in the US.
"We can't wait to take this event to the next level and reshape the landscape for K-Pop and EDM in Los Angeles and beyond," he said in a press release.
The return of "Electrik Seoul" at Avalon is scheduled for June 13th, 2024. You can learn more about the upcoming event and purchase tickets here.
Ravebot
Ravebot

EDM.com Fresh Picks: DJ Seinfeld, Julianna Barwick, Mont Duamel & More

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene.
You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.
EDM.com Fresh Picks
DJ Seinfeld, Confidence Man - Now U Do (Edit)
Mont Duamel - Imagine
BLVTH - RIOT
3STRANGE - It Won't Always Be Like This
Floating Points - Falaise
Edapollo - Say Nothing
Bearcubs - Ninetynine (VIP)
Mild Minds, LUV HRTS - U REALLY HURT ME
Jasper Tygner - Before Me
Julianna Barwick - Inspirit
Ravebot
Ravebot

An Avicii Musical Is in the Works From the Owners of His Catalog

The legacy of Avicii, one of EDM's most influential artists, will soon grace a different type of stage.
Pophouse Entertainment is reportedly developing a musical about the late DJ after purchasing a majority stake in his music catalog back in 2022. That's according to the company's Brand & Marketing Director, Kim Nyström, who said it's been working with Avicii's estate on a long-term brand strategy.
"Our job is to make sure that we have an ongoing brand mission that is talking to fans, that is engaging over time," Nyström told Axios. "Brand engagement will always make sure that the creative projects happen. The stronger the brand, the more people actually want to work with us."
Pophouse is also behind "The Avicii Experience," the Stockholm-based museum built in honor of Avicii, who tragically died by suicide in April 2018. It's important to note that the company has not formally announced the Avicii musical at the time of this writing.
Although Avicii passed away over six years ago, his music has continued to live on. A new documentary about his life is soon premiering at this year's Tribeca Festival and another is in the works from the Academy Award-winning film producer Lawrence Bender.
Pophouse Entertainment did not immediately respond to EDM.com's request for comment on the musical.
Ravebot
Ravebot

Hard House Legend BK Strikes Back With ‘No Fool’

We’ve got an exciting release from quite the mastermind of the entire Dance movement.
Every now and then, between a sea of newcomers and current chart toppers, it’s so refreshing to see veteran acts still putting out top-notch music. We’ve had quality tunes from a handful of established acts lately, anywhere from Ferry Corsten rediscovering Old School Trance, to Orbital remixing ‘Café Del Mar’. Well, the industry welcomes yet another class name with a pristine release.
BK
Photo credit: JMA Photography. Ben Keen, known professionally as BK, is a Dance legend. From his early days in London studios to his Trade Club residency, he’s been at the very forefront of the Electronic sound for ages. His sound can be dissected into a handful of bridges between elements of Trance and Techno, in any decade you wish to pinpoint.
A true don of the scene, BK’s been a driving force behind the harder sound since it first thumped out of clubs. His timeless bangers, like the classics ‘Music Is Moving‘ and ‘Revolution‘ — a personal favourite —, still get dancefloors moving for a new generation of DJs. From Marlon Hoffstadt and Ben Hemsley to Ammara and Patrick Topping, his influence is everywhere, solidifying his reputation as a tastemaker of the highest order.
What’s more, Keen remains a dominant force to this day, having some doof releases on the horizon, plus fresh singles on Bebé and Armada, and collaborations with industry titans like James Hurr, Ammara, and Reinier Zonneveld. He’s one of those artists who have remained timeless, yet still true to their very essence.
‘No Fool’
The latest instalment in BK’s discography is nothing short of impressive. Crafted for the dancefloors — from the darkest clubs to the most packed arenas —, ‘No Fool‘ blends the best House vibes with the fast pace and high intensity of Techno, and sprinkles a bit of that banging Trance percussive dynamism that could heal a soul. Released on Hannah Laing’s imprint doof, this one feels like a full-circle moment for both Ben and Hannah.
“I have taken so much inspiration from the hard house legend BK’s old catalogue! To have him releasing a modern Hard House tune on doof is a dream come true”, says Laing. And on the other side of the ring, Keen recalls, “A pleasure to be releasing on one of my favourite labels around at the minute. Hannah was the first person to test this record so doof is the perfect home for it“.
Listen to BK‘s ‘No Fool‘ below for your Spotify play. Alternatively, click here to support the release on your platform of choice. And stay tuned to our page for the latest news and views from our beloved industry.
The post Hard House Legend BK Strikes Back With ‘No Fool’ appeared first on EDMTunes.
Ravebot
Ravebot

This Was: EDC Las Vegas 2024

The 13th edition of EDC Las Vegas took place from May 17th to May 19th, 2024, at the Las Vegas Motor Speedway. With an attendance of 500,000, the festival featured nine stages, five art cars, and the magic that is EDC’s signature – three enchanting nights filled with immersive art installations, carnival rides, street performers, and firework shows. It was truly a weekend to remember, creating core memories and an abundance of fun.
EDC Week
Before jumping into the festival itself, it’s important to note that EDC events are not only confined to the actual festival weekend but rather, the fun starts on Wednesday (for me the previous Saturday but that was a personal choice!). In the days leading up to EDC, the city is taken over by pool parties, club events, pop up shops, and ravers taking over the streets. I even heard EDM at the airport on Tuesday on my flight home.
As for the official EDC Week events, I kicked off my festival week with the Basscon Pool Party. If you’ve been following my reviews for a while now, you know my heart beats at 200 beats per minute, so Basscon was the perfect way to get hype for EDC. The Basscon Pool Party took place on Thursday, May 16th at the Downtown Grand Circus Ground Pool Deck. The rooftop pool party consisted of a larger-than-life view of the Las Vegas strip, delicious daiquiris and other frozen cocktails, beach balls and plenty of lounge beds and beach chairs around the pool to enjoy the party from multiple vantage points. As the party took place during the day, there was also a covered area with fans, and stands selling sunglasses, fans, sunscreen and other essentials to stay safe in the 93-degree weather (34 Celsius).
The Basscon line up consisted of Atmozfears, Clawz, Death Code, Hixxy, Sound Rush, and Warface. The line up was a great mix of Hardstyle, Happy Hardcore/UK Hardcore, Rawstyle, and Uptempo. Behind the stage was a large LED screen with visuals synced to the music, adding an extra layer of entertainment. I ended up not bringing my earplugs to the pool party, thinking that the party would not be loud, which was a rookie mistake. Who thought Hardstyle could be loud? Lessons learned.
Getting There
As this was my first EDC Vegas (although I’ve attended two editions of EDC New York in 2012 and 2014 and two editions of EDC Orlando in 2022 and 2023) I had no idea what to expect when it came to navigating Vegas or how to get to and from the festival safely. With so many options to choose from, camping, ride share apps, shuttle services (even helicopters!) I decided to leave all the planning to One N Only Entertainment, especially as I was coming from the Netherlands, which was already quite a trek.
One N Only Entertainment provides an all-inclusive resort experience for festivals around the world. With hotel takeovers, pool parties, breakfast, shuttle services with unlimited drinks, and official representatives to help you every step of the way, my travel and lodging experience was extremely comfortable. This year, One N Only took over the Serene Vegas Boutique Hotel, situated just a few minutes from the Las Vegas Strip, getting to and from the hotel to EDC was mostly easy. There were three options of departure times both to and from the festival, and the shuttle experience was a blast between the drinks, the music, and the overall energy (especially on day one!).
Although this was my first EDC Vegas, I had been warned about the traffic and sometimes long wait times to enter the festival. Each day we arrived between 5:45 PM and 7:15 PM, however attendees were not permitted to enter the festival until 6:45/7:00 PM, so on the days we did arrive early we had to wait outside in heat for sometimes up to an hour before entering. However, if we were to leave later, we would have hit traffic plus had longer wait times to enter the festival so if I had to make a recommendation for those planning on attending, get there early if you can. EDC Las Vegas is massive so allowing yourself enough time to enter the festival is key, otherwise you blink and it’s already nighttime!
On Friday and Saturday, we left the festival around 5:30 AM and returned to the hotel around 7:30 AM, between the long walk to the shuttle (and up a lot of stairs), waiting for the shuttle and the trip home. On Sunday (Monday morning), we left around 5:30 AM and did not return to the hotel until 9:00 AM. I later realized this was due to the fact there was a Grateful Dead concert happening the same weekend plus Monday morning traffic. For reference, the Las Vegas Motor Speedway is approximately 18 miles (28 kilometers) from the Serene Vegas Boutique Hotel. So be prepared on the final night to either leave early to beat the traffic, or just accept it and take a nap on the way home. For those who had flights that same day, it was rough, so another tip, try to fly out late Tuesday if you can.
The main takeaway from all of this is the Speedway is in a remote location, which is of course understandable because where else can you hold 500,000 people in a major city. Regardless of where you stay (unless you decide to camp – unfortunately I’m 33 and have been doing this for 16 years and have hip and back pain so camping is not an option for me anymore), account for the travel time and be prepared to walk (I walked about 47,000 steps each day).
Venue
The Las Vegas Motor Speedway is located about 15 miles northeast of the Las Vegas Strip, in a remote dessert location. The racetrack when it’s not hosting EDC is the home to major NASCAR races. The entire grounds encompass 1,000 acres of land. For EDC, the festival utilities both the infield area inside the oval track, the stands where you can get an epic view of the festival, and the exterior grounds surrounding the track.
When the sun is up you have a beautiful view of the colossal mountains, and again living in a flat country, it was a treat to see mountains again. Overall, the venue is equipped to host a major event such as EDC, however at moments the festival did feel overcrowded and hard to navigate. My favorite part of the venue was having an aerial view from the stands of the festival. During some of the more crowded sets, sitting in the stands allowed for a bit of rest while still enjoying the show. In summary, the massive acreage and pre-built motorsports facility provide an ideal layout to contain the large scale of EDC with minimal noise and light impact on the residential areas.
Food & Drinks
When it comes to food and drinks at EDC, there was diverse assortment of international cuisine including bulgogi steak, hibachi, and even charcuterie boards!
My favorite out of everything I ate at EDC was the taco platter at the VIP area near Circuit Grounds. This in my opinion was the best bang for your buck as it was filling – three tacos of your choice (I went for asada, pastor, and chicken), chips and salsa for $20.
Here is a short break down of some of the prices:
Mac N Cheese ($20) Pizza by the slice ($12) Jumbo corn dog and fries (vegan option also available) ($18) Fried chicken skewer and fries ($18) Chicken tenders and fries ($20) Lemonade ($10) Water ($5) Soda ($6) Sandwiches (cheese steak, Italian, turkey, and veggie) ($16) Chips and cookies ($4) Beer ($18) White Claw ($18) Dumplings ($15) Fish and chips ($15) Cotton candy ($9) Cocktails ranged between $16 and $30 The cost for food and drinks didn’t shock me as they were comparable to EDC Orlando or other festivals of this size that I’ve attended since the pandemic. There were of course plenty of other options and price ranges, including at the special lounges such as the Marquee SkyDeck (which includes bottle service and a golf cart ride to your table).
I found there to be a much greater assortment of food than drinks. Many of the drink stands were the same also at points they ran out of water and White Claw. Shout out to the one bartender who went to another stand to find me a White Claw!
Stages
kineticFIELD
The mainstage, kineticFIELD was a larger-than-life stage consisting of stained glass, organs, and mosaic tiles. Think of it like a cathedral but for EDM. The stage hosted a myriad of genres including progressive house, bass, tech house, techno, and bass music. The VIP area included a multi-level viewing deck that allowed for an amazing view of the stage and the fireworks.
circuitGROUNDS
The second largest stage at EDC was circuitGROUNDS. This stage also hosted a wide range of artists and genres including but not limited to SLANDER, Eric Prdyz, John Summit, Peggy Gou, Martin Garrix, Seven Lions, Excision, and Timmy Trumpet. What sets circuitGROUNDS from the other stages is the fact that the vibe there was extremely futuristic. From an arcade in VIP, to a body sensory art installation, to a water maze, this stage transformed ravers to the next dimension.
cosmicMEADOW
When entering the festival, the first stage you see is cosmicMEADOW. This stage was a colorful lotus flower with geometric shapes incorporated into the stage design. As for the lineup, this was the place for experimental sounds, disco, and drum and bass. The best part of this stage was the fact that you could sit in the stands and watch the show, I did this for part of Deorro because it was so crowded. Having a comfortable seat with an epic view and space is always key at those moments in the festival when you’re having a blast but need to take some rest.
bassPOD
If bass music is your thing, then bassPOD is for you. Serving explosive industrial plant vibes, this stage hosted some of the biggest names in bass music including NGHTMRE, Zomboy, Subtronics b2b LEVEL UP (Dubstep’s cutest power couple!), and Svdden Death.
neonGARDEN
If the underground rave scene is your thing, then neonGARDEN was the place to be! This dark stage encompassed by large containers was the home for Techno. My favorite moment from neonGARDEN was Indira Paganotto’s set on Sunday, I was exhausted but couldn’t stop dancing. At one point I went to wait in line for the Ferris Wheel and didn’t even mind waiting a hour because I had a clear view of neonGARDEN and the epic sounds of the underground.
quantumVALLEY
Situated next to neonGARDEN with a shared VIP space, quantumVALLEY hosted by Dreamstate was a mecca for Trance music throughout the weekend. What I loved the most about quantumVALLEY was the amount of psytrance represented at EDC, especially two of my favorites, Blastoyz and Infected Mushroom. The visuals at this stage were the best in my opinion, with screens projecting trippy visuals perfectly aligned to the music and the vibe of the stage.
stereoBLOOM
Hosted by Insomniac Records, steroBLOOM hosted some of the biggest names in the Electronic Music scene in a more intimate setting than the other stages at EDC. Nestled by Daisy Lane, the stereoBLOOM stage was centered around a circular screen supported by metal tubes.
wasteLAND
Of course, my favorite stage at EDC was wasteLAND. This was the stage for the harder styles with many heavy hitters in the Hard Dance scene such as Sub-Zero Project, Lil Texas, and Da Tweekaz. This stage was comprised of shipping containers with vertical screens projecting images, this stage really lit up the sky while simultaneously making the ground shake.
bionicJUNGLE
The newest edition to EDC, bionicJUNGLE, erected in 2022, is just as it sounds like a literal jungle. When you first enter EDC after descending the stairs by cosmicMEADOW, this small intimate stage enclosed with plants and trees made you feel as if you’ve been transported to Tulum to a rave in the jungle.
Art Cars
In addition to the diverse selection of music at each of the nine stages, the EDC brand is also best known for its art cars. This year there were five art cars: Blacklight Bar, House of Dunkin (they even had free coffee!), Meta Phoenix, Rynobus, and Beatbox Boombox Art Car. My favorite moment from the art cars was seeing James Kennedy from my favorite reality show Vanderpump Rules rock the Rynobus on Friday night.
Downtown EDC
What sets EDC apart from the countless other festivals I’ve attended around the world in the last 16 years, is Downtown EDC. At the center of the festival is an area with small night clubs and special events such as a wedding chapel (where people can get really married!), a karaoke bar, a mini club playing only disco, and the newest edition YeeDC which a saloon playing crossover EDM and country music.
Music
Maddix
The massive kineticFIELD stage was packed to the brim as Dutch DJ/producer Maddix took the decks on Friday evening. Hailing from the Netherlands’ fertile electronic music scene, Maddix brought his hard-hitting sound to EDC’s main stage. The energy was electric as he dropped tracks like the high-octane “Adrenalina (Minha Gasolina)” and the thumping “Heute Nacht.” Despite being a relatively new name, the young Dutchman commanded the kineticFIELD like a seasoned veteran, proving he deserves his place among the EDM elite on one of the world’s biggest festival stages. Maddix’s primetime set was undoubtedly a standout and a breakthrough moment for the rising star.
Blastoyz
For psytrance fans, Blastoyz’s set at the quantumVALLEY stage was transcendental. The Israeli DJ/producer ushered the crowd into a psychedelic cosmic journey with pulsating beats and mind-bending visuals. Brilliant blue lasers danced across the stage as intricate mandala patterns provided the mesmerizing backdrop. Blastoyz didn’t hold back, dropping psytrance remixes of bangers like “Exploration of Space,” “Cinema,” “In the End,” and “Sun and Moon” that sent waves of euphoria through the audience.
The screens displayed kaleidoscopic geometry and trippy visuals straight out of a interstellar odyssey. For those on the same vibe, Blastoyz’s set was utterly hypnotic – a highlight of the weekend that transported festivalgoers to another dimension through the raw power of psytrance. The cosmic explorers at quantumVALLEY were undoubtedly treated to a stellar experience under Blastoyz’s guidance.
Creeds
The gritty, post-apocalyptic vibe of the wasteLAND stage set the perfect backdrop as Creeds and Helen Ka delivered an unforgettable performance. The French producer Creeds was an unrelenting force behind the decks, seamlessly blending punishing Techno, Hardstyle, Rawstyle and Uptempo across the Hard Dance spectrum.
His epic mixes like the anthemic “Too Cold” and classic “Enfants de La Rave” had the crowd going insane. But it was the addition of Helen Ka’s soaring live vocals that truly elevated the set into the cinematic realm. The singer’s powerful voice layered an operatic element as she commanded the stage with Creeds’ thunderous production behind her. It was a masterful fusion of vocal talent and DJ prowess that transported the wasteLAND into a post-apocalyptic cyberpunk battleground soundtracked by their dark, dramatic synergy.
Lost Frequencies
On the final night of EDC, the massive kineticFIELD turned into a sea of thousands swaying in unison when Belgian DJ/producer Lost Frequencies took the decks. The melodic house master seamlessly mixed his intimate radio hits with pounding techno and drum and bass rhythms. Singalongs erupted as Lost Frequencies dropped fan favorites like “Reality,” “Just Wanna Know” and “Jour Meilleur.” But he also provided a tantalizing preview of his newest sounds, debuting the emotive “In My Bones”. With its combination of hard-hitting beats and uplifting energy, Lost Frequencies‘ dynamic set showcased his ability to captivate the biggest of festival stages. From diehard dance music fans to casual radio listeners, everyone was united in the moment under this spellbinding soundtrack.
Martin Garrix
While not the mainstage of kineticFIELD, the circuitGROUNDS stage was overflowing with fans eager to witness Dutch superstar Martin Garrix’s performance. Garrix showed off his masterful big room sound, dropping anthems like “Hurricane,” his breakthrough hit “Animals,” and vocal banger “In my Mind.” But the most poignant moment came when he played his collaboration with the late Avicii, “Waiting for Love.” As the wistful chords filled the air, it became a powerful tribute to the iconic Swedish DJ’s memory and their friendship. A nostalgic hush fell over the audience as thousands of lights swayed in bittersweet remembrance. This unforgettable set showcased his status as more than just a hitmaker, but a voice for an entire generation of EDM fans.
Final Impressions
If I were to sum up EDC Las Vegas in one word it would be magical. From the diverse line up, to state-of-the-art sound and visuals, to the lights illuminating the Electric Sky, EDC had something for everyone. What I most appreciated was all the small touches, the tiny details from Pixel Forest to the on-site barber shop, to Memory Lane, to the Trinket Trading area, and of course the fact that you could see the fireworks from any stage. At most festivals the firework show takes place on the mainstage, during EDC every night of the weekend fireworks illuminated the sky, sometimes when you weren’t even expecting it.
I also need to mention Insomnaic’s commitment to safety. As always End Overdose was present at EDC, which today is so important to educate and prepare ravers for emergency situations. EDC’s Ground Control was also active checking on party goers to ensure everyone was having a fun and safe time. There were also plenty of free water refill stations which is of course necessary in the scorching Vegas heat. The only aspect of the festival that felt unsafe was the flow of the crowd at the peak of Saturday and Sunday nights between kineticFIELD and circuitGROUNDS. During these moments the festival felt too crowded and with recent trample incidents in the music scene, these types of situations need to be carefully assessed and controlled either by additional pathways, strategic line up adjustments (even though no one likes set time conflicts it does help to split the crowd), or by having security assist in leading the crowd.
All in all, EDC is one of those festivals that will have a lasting impact. The vibes and creativity in all the stage designs, it was sensory overload in the best way. There’s an indescribable magic that permeates the air at EDC Las Vegas, a feeling that can only be understood when you walk up those stairs for the first time, it’s truly breathtaking. For those three incomparable nights, the real world and all its problems melt away as you lose yourself in euphoria. EDC Is more than just a festival, it’s a mind-altering escape that I 100% need to experience again.
Ravebot
Ravebot

Sonos Ace Headphones Redefine Noise Cancellation

When it comes to electronic dance music, the right headphones are key to immersing yourself in the intricate layers and subtle soundscapes. Enter the Sonos Ace, the company’s first wireless over-ear headphones with noise cancellation, designed for audiophiles and casual listeners alike. Priced at $449, the Sonos Ace headphones combine top-tier sound quality, advanced noise cancellation, and seamless Sonos integration.
Sleek and Sturdy Design
The Sonos Ace headphones boast a premium design with a blend of metal and plastic, weighing a comfortable 11 oz (312g). The chrome metal yoke adds sophistication, while the replaceable magnetic ear pads, covered in faux leather, ensure a snug fit. Available in black and soft white matte finishes, they feature physical buttons for intuitive control.
Superior Sound Quality for EDM Lovers
Each earcup houses custom 40mm dynamic drivers, delivering powerful, clear audio with a wide soundstage perfect for electronic music. The ported acoustic architecture enhances bass performance, making deep drops and basslines come alive. Supporting AAC, SBC, and aptX Lossless codecs over Bluetooth, the Ace also offers lossless and hi-res audio via USB-C. Spatial audio with Dolby Atmos and dynamic head tracking provides an immersive 3D sound experience.
Advanced Noise Cancellation
The Sonos Ace features eight microphones (four per earcup) for active noise cancellation, effectively blocking out ambient noise. The Aware mode lets ambient sounds pass through when needed. Beam-forming microphones ensure clear call quality, making these headphones versatile for both leisure and work.
Long-Lasting Battery Life and Quick Charging
With up to 30 hours of battery life with ANC enabled, the Sonos Ace offers all-day listening. A rapid 3-minute charge provides 3 hours of playback, thanks to the USB-C charging port.
Seamless Connectivity and Integration
Equipped with Bluetooth 5.4, the Sonos Ace ensures a stable wireless connection. Integration with the Sonos ecosystem allows easy connection to Sonos soundbars like the Arc. Wear detection sensors and adjustable EQ settings via the Sonos app provide a personalized listening experience.
Whether rocking out to club bangers or classic tunes, the Sonos Ace will deliver an unparalleled audio experience. Pre-order at https://www.sonos.com/en-us/shop/sonos-ace.
Photos courtesy of Sonos.
The post Sonos Ace Headphones Redefine Noise Cancellation appeared first on EDMTunes.
Ravebot
Ravebot

How the City of Amsterdam is Planning to Destroy Its Legendary Festival Scene

For decades, Amsterdam has been world-renowned as one of the premier destinations for music festivals and celebration of arts and culture. The city’s name is synonymous with vibrancy, open-mindedness, and progressivism – values embraced and embodied by the countless festivals that take place here every year.
From the bass-thumping electronic dance parties like Awakenings to the eclectic multi-genre offerings of DGTL, Amsterdam’s festival calendar is a year-round showcase of boundary-pushing creativity. These events don’t just attract attendees locally but draw massive audiences from around the globe who flock here to experience the Amsterdam vibe.
More than just economic drivers, festivals are an integral part of the social fabric and cultural heritage of the city. They are the places where people celebrate art, music, self-expression, and free thought. They are monuments to the progressive ideals and individual freedoms that we in the Netherlands hold so dear.
Amsterdam’s new festival policy
That’s why the municipality’s new policy towards festivals is so misguided and threatens to do irreparable harm to Amsterdam’s international standing and community spirit. Under these new rules, festival organizers would have to wait until the end of 2024 to find out if their 2025 events will be approved and permitted. This extreme uncertainty makes properly planning and staging festivals a practical impossibility.
Any experienced event organizer will tell you that putting on a major festival requires at least 12-18 months of lead time. Holding dates, booking artists, securing venues, arranging suppliers, contractors, security personnel and countless other logistics is an incredibly intricate process that can’t just be thrown together a few months out. Having to work under a cloud of doubt whether all that time and money being invested will be for naught is untenable.
Why this new policy is just bad
As a result, this policy will likely force many long-running, established festivals to cancel or scale back dramatically leading to major economic impacts. The festivals unable to secure permits will lose out on millions in potential revenue. And all the auxiliary businesses – hotels, restaurants, transportation providers, etc. – that benefit from the tourism spending around festivals will take a major hit as well.
But it’s not just about money – this policy represents a body blow to Amsterdam’s culture and civic identity. Amsterdam has always pride itself on being a place that values free expression, progressivism, and pushing boundaries. Festivals embody and celebrate those ideas, bringing people of all backgrounds together in a spirit of unity, adventure, and uninhibited creativity. Allowing bureaucratic red tape to disrupt that grand tradition is anathema to what Amsterdam is all about.
Of course, it’s not like festival operators have been bad actors. Event organizers go to extensive lengths to be good neighbors and partners with the city. They have robust systems in place to limit noise, crowding, and environmental impact while stringently following security protocols to ensure attendee safety. This avoids any undue burden on surrounding communities.
Taking an arbitrary, indiscriminate approach to instituting new policies penalizes organizations that have consistently demonstrated a commitment to operating responsibly and providing a positive cultural impact. It’s doubly concerning that experienced organizers are the ones being most threatened by having to acquire permits at the last minute. Their hard-earned institutional knowledge around safety planning and operations will be tough for less seasoned groups to replicate under rushed timelines.

But why this policy?
You have to wonder if this policy is being driven by the misguided assumption that Amsterdam is becoming over-saturated with too many overlapping festivals. That’s an extremely short-sighted view that fails to account for festivals’ unique offerings and target audiences. There’s zero risk of cannibalizing fanbases when events lean into distinctly different vibes and programming.
Diversity of experiences is what strengthens scenes and drives more tourism. Amsterdam shouldn’t be in the business of arbitrarily picking winners and losers, but fostering an environment where creativity can flourish across different mediums and scenes. That growth mindset is what cements Amsterdam’s global relevance and makes us an aspirational destination.
Tampering with the festival economy could have far-reaching ripple effects beyond just events themselves. Many artists, DJs, vendors, and creatives rely on the income from festival circuits to sustain themselves. Jeopardizing those revenue streams weakens the entire infrastructure that powers Amsterdam’s artistic community.
Let’s save Amsterdam’s festival scene. Sign the petition!
People in Amsterdam have been the beneficiaries of the city’s progressive, open mindset that embraces different cultures and modes of creative expression. Don’t let this regressive policy destroy a civic legacy the city has rightly earned and enjoyed for generations.
Sign the petition and demand the municipality stop waging war on festivals and the values they represent. Amsterdam’s identity depends on it.
The post How the City of Amsterdam is Planning to Destroy Its Legendary Festival Scene appeared first on The Groove Cartel.
Ravebot
Ravebot

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.