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Michael Bibi Launches Merch Collection to Benefit Cancer Research

Hot off the heels of a Coachella performance for the ages, Michael Bibi has released a merch collection to benefit cancer research.
Bibi's uplifting set at the festival's remarkable new Quasar stage marked his first show back since his treatment for CNS Lymphoma, a rare form of cancer. In mid-March, the renowned DJ and Solid Grooves label boss announced that his three-month post-treatment scan results came back clear after nearly a year of intensive chemotherapy.
"I am pure & I am free," Bibi wrote on Instagram a week ago. "Recovery is a slow healing process but ‘god’ had given me a second chance & I plan on using it to build a better future. See you all this summer."
After wearing a special "One Life" tee onstage at Coachella, he's now launched an eponymous collection, which includes three t-shirt designs with butterfly imagery. Emblazoned on one of them is the quote, "Life is a journey, embrace the winds, navigate the storms, emerge from the cocoon of challenges, fly free as a butterfly." Another design features the hashtag "#FKCANCER."
25% of the profits from each purchase, according to Bibi, will be donated to the Royal Marsden Cancer Charity, the world-leading cancer center where he received treatment. You can shop the "One Life" merch collection here.
View the original article to see embedded media.
Follow Michael Bibi:
Instagram: instagram.com/michael_bibi_
X: x.com/MichaelBibi1
Facebook: facebook.com/MichaelBibi1
Spotify: spoti.fi/3WMShaF
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What happened with Swedish House Mafia new song ‘Lioness’?

What should have been a triumphant return with new music for the Swedish House Mafia has turned into an unexpectedly bumpy road for the reunited electronic dance music legends.
The buildup to their hotly anticipated new single “Lioness” has been plagued by delays, mixed messaging, and even some fan backlash – an uncharacteristic misstep from the usually hyper-meticulous DJ/producer trio of Axwell, Sebastian Ingrosso, and Steve Angello.
It all started promisingly enough when Swedish House Mafia began teasing “Lioness” in the fall of 2023 during their wildly popular Ibiza set at Ushuaïa. They continued dropping teasers into early 2024, building hype for their first new original music since the 2023 single “Ray of Solar.”
Then in mid-April, they shared a pre-save link for “Lioness” on streaming platforms, signaling an imminent release date within the standard 2-week pre-save window. Excitement reached a fever pitch when they performed the new track during the season-opening show at Brooklyn Mirage on April 27th.
However, immediately after that live debut, Swedish House Mafia announced “Lioness” would not be released as expected. In a tweet, they explained: “After playing it live we weren’t satisfied with the production and needed to do last minute changes.”

That kicked off a stretch of baffling decisions and miscommunications. They asked to remove a video clip uploaded by a fan where the song was played by Tomorrowland’s One World Radio saying it was the wrong version.
Fans grew increasingly restless amid the mixed signals, with some harshly criticizing the “amount of unprofessionalism” on display. “This whole Lioness thing has become a Monty Python sketch,” one disgruntled supporter tweeted. “Hype is dying fast tbh. We learned not to trust them even if they officially announce a date,” wrote another.

Last month’s well-received Brooklyn warm-up show proved Swedish House Mafia can still captivate a crowd live. But without clear communication, residual nostalgia could fade.
But if there’s any act that can navigate these dicey waters, it’s the meticulous hitmakers who helped elevate EDM from the underground to the mainstream over the past two decades. Axwell, Sebastian Ingrosso, and Steve Angello have always been students of the game, knowing how to strategically build and sustain hype around their music.
Perhaps all the fits and starts are simply the final steps in an elaborately mapped-out rollout for “Lioness.”
But if “Lioness” fails to live up to immense expectations set by years of anticipation and hype, this messy prelude will be seen as another misstep. The stakes remain sky-high for the trio to stick their landing.
The post What happened with Swedish House Mafia new song ‘Lioness’? appeared first on The Groove Cartel.
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Elegie’s Sci-Fi Infused Remix of Les Irreprissibles’ “In This Shirt”

There is a new, exciting version of Les Irreprissibles‘ “In This Shirt” by the electronic artist Elegie out now. The Swiss artist has gotten great reviews for her latest work in the techno and experimental scenes.
Elegie makes music that is both intellectual and emotional. She has a background in science and technology. Her remix combines ethereal melodies with deep, driving basslines, fusing the cosmic with the real in a captivating sound trip.
She changes the haunting vocals of the original by adding shimmering synth sounds and driving beats. It’s both mentally stimulating and fun to dance to.
Elegie’s unique atmospheric style moves between techno, ambient, and experimental music. She may be the only artist working in the electronic scene today who can combine raw technical skills with deep thought and story-telling.
In addition to her studio records, Elegie has built a devoted fan base through her transcendent live shows. She is known for being a moving live performer. She has played at prestigious bars like San Francisco’s Monarch. People are amazed at how she went from being a scientist to a cutting-edge electronic artist.
The “In This Shirt” remix has already gotten so much praise that it solidifies Elegie’s position as one of the most interesting and clever people taking electronic music to new heights. By blending science and art so well, she has created something both cosmic and grounded, which is a wonderful paradox to experience.

The post Elegie’s Sci-Fi Infused Remix of Les Irreprissibles’ “In This Shirt” appeared first on The Groove Cartel.
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Pacha Ibiza Reveal The Full Solomun + 1 Line Up

Just last week we shared that Solomun would return with his +1 series to Ibiza. Today we gear up for an action-packed summer 2024 with the reveal of the highly anticipated Solomun+1 schedule at Pacha Ibiza. This year’s lineup includes renowned artists such as Âme, Barry Can’t Swim, Denis Sulta, Dixon, HAAi, Jamie XX, Young Marco, and more. The Solomun+1 concept, which started in 2013, has been revolutionary, captivating audiences with its unique idea of Solomun inviting just one friend. Every Sunday night, Solomun+1 will transform Pacha Ibiza into a journey of discovery.
This year Solomun will kick start the Sunday ritual with his All Night Long performance on June 23rd. He will have two more All Night Longs throughout the season, having partygoers pulsating on the dance floor until dawn. Sundays at Pacha Ibiza are known for their unparalleled fusion of talent and creativity. The club is set against the backdrop of the island’s most iconic venue, guaranteeing unforgettable experiences of sonic exploration. From June 23 to October 6, the Solomun+1 events will showcase outstanding performers selected by Pacha and Solomun himself. Each performer will bring their unique flair to the stage, ensuring a curated event of exceptional music and entertainment. Check out the unbelievably stacked schedule below.
Solomun+1 2024 Schedule
23 June – Solomun Opening Party All Night Long
30 June – DJ Gigola
07 July – Job Jobse
14 July – Âme
21 July – Solomun All Night Long
28 July – Denis Sulta
04 August – DJ Seinfeld
11 August – Jamie XX
18 August – Marcel Dettmann
25 August – HAAi
01 September – Chloé Caillet
08 September – Dixon
15 September – Young Marco
22 September – Barry Can’t Swim
29 September – Solomun All Night Long
06 October – Gerd Janson
Solomun+1 has become an annual affair in Ibiza, fans should experience it at least once in their rave years. Get your tickets here. Stay tuned to EDMTunes for all the upcoming Summer 2024 events you would not want to miss!
The post Pacha Ibiza Reveal The Full Solomun + 1 Line Up appeared first on EDMTunes.
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Mau P returns to Insomniac Records with self-sung single, ‘On Again’

Maurits Jan Westveen, perhaps more commonly known as industry heavyweight Mau P, has officially returned to Insomniac Records with a hooky new club staple, “On Again.” Since making his Insomniac debut with “Gimme That Bounce” in early 2023, Mau P has linked his steadily growing catalog to some of dance music’s most cutting edge imprints. With an official music video due on May 2nd, “On Again” has arrived on the calloused heels of “BEATS FOR THE UNDERGROUND,” Westveen’s massively anticipated track ID that landed on Repopulate Mars in January. If there’s one thing that separates “On Again” from Mau P’s previous releases, it’s that it features vocals from none other than the producer himself.
On April 21st, during Coachella Weekend 2, Mau P played out the new record during a back-to-back set with Diplo. Soon after, the Dutch frontrunner teased a video clip featuring an unforeseen collaborator. “I just didn’t have anyone else,” Mau P explains in the behind-the-scenes studio footage. It quickly becomes clear Westveen is responding to internationally acclaimed record producer Mike Dean, who had asked about the demo’s vocal performance in the clip.
“On Again” is a simple yet tasteful contribution to dance music amidst the developing festival season. Stream the Mike Dean-assisted record, doubling as Mau P’s vocal debut, below.
Featured image: Tommy Reerink
The post Mau P returns to Insomniac Records with self-sung single, ‘On Again’ appeared first on Dancing Astronaut.
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TWO LANES continue ‘Innervision’ EP rollout—stream their compelling new single, ‘Mind’

TWO LANES continue the build-up to their forthcoming EP, Innervision, with “Mind.” The second single from the project, following “Abstraction,” released in early March, “Mind” evokes the emotive and introspective elements that have come to define the Berlin-based production pair’s sound—an often reflective amalgamation of acoustic piano and analogue synthesizers with subtle rhythmic elements.
“We developed this track after our last tour, when we came back to the studio and were trying to get into the creative mind again,” TWO LANES shared on X. “Really excited to finally share the outcome of this time with you all.”
TWO LANES are in the midst of their Scandinavian tour, for which three dates remain before the live initiative concludes at ANTE Festival on May 29. Purchase tickets to the last three stops here.
The post TWO LANES continue ‘Innervision’ EP rollout—stream their compelling new single, ‘Mind’ appeared first on Dancing Astronaut.
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Daft Punk's Iconic "Interstella 5555" Film Is Screening for the First Time in North America

The organizers of New York City's Tribeca Festival have announced a rare screening of Daft Punk's beloved anime film, Interstella 5555: The 5tory of the 5ecret 5tar 5ystem.
Originally released in May 2003 as a visual companion to the duo's sophomore album Discovery, Interstella 5555 was created by Thomas Bangalter, Guy-Manuel de Homem-Christo and former Daft Punk creative director Cédric Hervet alongside anime legend Leiji Matsumoto. With its inventive animation, the audacious film transcended the boundaries of mere music video at the time, conceiving a captivating sci-fi saga and setting a stratospheric benchmark for audiovisual storytelling.
Interstella 5555 is now premiering in North America in remastered 4K, a rarity considering it's seldom aired in theaters, let alone in its original format. The hourlong film was splintered into scenes for a number of Daft Punk music videos in the past, including the ageless "One More Time."
Daft Punk aren't the only electronic music legends to appear in a Tribeca film this year. The festival is also airing a new documentary about the life and legacy of Avicii, who tragically died by suicide in 2018. Directed by Henrik Burman, Avicii - I'm Tim will feature never-before-heard interviews with the superstar DJ as well his collaborators, like Coldplay's Chris Martin.
"Before there was Avicii, there was just Tim," reads the film's synopsis. "For the first time through his own words, witness the journey of a shy but prodigious musical talent who would soon become one of the defining artists of his generation."
The screening of Interstella 5555 is scheduled for Friday, June 14th at 8pm. You can purchase tickets here for $32.
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Listen to HVDES' Captivating New Single, a Visceral Plea Against Inner Collapse

HVDES has released a searing new single, a razored reminder that even in our darkest hours, the human soul has an almost supernatural tenacity to cling to life and meaning.
Like the ancient city from which it takes its name, "Babylon (Don’t Let Me Fall)," chronicles the rise and inevitable fall of personal empires, questioning whether the foundations were ever truly stable to begin with. Awash in a haze of distortion, HVDES' aching vocals bleed with a profound sense of existential angst: "Am I corrupted? Is it my fault?" she quivers.
Meanwhile, her stark imagery of scorched earth and smoldering temples invokes a visceral sense of loss and disillusionment. She then decimates them with the song's destructive drop, but amidst the rubble, a glimmer of hope persists within its lyricism—a plea to whatever higher power may exist to not let her spirit succumb to the same fate as the fabled Babylon.
Reckoning with her own fragility in the throes of an existential crisis, HVDES shows that it's not always easy to find something to believe in. But by giving breath to the darkest depths of her psyche, she lyrically cauterizes those wounds and reminds us of the resilience that endures—however faintly—when all else seems to turn to ashes. 
"Babylon (Don’t Let Me Fall)" is the first single from HVDES' upcoming debut album. You can listen to the new single below and find it on streaming platforms here.
Follow HVDES:
Facebook: facebook.com/hvdesmusic
X: x.com/hvdesmusic
Instagram: instagram.com/_hvdes_
Spotify: spoti.fi/3qCpOU3
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Fisher & Vintage Culture Announce 2024 Hï Ibiza Residency

Hï Ibiza’s powerhouse Wednesday residents FISHER and Vintage Culture are back this summer with another masterfully curated season of guests at the World’s No. 1 Club. Wednesdays once again become unmissable with this influential pair at the helm of Hï Ibiza’s unique multi-room experience. It’s a place where musical adventures await around each corner and cutting-edge production heightens each party to all new levels of escapist excellence. To book tickets visit here.
FISHER has remained one of the most prominent names in dance music since his unthinkably huge hit ‘Losing It’ propelled him onto the world stage. His sound traverses a wide spectrum of styles from deep to vocal, jacking to tech, and that is reflected in the tastefully eclectic mix of names who will join him each week at Hï Ibiza this summer. Amongst the many highlights are tech house titans Andrea Oliva & Nic Fanciulli, the maximal house sounds of British artists Chris Lake and Cloonee, underground grooves from house and techno party starters DJ Boring b2b Sally C, and dance music legend and big beat creator Fatboy Slim. Get ready for the awe-inspiring melodics of Italian pair Fideles, bumping grooves from Dutchman Franky Rizardo, raw and direct house from Chicago originator Green Velvet, and melodic techno from Kevin De Vries and Loco Dice. There’s a special house set from cult Berlin dancer and DJ Patrick Mason, a coming together of bass, house and techno from Skream b2b Salute, world-beating tech house from Solardo, and direct action from TSHA. All this, plus Airrica, Alec Monopoly, Alex Kennon, Arielle Free, Honeyluv, Joshwa, Kitty Amor, Little Fritter, Marco Lys, Prunk, Sarah Story, Sosa and SYREETA will all be joining the Australian superstar DJ this season.
When FISHER takes a short mid-season paternity break, fellow Hï Ibiza resident Patrick Topping will take on Wednesdays from 19 June to 10 July, bringing his superb Trick event series to the Theatre for four explosive Wednesday nights. The UK tastemaker has been delivering high-octane house, techno and beyond every Monday in his Club Room residency, so expect more incredible special guests and Trick favourites to join Patrick in the booth at these special Theatre takeovers.
Vintage Culture will continue his vital Club Room residency on Wednesdays at Hï Ibiza. The Brazilian hit-maker is responsible for an unprecedented number of essential house tracks, both as a solo artist and in collaboration with some of the biggest names in the scene. He brings rolling bass, rich melody and plenty of feel-good factor to his sets, as will all of the high profile guests who join him this summer.
They include rising progressive house talent Adam Sellouk, the melodic mastery of Agents of Time, fresh tech house from Ibiza favourites Andrea Oliva b2b Arodes, darker sounds from Brazil’s Anna, and classically informed house music from US pioneer Dennis Ferrer. Watch out for eclectic and bass driven selections from Eats Everything b2b Dan Shake, indie-tinged dance from Elderbrook, the cultured depths of Francis Mercier, soulful influences from Honeyluv, serene techno soundscapes from Joris Voorn and Kölsch, melodic prog from Korolova, the fresh club anthems of hit-maker Mau P, and emerging Brazilian innovator Maz. Also playing will be Antdot, Armonica, Blancah, Classmatic, Doozie, Doozie, Eli Iwasa, Eynka, Franky Rizardo, Giu, Jessica Brankka, Kitty Amor, Meca, Mila Journée, Miss Monique, Rafael Cerato, Sarah Story, Solardo, Viot, Vivi Santana and Volaris.
The post Fisher & Vintage Culture Announce 2024 Hï Ibiza Residency appeared first on EDMTunes.
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[Event Review] Project Glow’s Third Edition: A Success Story of Continuous Improvement

Photo Credit: Benjamin Adams
This past weekend marked the third anniversary of Project Glow in Washington D.C.’s RFK Stadium. With a stellar lineup, great stage production, and a good offering of pre and after parties, the festival’s continued improvement year over year has solidified its place as a staple east coast festival; and a welcome success as other events in the region crumble and decline. Seeing events like Ezoo, Firefly, and Imagine Music Festival fold and fail to make a comeback in 2024 due to operational issues (among many things) meant that all eyes this year were were on Insomniac and Club Glow, who started Project Glow in 2022 with hopes of invigorating the east coast dance scene.
The Good
Photo Credit: Annmarie Smith When I attended the first edition of the festival in 2022 and the world emerged from COVID-19, I found myself noticing how bare bones the event was. It was two stages, an art cart, simple food options and missing a lot of the pizzaz we have come to expect from events like EDC and Beyond Wonderland. But it was still a good time. Project Glow was very accessible and the price point was on the lower end for a festival with that caliber of a lineup. Last year saw the addition of a third stage, more activities, art installations and a better offering of pre and afterparties. This year, the trend continued. The festival again saw steady improvement: a new layout, expanded VIP services, and additional food options and merch vendors were added. In the blink of an eye, the festival had dialed up the quality level of the experience, all the while keeping more or less the same price point.
Photo Credit: Benjamin Adams Some of the best sets this weekend included a B2B between Deorro and Valentino Khan, Knock2’s Main Stage debut, and a packed B2B with Acraze & Wax Motif. A few standout secret garden sets for me were Derrick Carter and Baby Weight. It was a big weekend for house music lovers, but that didn’t mean the bassheads were left out. REZZ and ILLENIUM closed out Main Stage night one with resounding success. Although the gloomy weather during the first day of this year’s festival left something to be desired, that didn’t stop festival goers from dancing the afternoon away and having what appeared to be a fantastic time. It really speaks to the power of music to be able to carry the energy through a day like that. Day two saw perfect sunny weather and an even better vibe due to the uplifted spirits and vitamin D. To cap off the weekend, I went to the highly anticipated and sold out Zedd B2B Knock2 afterparty. My mind as blown by how well the two artists’ styles meshed together for a cohesive sound and unbelievable energy as they weaved in and out of almost every genre on the EDM spectrum.
As expected from an Insomniac event, stage design and production was impeccable and the sound quality of every stage was stellar, despite some small sound bleed issues in the VIP areas. Hats off to the tech and lighting team for a job well done. Medical services were easily accessible, and food was moderately priced.
Opportunities for Improvement
Photo Credit: Jordan Sabillo My main gripe for this festival has to do with entry/exits and the bathrooms. It was a long walk to and from the rideshare lot. It took my group of New York paced gays and girls almost 20 minutes to get to the entrance of the festival and even longer on the trip out. Cars were difficult to call and could not be relied on due to surge pricing and traffic. To have a smooth exit, you had to leave pretty early and miss quite a bit of the headliners. What I think could work in the future, is a system similar to Ezoo, where a queued up line of city busses are ready to take large amounts of attendees to downtown DC free of charge. The goal should be to move as many people off site as possible to areas where cars are more accessible. The only other option for leaving was relying on the metro which was inconsistent around the hours the festivals closed.
The security line also tended to bottleneck due to the fact that this was a 18+ event, meaning ID checks and issues with entry held up a lot of people and caused delays. Project Glow being an 18+ event also meant that the crowd skewed on the younger side and I noticed a general lack of crowd decorum at times. But the kids will learn as time goes on.
Finally all the bathrooms were a bit chaotic, but the worst issues came from the GA+ bathroom trailers. There was only one trailer per area, meaning the girls line for the airconditioned “premium” bathrooms were always disproportionately long and I felt bad that people paid extra for that particular experience.
However, all things considered, I am happy with my personal experience and am excited to see what the future holds for Project Glow.
The post [Event Review] Project Glow’s Third Edition: A Success Story of Continuous Improvement appeared first on EDMTunes.
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Reflections from the last decade: EDC Vegas

Electric Daisy Carnival (EDC) Las Vegas, the world’s largest electronic dance music festival, has come a long way in the last decade. What started as a modest gathering of electronic dance music enthusiasts in 2011, has now evolved into a global phenomenon, attracting millions of ravers from across the globe.
The Early Years: 2014 – 2016
In 2011, EDC Las Vegas made its debut at the Las Vegas Motor Speedway, following the festival leaving its original location of Los Angeles. Fast forward a few years later to 2014, EDC Las Vegas broke the record for having the largest structural stage in North America.
That same year, Insomniac released “Under the Electric Sky,” a cinematic masterpiece that encapsulated all the magnificence EDC had blossomed into. As the years progressed, the festival’s popularity skyrocketed, attracting an ever-growing number of attendees. The organizers, Insomniac Events, recognized the need to expand and enhance the festival experience.
In 2015, Insomniac launched the first-ever EDC Week Charity Auction, giving the public a chance to bid on once-in-a-lifetime EDC and artist-driven experiences while supporting local charities.
The following year, a gimmick of epic proportions took place, when the iconic DJ Marshmello removed his helmet and underneath was DJ Tiësto.
The Rise of a Phenomenon: 2017 – 2020
The years 2017 to 2020 marked a significant turning point for EDC Las Vegas. With each passing year, the festival continued to push boundaries, introducing new stages, art installations, and immersive experiences that left attendees in awe. Downtown EDC became a standout addition to the imaginative playground that EDC embodies, featuring a speakeasy, post office, schoolhouse, theater, and two wedding chapels where attendees could legally tie the knot. In fact, hundreds of couples have gotten married at the festival since its Las Vegas beginning.
In 2017, EDC Las Vegas won the coveted ‘Festival of the Year’ award at the Electronic Music Awards, beating out fellow nominees Tomorrowland, Electric Forest, Movement, and Lightning in a Bottle. The festival’s live stream on Twitter also attracted an impressive 3.4 million viewers in just two and a half hours, showcasing its global reach and popularity. That same year, Clark County and the city of Las Vegas even commissioned a street on the Las Vegas Strip to be named “Electric Daisy Lane” during EDC Week, further solidifying the festival’s presence in the city.
One of the most notable additions during this period was the introduction of the campEDC experience in 2018. This revolutionary concept allowed festivalgoers to camp on-site, creating a true sense of community and enhancing the overall festival experience. The campgrounds became a vibrant hub of activity, with impromptu dance parties, workshops, and unforgettable moments shared among like-minded individuals. 
The festival’s production value also reached new heights, with mind-bending visuals, intricate stage designs, and cutting-edge sound systems that transported attendees to a world of pure euphoria. Iconic stages like the neonGARDEN, quantumVALLEY, and circuitGROUNDS became synonymous with the EDC Las Vegas experience, each offering a unique and unforgettable atmosphere.
The Pandemic Era and Beyond: 2021 – 2024
The COVID-19 pandemic brought unprecedented challenges to the world of live events, but EDC Las Vegas emerged stronger than ever. After a brief hiatus in 2020, the festival returned with a renewed sense of purpose and resilience in 2021.
Adapting to the new normal, Insomniac Events implemented comprehensive health and safety measures, ensuring that attendees could enjoy the festival in a secure environment. Despite the challenges, the spirit of EDC Las Vegas remained unwavering, with revelers embracing the opportunity to reconnect and celebrate the power of music and community.
As the world slowly emerged from the pandemic, EDC Las Vegas continued to evolve, introducing new stages, attractions, and interactive experiences that kept attendees spellbound. From mind-bending art installations to cutting-edge technology, the festival pushed the boundaries of what was possible, solidifying its position as a trailblazer in the world of dance music festivals. The week leading up to EDC has turned the entire Las Vegas Strip into one big rave, with A-list artists welcoming attendees to Sin City by performing at select pool parties and nightclubs.
Throughout its journey, Insomniac has remained committed to giving back to the community that took them under their wing, partnering with over 50 local charities and organizations, including the Nevada Childhood Cancer Foundation, Rock the Vote, and Families for Effective Autism Treatment. Insomniac Events is one of the more socially responsible festivals, donating a percentage of their ticket sales to a whole host of causes to promote awareness to important issues.
Looking Ahead: The Future of EDC Las Vegas
As we look towards the future, one thing is certain: EDC Las Vegas will continue to captivate and inspire millions of attendees from around the globe. With its unwavering commitment to innovation, creativity, and community, the festival stands as a testament to the enduring power of electronic dance music.
Whether you’re a seasoned raver or a newcomer to the scene, EDC Las Vegas promises an unforgettable experience that will leave you craving more. As the festival continues to grow and evolve, it remains a beacon of unity and celebration, bringing together people from all walks of life to dance, connect, and create lasting memories. 
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Shifting Into Transcendence: A Review of Teho’s Deeply Emotional New Album

For electronic music fans seeking a transcendent journey through the full spectrum of human emotion, look no further than “Shifting” – the stunningly intimate and sonically impressive new album from producer Teho.
His most fully realized artistic statement to date, “Shifting” takes listeners on an introspective exploration through Teho’s deepest fears, anxieties, and traumas. Yet it represents not just an exercise in melancholy, but a quest for inner healing and peace.
Who’s Teho?
But who’s Teho? Originally hailing from the south of France, Teho discovered his calling for melodic techno production after being inspired by acts like Daft Punk, Stephan Bodzin, and James Holden as a teenager.
He quickly made waves in the melodic techno scene, catching the ear of pioneer NTO who helped nurture his early career.
Teho’s soaring, hypnotic sound earned him a deal with mentor Bodzin’s label for classics like ‘Kabuki.’
Driven by artistic integrity, he launched his own imprint Labo T. His albums ‘Polytone‘ and ‘Infinity‘ established him in the global panorama, blending techno might with acoustic delicacy.
Teho The new album: Shifting
From the opening dreamlike mystery of “Hypernova” to the gently idyllic comedown of the closing title track “On My Way,” “Shifting” unfurls like an epic narrative – one movie traveling through radiant phases of hope only to plunge into shadowy bouts of fury and darkness.
It’s a courageous reckoning with the dichotomies that exist within us all, leaving no crevice of the human psyche unexplored.
What’s most remarkable is how Teho translates these interior emotional landscapes into such an aurally transfixing album.
Melodically rich and possessing dancefloor-ready energy, “Shifting” abounds with progressive, euphoric journeys and breath of tempos and tones.
Tracks like the shimmering progressive masterclass “Rising” and trance-tinged melodic beauty “Continuum” showcase Teho’s mastery of grand, cinematic harmonies and ethereal atmospheres.
Yet the album is far from one-dimensional atmospherics. With the acid-flecked dancefloor destroyer “Day Off” and industrial-edged techno prowler “Disorder,” Teho flexes ample muscle for peak-time club moments. “Five – O” is a hugely infectious synth pop-adjacent gem, with soaring vocal melodies embedded in a groove compelling enough to ensnare the most discerning music fans.
More than just a collection of disparate tracks, “Shifting” is a fully immersive listening experience – one that demands devoting quality time to its seamless emotional ebb and flow.
The depth and nuance Teho achieves, both sonically and thematically, positively dazzles. One moment you’re awash in the sumptuous melodic escapism of “Pixels,” the next you’re shaken by the intensity of “Collapse“‘s stormy underground sonics.
What unifies it all is the exquisite artfulness through which Teho builds tension, sculpts narrative arcs and ultimately provides cathartic release. Much like braving the torrent of life’s upheavals, “Shifting” requires opening oneself to moments of discomfort and confronting inner shadows. But in doing so, it unveils stirring beauty and profound solace on the other side.
Too often, electronic albums – even wildly accomplished ones – can feel like collections of songs optimized for dancefloor deployment or zoning out.
“Shifting” magnificently transcends any such compact description. It’s nothing less than an immensely creatively ambitious multimedia experience, fusing hypnotic grooves with powerfully evocative compositions and vivid storytelling. The captivating dynamic between whispery confessional intimacy and surging, even euphoric escapes and emotional purges reflects Teho’s own journey to understand “the reasons for his unhappiness when everything seems to be smiling on him.”
By album’s end, what’s clear is that Teho has located his center – his core source of inner light – and magnificently translated it into what represents electronic music’s most absorbing and emotionally resonant album experience of the year thus far.
More than just another masterful collection of productions, “Shifting” is a whole-hearted artistic statement as brave as it is beautiful.

The post Shifting Into Transcendence: A Review of Teho’s Deeply Emotional New Album appeared first on The Groove Cartel.
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Deadmau5 Celebrates 25 Years With ‘Retro5pective’ Performance At The Hollywood Bowl

Deadmau5 just celebrated two and a half decades of creating music with a sold-out anniversary show of epic proportions this past Saturday, April 27th at the Hollywood Bowl in Los Angeles.
The three hour-long retro5pective show highlighted some of the greatest and most beloved material from the iconic producer’s illustrious 25-year career, ranging from his first ever production ‘Bored Of Canada‘ to hits like ‘I Remember,’ ‘Ghosts ‘n’ Stuff,’ and ‘The Veldt.‘ The sold-out crowd was treated to a selection of never-performed-before edits and a visual array of mau5 visuals from performances past, as well as new graphics and lighting styles unique to each segment of the show.
Deadmau5′ Retro5pective Performance in LA
The show kicked off with BSOD, his early project with producer Steve Duda, adding in DJ Aero and Tommy Lee for the fourtet that is WTF? Following came the tracks that solidified deadmau5’s spot as a dance music legend: mid 2000 cuts ‘Faxing Berlin’ and ‘Sometimes Things Get, Whatever.’ German techno marching band MEUTE then took the stage for a rump shaking brass rendition of classic mau5 cut ‘Slip.’
Next came the reveal of deadmau5’ massive touring production Cube V3, which has not been seen since 2020. From there the show continued elevating every fans delight. SOFI performed mau5 cult fave ‘Sofi Needs A Ladder.’ Kiesza enchanted fans with her futuristic fairy, glitter dusted dance moves with Joel for ‘Bridged By A Lightwave.’ LIGHTS performed her outstanding tracks ‘Drama Free’ and ‘When The Summer Dies,’ and HAYLA displayed her soaring vocals on ‘Escape.’ For the show’s encore, deadmau5 surprised audiences with a performance of ‘The Truth,’ his upcoming collaboration with Los Angeles hip-hop collective Coast Contra. Details on the song will be announced soon.
Deadmau5′ Upcoming Retro5pective Performances
Missed the LA performance? deadmau5 and friends will be heading east for ‘retro5pective’ celebrations at The Brooklyn Mirage in New York City this Thursday, May 2nd and Friday, May 3rd. Tickets for the Friday show are sold out, but limited tickets remain for the Thursday show here. deadmau5 will also be making an in-store appearance at Rough Trade NYC on Thursday, May 2nd.
The post Deadmau5 Celebrates 25 Years With ‘Retro5pective’ Performance At The Hollywood Bowl appeared first on EDMTunes.
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Inside Tomorrowland's Nature-Inspired CORE, Where Techno Dreams Take Root in the Real World

The electronic dance music scene has never been more escapist, and Tomorrowland serves as a prism, refracting anxieties into core memories.
In an era of mental health awareness, today's ravers consider wellness their personal headliner—and the unfiltered euphoria of dance music festivals comes with a toll. So today's tickets need to hold the promise of much more than just music.
CORE certainly fits the bill. By harnessing the power of nature's metaphors, Tomorrowland's visionary event brand creates a symbiotic relationship between music and its environment. Through its storytelling and stage design, the brand offers a plunge into the sublime interplay of electronic music and the wondrous complexities of the natural world.
Born from the iconic festival's desire to cultivate deeper connections between attendees and their surroundings, the offshoot emerged in 2017 as a renegade stage tucked away in a forest on its grounds. Now, after unveiling a spectacular new stage, CORE has now become so popular that it lives independent of Tomorrowland itself, carving out its own universe in the helixes of the festival's DNA.
As the fabled Tomorrowland brand celebrates its 20th anniversary, CORE stands tall as a bastion of its deep-rooted ethos, which says their events aren't as much festivals as they are vehicles for memories. We've teamed up with them to explore its evolution and celebrate its enduring impact on the global dance music community.
2017
CORE at Tomorrowland Belgium, July 21-23 & 28-30
The first-ever CORE stage debuts at Tomorrowland Belgium with performances by Tale of Us, Richie Hatwin, MK, Jax Jones, Loco Dice and Paco Osuna, among other illustrious techno and house music producers.
2018
CORE at Tomorrowland Belgium, July 20-22 & 27-29
CORE returns to Tomorrowland Belgium after its successful unveiling. Stage takeovers by Jamie Jones' Paradise and Claptone's The Masquerade fan the flames with massive sets by Nicole Moudaber, Claude VonStroke, Patrick Topping and more.
2019
CORE at Tomorrowland Belgium, July 19-22 & 26-28
CORE emerges as a hotbed of techno and house music in its third year. Techno legend Sven Väth closes the stage on its final day in the wake of performances by many influential artists, including the late Vigil Abloh, who tragically died two years later after battling cancer.
2020
CORE at Tomorrowland Around the World, July 25-26
In a virtual world with no semblance of COVID-19 concerns, CORE goes digital at Tomorrowland's groundbreaking "Around The World" event after shelving its flagship festival in Belgium due to the impact of the pandemic. Charlotte de Witte, Adam Beyer, ANNA and more throw down underneath the stage's giant, intricate face.
2021
Launch of CORE Radio Show
Tomorrowland launches the monthly CORE Radio Show on its native station, One World Radio. Described as a "hub for alternative electronic music," the hourlong show is curated by host Dino Lenny and features a special guest each month.
CORE at Tomorrowland Around the World, July 16-17
After attracting one million viewers from an exhaustive list of countries, Tomorrowland's virtual festival returns along with CORE, now a fan-favorite. Tomorrowland diehards dance in their homes to DJ sets by Amelie Lens, Mind Against and the Keinemusik crew, among others.
2022
CORE at Tomorrowland Winter, March 19-26
CORE heads to the snowcapped mountains of southeastern France for Tomorrowland Winter, an offshoot of the fabled Belgian EDM festival at the idyllic Alpe d’Huez ski resort. Donning a dazzling design with the CORE logo, the stage hosts performances by Vintage Culture, Kölsch, Kevin de Vries and EDM.com Class of 2022 star Anfisa Letyago.
CORE Festival Brussels, May 27 & 28
The first edition of CORE Festival, a two-day boutique fest in Brussels with five stages, takes place at Ossegem Park. A collaboration between Tomorrowland and Rock Werchter, the festival attracts 40,000 visitors and features performances by Peggy Gou, Sam Gellaitry, Nina Kraviz and more as well as hip-hop luminary Nas.
CORE at Tomorrowland Belgium, July 15-17 & 22-24 & 29-31
With its stunning face design, the CORE stage makes its real-life debut in the enchanting forests of Tomorrowland in Boom, Belgium. London's iconic Printworks venue takes over the stage with a performance by Detroit techno legend Kevin Saunderson, who is followed by Âme, Maceo Plex, Marcel Dettmann and more.
CORE at Tomorrowland Belgium 2022.Tomorrowland
2023
CORE Tulum, January 14
The CORE stage departs Belgium for the first time ever and lands in Tulum for its debut in the heart of the Quintana Roo jungle. Maceo Plex, Brina Knauss, Vintage Culture, Channel Tres and more perform.
Launch of CORE Records
Tomorrowland launches CORE Records, a boutique label "crossing and fusing boundaries, cultures and genres," by virtue of releases from Afriqua, Mosley Jr and more.
CORE at Tomorrowland Brasil, October 12-14
The CORE stage travels to the lush Parque Maeda in Itu for its debut at Tomorrowland Brasil. Nina Kraviz, Âme and Vintage Culture b2b ANNA headline each day after performances by a slew of major artists, including TSHA, Skepta and Jaguar.
The debut of CORE in Tulum.Tomorrowland
2024
CORE Tulum, January 13 & 20
The world premiere of the revamped CORE stage, a marvel of design due not only to its remarkable split human head, but also its inflatable composition. A feat of sustainability and efficiency, the groundbreaking stage deflates and compactly fits into a single container, making it portable and adaptable to locations around the world.
The world premiere of Tomorrowland's revamped CORE stage in Tulum.Tomorrowland
CORE at Tomorrowland Winter, March 16-23
The brand-new CORE stage heads back to Alpe d’Huez to make its debut in France. Italian duo Mind Against stun with a mystical closing set underneath the stage's stupefying split human head.
CORE Medellín, May 11 & 12
CORE turns the page of a new chapter with a sold-out two-day festival in Medellín. The new CORE stage prepares to take over perhaps its most unique venue yet, the luxuriant Jardín Botánico de Medellín—more commonly known as the Botanical Garden of Medellín—and its famed centerpiece, the "Orquideorama." Bicep, Agents Of Time, ANNA, Chet Faker, Brina Knauss, Kevin de Vries and HAAi will perform.
CORE at Tomorrowland Belgium, July 19-21 & 26-28
The CORE stage will land in Boom for its biggest appearance yet: Tomorrowland's 20th anniversary festival. 400,000 people are expected to dance the nights away at the fest, which features an epic lineup with Alesso, Swedish House Mafia, Afrojack, Hardwell, Amelie Lens, John Summit, NERVO, Armin van Buuren, Tiësto, Dom Dolla and many, many more.
CORE at Tomorrowland Brasil, October 11-13
The CORE stage will travel to Parque Maeda for its debut in Brazil. Heading to São Paulo in 2024 are Hardwell, Axwell, Alesso, Charlotte de Witte, Afrojack, Armin van Buuren, NERVO, Steve Aoki and Krewella, among over 100 others.
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U.S. Justice Department Plans To Reschedule Marijuana As Lower-Risk Drug

Another step towards federal legislation of Marijuana might be on the way. This week the Biden administration moved to reclassify marijuana as a lower-risk substance. The historic move would finally acknowledge the medical benefits of cannabis that so many studies have determined already.
The US Department of Justice recommended that marijuana be rescheduled as a Schedule III controlled substance, a classification shared by prescription drugs such as ketamine and Tylenol with codeine. It currently sits as a Schedule I substance. The same category as Heroin, LSD, and MDMA. The formal rulemaking process is lengthy, typically includes a public comment period, and could take months to complete.
The rescheduling of marijuana might mark the beginning of the end of the war on drugs. It could open the doors for Psilocybin and MDMA, which also have had many studies for medical benefits. Last fall, members of the FDA’s Controlled Substance Staff wrote in the documents that the agency recommended rescheduling marijuana because it meets three criteria: a lower potential for abuse than other substances on Schedules I and II; a currently accepted medical use in treatment in the US; and a risk of low or moderate physical dependence in people who abuse it.
Currently, 24 states have legalized cannabis for recreational use. This has led to a multi-billion dollar industry with dispensaries everywhere you look. State-licensed cannabis dispensaries and retail shops are expected to generate $32.1 billion in sales this year.
The post U.S. Justice Department Plans To Reschedule Marijuana As Lower-Risk Drug appeared first on EDMTunes.
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[EDITORIAL] The Album Experience: What It Was Then Versus What It Is Now

Earlier this morning, I was listening to this video while cooking some breakfast. The author, Mic The Snare, purposefully went an entire month without using any music streaming services — no Spotify, no Tidal, you get the idea — and resorting to CDs instead. I won’t spoil the video to you if you wish to watch it, and, thankfully, the seed that germinated this idea I’m about to propose came very early on.
About fifty seconds into the video, Nick said something that got me thinking: “I figured that limiting myself to only physical media might force me to listen more consciously”. This fired my inner engines. As an artist (eeyup, I’m a producer and a DJ outside of journalism), I’ve always decided very consciously on what I want to listen to, because I believe I can learn from it. “But that’s not always the case“, I figured. Shook the thought off my head, kept cooking.
But then, at exactly the 4:00 minute mark, the following line was printed into my brain: “It was nice to feel more of a reason to listen to an album all the way through or to treat them in my mind as just one cohesive whole”. Now that’s food for thought. Suddenly my stomach didn’t feel nearly as hungry as my mind. In a heartbeat, my attention went from “Don’t burn the food” to “What happened to the album experience?”. And that brings me to this very piece of text.
Disclaimer: you are likely NOT to find any answers here, only questions. Tons of them, for that is my style of writing. So, yeah, there’s that.
Albums: Ties, Analogies, and Romanticism
Credit: Andrea Piacquadio I find the current vision on albums a bit like how wearing a tie feels in today’s era: they are often overlooked. They don’t feel like a must anymore, and, for certain industries or companies that are a bit more laid-back (“modern” as they claim), it’s even a bit odd. But they do have their fair share of romanticism to them. Matching a tie to your outfit elevates your look. It demonstrates you’re going the extra mile on complexity and you care about how you look, that you look after your IRL cover letter. Please note, “matching a tie to your outfit” as in “taking the time to put on a tie that goes well with the colour palette you’re wearing”. But even if you take the time to put an outstanding formal look together, nine out of ten people will not even notice it (source: me). So, does that make it a useless item? Does that make me a romantic for caring about the tiny, so-called useless details?
(Ties, outfits, matching colour palettes… next thing you know I’m moving on to fashion journalism!)
Back down to Earth. Albums seem to serve no purpose today. They’re only a collection of songs, and nothing else. You, the artist, take your time to compile a number of tracks and pour them onto a conveniently sized package, for what? For your audience to skip to song number 6 and play that and only that, then switch to TikTok for an hour of procrastination? Yeah, that’s our jam today.
Albums Used To Be Milestones
They still are, by the way, but only from a CV perspective. If you read about a given artist, and they have released albums — extra point there: albums are not the primary vehicle for delivering music anymore, as singles and EPs have taken that spot —, you WILL find out how many they’ve put out. But they don’t feel like accomplishments anymore, do they?
On the artist’s side, it is of course a huge deal, because it is, at least, a large number of original tracks of your collection coming out at once. But the modern listener doesn’t care about that: an album is simply a packaging, a container. One very tasty, mind you, for the number of tracks included, but not much else.
I’ll go as far as to say, without exposing names, that there are an alarming number of artists who don’t see the album as a product anymore, and just as a container. So, who should we blame?
Back When — Back Whom — Albums Were Something Special
Credit: Mati Mango Having a bit of an extensive background in Trance — which is a refined way of saying I’ve listened to way more Trance than I probably should have —, albums from 20 years ago felt much more special than today’s. The album was a product on its own. Yes, tracks were lifted ahead of time. Yes, you had your favourite pick(s). But the album was meticulously built to impact the listener. It used to be the standard that the album was a journey.
The Album Was A Journey
Looking back, Track 2 was meant to be there. Track 6 was meant to be there. The opening and closing tracks served a purpose. Everything served a purpose.
I always come back to the one band which has impacted me the most: Above & Beyond. Let’s forget for a while that their ‘Blue Monday’ cover went massively viral on social media, and dive into the LPs.
The first time I listened to their debut long play Tri-State, something clicked inside me. I won’t go into detail about how I feel when listening to it, but one of the crucial things I can recall from that experience, is that over half of the album went by before I realised I was listening to a different track other than the opening. And this still happens today, years after I hit ‘Play’ for the first time: I really struggle to pause the listening session at any time between the opening track ‘Tri-State’, and ‘In The Past’, the eighth track.
If there’s something that really makes me think about this whole experience and journey concept I’m trying to portray is that very thing, the fact that, in my ears, that album is so perfectly crafted that I literally stress over when to stop listening. That’s where the bar is for me. And that’s what I would absolutely love to see come back in today’s era. The whole intention of this article is for me to try and get to the consciousness of my fellow readers and say “Hey, this is achievable!”, and “An album is much more than what we think of today!”.
The Whys And The Hows
The Whys
Let’s make a little exercise here. Let’s assume a given artist does not believe in the way I see albums, and they only use them as a fancy way to promote their singles. Instead of putting out twelve singles a year, this artist decides they’ll just put everything inside a blender, seal it shut, and there you have it, an album a year. No roles for any of the tracks either, it’s just a collection of his most recent tracks. All fair and square.
Why, Felipe. Why would you want an album to be a product by itself? Because it ups the experience by a thousand percent. An album with purpose makes you feel a closer bond to the artist who composed it. Now that tracks are expected to be under five minutes in length — a topic for ulterior discussion —, I really want to see artists put out hourlong content that can be your companion, your friend, and your confidant on your worst days. I make memories by listening to albums. When artists I love have put out albums (A&B, Marsh, Leaving Laurel, Paavo), I grab my ever-busy schedule and make a space to listen to that piece, from beginning to end. That’s why I put so much of me into reviewing them. I digest them as a four-course meal. No skips, no random order. I listen from Track 1 to Track N, in the order that they were meant to have, in full. I trust the artist and I like to think they thought every aspect of the compilation through, from beginning to end. So in short, I enjoy the ride, and I’d love others could do the same.
The Hows
Unfortunately, I have little to no answers here. How could we make a shift in the industry so that albums had their starring crown back? No idea. It’s a game of who to blame, and who should take the first step.
Credit: Jessica Lewis This is the comfort zone. Why should one, as an artist, step out of it? On one side of the spectrum, artists might say “I don’t need to put in the extra effort if it won’t retribute me accordingly. It makes no difference versus just throwing in these twelve tracks and calling it a day. No need to risk it”.
On the other side of the spectrum, the audience may say “I, as a consumer of their content, am not really inclined to ask them to change the way they pack their music. After all, I want music, they deliver music, and both parties are happy. I don’t need something new, I need more of what they’re doing now”.
So, who is at fault? Hard to say, right? There are arguments for and against both. Risk and reward, doing something new when your current formula is working, not wanting to waste time better spent, and so on and so forth.
My view on the matter is that change should come from both parties simultaneously, as a community. I say it because I see it. Living on the most emotional and open-to-feelings end of the Dance genres out there with Trance, Organic House, and so on, people often share their stories. People share the intimate stories they’ve had while listening to X, Y or Z artists, or W, V or U albums. This motivates the artist to produce content with a soul. But on the flip side, if an artist does it first, chances are, fans will be delighted.
Final Thoughts
It’s tough, I know. And the toughest thing of all is, perhaps, the only one making a huge deal out of this… is me. Maybe things won’t change at all. Maybe a couple of readers will leave this rant thoughtful, hopeful even. That’s my mission. I can’t change things, but I want you to think about what you consume, and how you consume it. Out of a passing fancy? Perhaps. But that fancy has forever changed the way music enters my body, mind and soul. And even if one person walks out of this post with a different mindset, that’s a job well done, and a pat on the back for yours truly.
*Cover image credit: Kelly
The post [EDITORIAL] The Album Experience: What It Was Then Versus What It Is Now appeared first on EDMTunes.
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Why Youth Groups In Music Matter

When Ezra Collective stepped up to the podium to collect the Mercury Prize last September, drummer Femi Koleoso was emphatic that this wasn’t just a win for the band, or even for jazz, but for something much bigger. “Ezra Collective represents something very special, because we met at a youth club,” he told the room. “This moment that we’re celebrating right here is testimony to good special people putting time and effort into young people to play music.”
If the awards seasons from the past couple of years are anything to go by, Ezra Collective are far from the only artists to travel this route. Young Fathers – who earned three BRIT Award nominations and a spot on the Mercury Prize shortlist for their album Heavy Heavy – met at Lick Shot, an under-16s hip hop night in Edinburgh. The rapper Bemz – winner of DJ Mag’s Breakthrough MC/Vocalist at the Best of British Awards – is an alumnus of Intercultural Youth Scotland. The channel between youth spaces and era-defining music is demonstrably strong. 
Yet these same spaces have been decimated over the past decade. Funding for local authority youth provision fell from £1 billion to £408.5 million between 2011 and 2021, according to government research published last month. More than 4,500 youth work jobs have been cut in that time and 750 youth centres have closed. “It’s heartbreaking because someone like myself saw first-hand in HD how important they are,” Koleoso told Channel 4 News last September. “I understand why cuts happen, but I just don’t think it should be in that direction because I think the youth of the country, the youth of tomorrow, everything like that, is the most important thing.” 
This loss of youth spaces, as Koleoso points out in the interview, has huge ramifications for communities. According to last month’s government report, decreased spending on youth services was consistently followed by increased incidences of bike theft, shoplifting and posession of weapon offenses (including knife crime). Young people who were engaged in youth groups and spaces, by contrast, “were less likely to engage in anti-social behaviour and crime.”
But the value of youth groups lies in far more than crime prevention. It is also about investing in the lives of young people, both on a personal and professional level – a mission that music is ideally placed to realise. More young people than ever are making music, according to a Youth Music report, with the proportion who play an instrument, sing and produce almost doubling from 39% to 67% since 2006. But what these young people lack is insight into the business of music. Youth Music has identified a gap between music education and the music industry which, if bridged, could help to ensure a strong and diverse pool of talent for years to come. Failure to make that connection, however, could allow music to fall into the culture sector’s old bad habits – namely, attracting a largely London-centric and affluent workforce. 
That is where charities like Young Urban Arts Foundation (YUAF) come in. Working from a portable media studio on a double decker bus, YUAF drops into communities living with varying levels of deprivation, where it trains local young people in skills like lyric writing, production and podcasting. Its YUAF Futures programme helps them turn those capabilities into the beginnings of a career, with a six week programme that demystifies the ins and outs of a professional life. 
“I do a lot of work with the young people to teach them how to network, how to write an email, or when’s it right to chase up? When should I ask for money? Should I ask for my travel?” says Laurie Charlesworth, YUAF Futures’ Project Manager. “All these things that you only learn through working in an industry.” These workshops are designed to give young people a sort of professional literacy, which allows them to advocate for themselves, make connections and, ultimately, get paid, before following up with work experience placements in the music, film and TV industries. “We’ve worked with everyone from SONY Music UK to Kiss FM and Hospital Records,” says Charlesworth. “We’re giving them almost a bootcamp-esque confidence boost, and then putting them in front of people where they can make a change for themselves.”
Projects like YUAF Futures are especially crucial right now, when the cost-of-living crisis has made it tougher for young workers to break into, and stay in, creative work. Where unpaid internships and balancing side hustles for exposure were once the norm, now rocketing rents, food bills and transport costs have made these unaffordable. In a Creative Mentorship report, 95% said their current role in the creative industries didn’t pay them enough to live comfortably. Another 78% have taken on additional jobs to boost their income. Many are choosing to leave the industry altogether in search of more secure work. ”We know that people with skills that went to uni are struggling,” says Charlesworth, “so these young people are fighting against skilled people with experience, with money, to get jobs.”
For the Soundsystem Project, a charity based in the Scottish Borders, increasing young people’s employability begins with showing them what’s possible in the first place. Teaming up with schools and youth groups in deprived areas all over Scotland, the charity introduces children to the graft behind running a sound system, including building a 12-volt battery-powered rig. “There’s not many examples of people who do this kind of work, especially not professionally,” says Tom Spirals, an MC and one of the project’s leaders. “It’s hard to imagine that you could do something like that if you can’t see it.” Whether they go into music or not, these workshops give young people a vital leg-up as they prepare for work or university. “They do all of the glueing and screwing and electronics. They see the whole thing come together,” says Spirals. “We make beats and write lyrics and get them performing their music, which they release on Spotify, and make music videos for their sound system and give them a sense that they can do something that they thought they couldn’t.”
But The Soundsystem Project’s real value, he continues, lies in the pastoral care it enables. Its first-ever project was at Platform, a community space in Easterhouse in Glasgow, which supported vulnerable young people in transition between school and college. Very often, the participants were carers for their parents, or their siblings, or were shouldering mental health issues of their own, and had outgrown the school environment. The platform gave them a place to work on their qualifications away from the traditional strictures of the education system. “Kids in these areas, in my experience, don’t really have the space where they can be a kid, because they have to deal with adult things,” says Spirals. “Through sound systems, we can create an environment where these guys can relax and experiment or express themselves.”
To keep the workshops free for their participants, the Soundsystem Project relies on a variety of different money pots, including Creative Scotland’s Youth Music Initiative – a chronically precarious setup, with multiple rounds of cuts besetting the funding body in recent years. More than once, Spirals tells us, rumours have circulated that the Youth Music Initiative could be scrapped – the last time being when the Scottish Government released their post-COVID emergency budget. “There was a period of three months where we didn’t know if we’d be able to continue doing what we do, with six different ongoing projects that would just stop,” he says. “It’s never stable, which is ironic because what we want to create for young people is something consistent that they can rely on to access music.” For now, the Youth Music Initiative is safe, though with Creative Scotland recently announcing that demand for its funds has swelled, the Soundsystem Project’s future is far from assured. “We are very lucky and we’re able to work this year,” Spirals tells us. Next year could be different. 
Other groups have been less fortunate. In another round of funding applications, the Young Urban Arts Foundation learned that its budget would be cut, leaving it unable to continue its YUAF Futures programme. “There’s just so many people that need it,” says Charlesworth. “We met other people that have funding and there were so many projects, from LGBT projects to refugee and asylum seeker projects.” The solution, she suggests, lies in governments and local authorities digging deep and restoring spending for youth services. “More funding and more opportunities, that’s what we need,” she says. “But also, the work needs to stop falling in the hands of charities and youth workers that are going above and beyond and being paid very little money to run these projects.”
With government provision for youth services in such short supply, it’s groups like YUAF and the Soundsystem Project that are propping the sector up. It seems a cruel irony, then, that the very same cost-of-living crisis they are helping to tackle is also threatening their survival. “I’d love to be able to do it for free,” says Charlesworth. “But unfortunately, the amount of young people that we help, which has been, I think, over 350 so far across the three years – that’s one-to-one work, meeting every week – that just won’t be a thing anymore.” 
Losing the services that help young people into employment is bad enough. Without them, we stand to lose a valuable pipeline for tomorrow’s artists, where young musicians might become inspired (and even form award-winning bands). But as Spirals points out, even those who only choose to dabble in music have much to gain from a meaningful investment in youth spaces. “How important music is as an adult for community is just the same for them,” he says. “We need to create real spaces for young people to have real interactions together, especially when times are hard.”
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Inside deadmau5's "retro5pective" at the Hollywood Bowl, a Dazzling Homage to His Career

deadmau5 has launched "retro5pective: 25 Years of deadmau5," a series of shows honoring his remarkable quarter-century journey as a pioneer in electronic music.
Set against the iconic backdrop of the Hollywood Bowl on April 27th, followed by the Brooklyn Mirage May 2-3 and a doubleheader at Colorado's iconic Red Rocks Amphitheater November 1-2, the series promises an all-encompassing chronicle of deadmau5's influence.
We attended its kickoff performance at the Hollywood Bowl performance and can attest—it's an unforgettable experience.
deadmau5 performs at "retro5pective: 25 years of deadmau5" at The Hollywood Bowl on April 27th, 2024.Jake West
Kicking off the night was an electrifying performance by Meute, a techno marching band whose dynamic act set the stage for an extraordinary evening. Following their stellar performance, deadmau5 took center stage alongside his longtime friend, Steve Duda, for a special DJ set under their BSOD alias.
The longtime friends cracked open some beers together and performed while memories of the pair projected behind them. The sudden appearance of Tommy Lee and DJ Aero transformed the stage into a rare quartet performance as WTF?.
Tommy Lee, DJ Aero, deadmau5 and Steve Duda perform for "retro5pective"at The Hollywood Bowl.Stevo Rood/Live Nation Hewitt Silva
After WTF?'s performance drew to a close, deadmau5 returned to the stage, ready to mesmerize atop his iconic Cube. Over the course of three exhilarating hours, he treated us to an incredible show, dropping classics such as "I Remember," "Strobe" and "Ghosts 'n' Stuff."
Joined by a lineup of talented vocalists, including the high-energy SOFI for "Sofi Needs a Ladder" and the kinetic Kiesza for "Bridged By a Lightwave," the atmosphere crackled with excitement and energy. Longtime collaborator Lights graced the stage and captivated the amphitheater for a scintillating performance of "Raise Your Weapon" and later reappeared to sing "drama free."
Hayla's hypnotizing performance of the hit Kx5 track "Escape" further enraptured the audience while Meute's brief return added an unexpected twist to the show. deadmau5 even previewed a new track, "The Truth with the hip-hop group Coast Contra.
Hayla performs with deadmau5 for "retro5pective" at The Hollywood Bowl.Jake West
deadmau5 flaunted an array of different mau5heads, each one bringing a new dimension to the performance. Meanwhile, the art on the Cube transported us into a vortex of trippy imagery, including imagery of past performances and an array of dazzling visuals.
At one point, deadmau5 delighted fans with a nostalgic nod to his early career by seamlessly weaving in the iconic 2008 HARD Haunted Mansion "Ghosts 'n' Stuff" intro.
In a poignant moment towards the show's end, deadmau5 invited the audience to raise their lights, transforming the amphitheater into a twinkling sea of stars as he delivered an emotive live rendition of "Strobe." This introspective, stripped-back performance was one the concert's most surreal, an aching homage to the enduring legacy of his music.
At the time of this article's publication, Friday's "retro5pective" show in New York is sold out and few tickets remain for Thursday, May 2nd, when deadmau5 will also make an in-store appearance at Rough Trade NYC. Fans can keep an eye out for further updates by subscribing here.
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Above & Beyond Reveal Fall 2024 Return to Red Rocks Amphitheatre

Above & Beyond, one of the world's most influential trance acts, is returning to the iconic Red Rocks Amphitheatre this fall.
Scheduled for Friday, October 25th, the trio's return comes almost exactly a year after their doubleheader last fall. Joining Jono Grant, Tony McGuinness and Paavo Siljamäki in Colorado is a cast of talent who have all been featured on the group's Anjunabeats label family. Attendees will be able to take in the sounds of Alex Sonata & TheRio, Amy Wiles, anamē and Genix before the label bosses take the stage just days before Halloween.
In other Anjuna news, the venerable imprint and its sub-labels recently released three "planet-inspired" mixes to celebrate Earth Day. Royalties from each compilation will be donated in perpetuity to the Ocean Conservation Trust to support the environmental advocacy nonprofit's efforts to protect our oceans.
Tickets to Above & Beyond's 2024 Red Rocks concert will go on sale Thursday, May 2nd at 10am MT. Check out their announcement below and register for the pre-sale here.
FOLLOW ABOVE & BEYOND:
Instagram: instagram.com/aboveandbeyond
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Facebook: facebook.com/aboveandbeyond
Spotify: spoti.fi/3fHhX1z
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Jon Hopkins' Next Album Is a Continuous, Eight-Chapter Epic

Grammy-nominated producer Jon Hopkins has announced RITUAL, his seventh album.
The follow-up to 2021's Music For Psychedelic Therapy, the next album for Hopkins will be a 41-minute-long, continuous story spread across eight chapters, according to a press release issued by Domino Recording Company.
Hopkins also released the album's first single, "RITUAL (evocation)," a hypnotic track that was "designed to give listeners a window into the full experience." The music video features an aerial performance by Bryony Louise Fowler as she glides through the sky to Hopkins' bass-heavy, darkened soundscapes.
Hopkins said he goes into the recording process with an open mind and no goal or objective, ultimately hoping to generate a unique experience for each listener.
"I have no idea what I'm doing when I'm composing. I don't know where it’s coming from, and I don't know where it's going, nor does it seem to matter," he explained. "I just know when it is finished. So all I can really do is feel my way to the end, then try and retrospectively analyse what might be going on, and try and figure out what its purpose is. What is clear is that this one has the structure of a Ritual. I know what that Ritual is for me, but it will be something different for you. It feels important not to be prescriptive about what this Ritual actually is."
Those looking to experience RITUAL before its summer release will have the opportunity to attend a special listening event at London's Institute of Contemporary Arts later this month. He will also preview the new album with fans at Glastonbury in June.
RITUAL is slated to arrive on August 30th, 2024 via Domino. You can pre-save the album here.
Follow Jon Hopkins:
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Instagram: instagram.com/mrjohnhopkins
Facebook: facebook.com/johnhopkinsmusic
Spotify: tinyurl.com/2dfkdthx
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