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International Music Summit returns to Dubai

International Music Summit (IMS), has announced the return of Beatport Presents IMS Dubai, taking place on 13–14 November 2025 at the 25hours Hotel One Central.
Building on its mission to accelerate conversations and connections within the rapidly evolving MENA region, Beatport Presents IMS Dubai 2025 offers two days of expert-led panels, keynotes, and networking opportunities, plus full access to curated evening programming, all included with every badge. This year’s summit continues to champion the four core pillars of: Music, Culture. Finance. Technology. Through this lens, IMS brings together pioneering voices to explore not only the future of electronic music, but its broader impact on creative and commercial industries as well.

Highlights from last year’s edition included Maha ElNabawi, Managing Editor of Billboard Arabia, who delivered an opening keynote addressing the rise of Arabic music on the global stage; Janet Ashak, Head of Music (MENA) at YouTube, who discussed the platform’s role in fostering regional artist development; Maria May, Head of Electronic at Creative Artists Agency (CAA), who spoke on the future of artist representation in a shifting industry, James Craven, president at Live Nation Middle East, who shared insights on navigating the music industry in the MENA region; and Wassim Bou Malham, artist and entrepreneur, who highlighted the importance of nurturing local creative ecosystems in MENA

The summit’s music program was equally alluring, with the official closing party featuring international heavyweights Deep Dish, Pete Tong, and Echonomist. The weekend showcase was further complimented by regional standouts including Cosmicat, Yas Meen Selectress, STRYV, and Saliah, culminating in a who’s who of international and homegrown talent.

2025 sees IMS Dubai continue building on 16 years of International Music Summit’s legacy in Ibiza, drawing on that same energy and spirit of collaboration to spotlight new voices, address regional challenges, and forge connections between local and global communities. Discussing Beatport Presents IMS Dubai. Co-Founder of IMS Pete Tong remarks;

“It’s exciting to see how IMS Dubai has already become a vital touchpoint for the region. The energy, curiosity, and ideas we saw last year made it clear that this is a place that can provide lots of knowledge and value. What’s even more inspiring is the way music, culture, finance, and technology come together at this event. We’re really building momentum and giving a platform to local and international talent who are moving the needle and pushing boundaries. Dubai is fast becoming a hub for forward-thinking creators, and IMS is right at the heart of it.”

This year’s venue is 25hours Hotel One Central, a storytelling-driven property facing the Museum of the Future. A haven for creators and visionaries, the hotel’s lavish and immersive atmosphere makes it the ideal setting for an event designed to challenge norms and inspire progress. Following a sold-out debut edition, the move to 25hours Hotel One Central doesn’t only give IMS Dubai more capacity than last year’s event, but positions the summit at one of the city’s most vibrant hubs for music and culture.

With the global music industry increasingly turning its focus toward the MENA region, IMS Dubai proudly represents key territories such as Egypt, Qatar, Saudi Arabia, Morocco, Bahrain, Jordan & more through select delegates, speakers, and vital discussions aimed at shaping the future of music and culture across the region. IMS aims to serve as a vital meeting point to foster growth, collaboration, and sustainable development across these emerging cultural and creative markets.

Find limited early bird badges here and stay tuned for upcoming announcements about this year’s speaker roster, artist showcases, and evening program. Nominate a speaker for IMS Dubai here.
Badges on sale now.
The post International Music Summit returns to Dubai appeared first on Decoded Magazine.
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From Decks to Desks: James Hype Inspires the Next Generation at Harvard

British artist James Hype took an unconventional stage—Harvard University—where he shared his journey from spinning records in clubs to inspiring the brightest minds at the world’s top institution. In an intimate and eye-opening masterclass, James discussed his creative process, his rise to fame, and the challenges of navigating the music industry.
“I never went to college, and now I’m here at Harvard,” James began, setting the tone for a candid conversation about breaking norms and redefining success.
James reflected on his breakout moment in 2017 when his music earned him global acclaim and a contract with Warner Music. While the milestones were life-changing, he emphasized the sacrifices behind the scenes: over 160 performances a year, sleepless nights, budget flights, and the relentless pressure to keep up. “Mental health matters,” he shared, shedding light on the often-unseen struggles of a career in the spotlight.
A highlight of the discussion was James’ advice on creativity. He emphasized the importance of finding an authentic sound and leveraging social media to connect with global audiences. “The more visible you are, the more criticism comes,” he noted. “But the key is to amplify your voice, not to respond to every comment.”
James expressed admiration for the students he met at Harvard, confessing, “I thought Harvard was only for rich and smart people, but what I saw were exceptional people. Their stories inspired me as much as mine inspired them.”
During the session, he took students back to his first encounter with music—discovering a mixer at a church fair at just nine years old. That moment sparked a lifelong passion that carried him through creative blocks, stylistic evolution, and his ongoing pursuit of authenticity.
For those who could not  attend, the full masterclass is available to watch here:
James Hype Upcoming Tour Dates:
May 10 – AYU Dayclub, Las Vegas, NV
May 15 – AYU Dayclub, Las Vegas, NV
May 16 – 11:11, El Paso, TX
May 16 – EDC Las Vegas 2025, Las Vegas, NV
May 23 – Sefton Park, Liverpool, UK
May 23 – Radio 1’s Big Weekend, Liverpool, UK
May 24 – HQ2 Nightclub & Beach Club, Atlantic City, NJ
May 26 – FWD Day + Nightclub, Cleveland, OH
May 30 – El Patio Fusion Lounge, Dorado, Puerto Rico
May 31 – Project Glow, Washington, DC
June 6 – The Concourse Project, Austin, TX
June 7 – Zouk Nightclub, Las Vegas, NV
July 5 – The Brooklyn Mirage, Brooklyn, NY
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Label Spotlight: Generation Liquid

Hi, Who are you?
Fabio, founder of Generation Liquid.
What’s your ethos?
The ethos of the label is simple really: to bring out good music. There’s no deep rhetoric behind it—just a passion to bring out beautiful music that I like, music that I think is being overlooked. The focus is on music that speaks to personal taste rather than fitting into rigid genres. That’s the long and short of it.

Tell us your origin story.
The label was born from a desire to fill a gap in the market for music that I like, with more depth and substance. I think nowadays, people – especially the younger generation – tend to really like loud, brash or boisterous music, and I wanted to go in the opposite direction, offering something more refined, something hat resonates beyond trends and brings a fresh perspective to listeners.
Where are you based? Tell us about your local scene.
I’m based in South London, brought up in Brixton. At the moment, it’s very vibrant with a lot of young people living here. Brixton has always been good for nightlife, but now it’s thriving. I think it’s almost on Hoxton / Camden / West End levels. Brixton has been through a lot over the years and I’m proud to see the scene as it is now. To be fair, gentrification has got its upsides.
Does the label have a specific sound or vibe?
No, I really want to get away from that, because I think there’s too much tribalism and too much pigeonholing within music: for me, that’s one of the big issues with music at the moment. Generation Liquid is all about breaking free from those rigid categories. People might think, Well, it’s Fabio, it’s got to be really soulful, but it doesn’t. I’ve got such a broad taste. It doesn’t really matter whether a track is soulful, a tech funk banger or something a little bit harder, as long as it’s got a little bit of mystery and is funky to a degree – even the hard and nasty variety – it’ll get the green light from me.
Do you have a regular artist roster- who can we see releasing with you?
No, it’s going to be very ad lib, fluid and open. The goal is to bring through new artists that are not so well known. I don’t want to spit out the same old names that everyone else talks about. Right now, I’m looking at artists like Motiv and Jet Li from Ireland, who I think is amazing.
This approach stems from my time with Creative Source, where we championed emerging talent. When we brought out Calibre and Alix Perez’s first work, no one had heard of them, and I want to do that again —encourage new artists and build a foundation.
I recently put out a post for track submissions from artists who have any music they think I’d be interested in, and I’ve been inundated. So, I’m not gonna specify any artists on the roster as such – it’s an open forum, especially for new artists and artists that I’ve not even really heard of yet.
Tell us about your A&R process…
The long and short of it is just to collect and find the most interesting tunes. I received a lot of submissions, and it’s my job to sift through them and find tracks that truly stand out. Then the process of getting tracks out is much simpler than it used to be. You’d have to go to a distributor; you then have to press something to vinyl. You’d have to get album sleeves done. It took ages. It was a very long, arduous process of getting tunes out that now you can do in a day. You can just go online and click a few buttons and the tune has been released.
What makes Generation Liquid different from other labels?
It’s kind of a forum for my taste. I don’t know whether this makes it different, but I really hate planning; I do things on instinct so I’m letting that lead the way, allowing the music to take shape organically rather than being overly planned or premeditated. Everything feels too tailored these days and I want to break free from that. It goes back to what I was saying about tribalism and how there is no set template for Generation Liquid. I might bring out a tune that’s really soulful and the next could be an absolute banger. I’m not interested in creating a label for chin stroking fans, I want people to be surprised, to hear atrack and think, Oh, wow. That shocked me. I didn’t think you’d ever put a tune like that out.
What does it take to run a bass music label in 2025
As I said before, it’s a lot easier than it used to be. You don’t have to go through the long process of going through so many different doors to get a tune released – it really was a piss take. I don’t think people realise how difficult it was bringing out music. It was quite costly too, and you’d have to rely on other people to do so many things, like distributors. It would literally take months, even a year to bring out a track. Drum and Bass moves so fast, even within three months, a tune could sound dated. Back then, a tune could go stale before it
even had a chance to make an impact. I remember this tune I completely regretted bringing out, because the process took so long. Now, you can just bring out a tune in days, keeping the freshness and heat of the tune,
which is great.
What have you got coming up we should look out for?
We’ve got some really good label showcases coming up. First up, we’ve got Camden Assembly on May 17, featuring Command Strange from Russia—a truly talented DJ—as well as Zero T, who’s fantastic at the way he puts his sets together, and GAIA, an incredible young DJ I’ve listened to a couple of times and knew she’d be great for a Generation Liquid night.
Then we’re heading to Tramshed in Cardiff on June 28, which I’m really looking forward to. After years of trying to book Skeptical, it’s finally happened. We’ve also got Breakage, who is Shy FX’s right-hand man and the king of dub-style Drum and Bass. The way he balances dub and DnB is unmatched, better than anyone else in the game. They’re two of my favourite producers, actually, and fantastic DJs. So that is going to be an absolute banger.
Beyond that, there are more plans brewing for later in the year—things I can’t disclose just yet as they’re still in planning, but trust me, they’re exciting. There’s also some incredible new music on the way, but I want to keep the artists and tracks a surprise for now. Let’s just say the label is gearing up for some serious heat, and everything is set to kick off in a big way.

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Live Nation launches $30 ticket deal for over 1,000 summer 2025 concerts

Been holding off on concert plans because of high ticket prices? Live Nation is here to change that with a limited-time deal offering $30 all-in tickets to over 1,000 concerts this summer.
Going on sale starting 21 May, the “$30 Ticket to Summer” promotion includes access to shows across the US and Canada from artists such as The Offspring, Pantera, “Weird Al” Yankovic, Avril Lavigne, Billy Idol, Halsey, and The Black Keys, among many others.
READ MORE: SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future Fans with early access through T-Mobile and Rakuten can purchase tickets beginning Tuesday, 20 May 10AM EST by visiting the companies’ respective platforms to obtain a presale code. General public sales launch the following day, Wednesday, 21 May at 10AM local time, via Live Nation’s official Ticket to Summer website.
The deal applies to a wide range of performances at Live Nation amphitheaters across the country, with tickets priced at $30 flat – all fees included. Visitors to the Ticket to Summer site can filter their search by artist, venue, or location to find eligible events near them.
More shows are expected to be added throughout the summer as well, so remember to check back regularly for new listings.
The initiative comes at a time when music lovers continue to voice frustration over soaring ticket prices. Last year, a study by global research firm YouGov revealed that UK concertgoers pay an extra £145 million annually to ticket touts, with nearly half of surveyed fans saying they struggle to identify legitimate resale platforms.
Roughly one in five tickets, the report added, end up on a resale platform of some sort.
O2, which facilitates over a million ticket sales annually through its Priority customer reward platform, said of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.”
“Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.”
Check out the full list of participating shows at Live Nation’s Ticket to Summer website.
The post Live Nation launches $30 ticket deal for over 1,000 summer 2025 concerts appeared first on MusicTech.
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Fans Crown “Don’t You Worry Child” As Ultimate #1 Track in Tomorrowland 1000

Swedish House Mafia’s ‘Don’t You Worry Child’ has officially claimed the number one spot on the Tomorrowland Top 1000 for 2025. Fans pushed this emotional anthem to the top after 10 days of non-stop voting. Avicii’s ‘Levels’ landed in second place, while Martin Garrix’s ‘High On Life’ secured third. This final ranking came down to the wire, with the Tomorrowland community making their last-minute votes via the Tomorrowland App and website. Never before had the top ten remained open for fan votes until the very day before the finale.
An Emotional Journey Through Electronic Music History
One World Radio once again brought electronic music lovers together for a global countdown of 1,000 iconic dance anthems. This marks the seventh consecutive edition of the Tomorrowland Top 1000. Listeners enjoyed a complete journey through dance music history, with 125 tracks played daily across ten days. From legendary classics to fresh anthems from the past year, the list celebrated every era. The emotional final moments were live-streamed, offering fans a chance to relive the excitement. Through the Official Tomorrowland Top 1000 Playlist on Spotify, Swedish House Mafia‘s legacy track ‘Don’t You Worry Child’, ultimately came as the winner.
New Entries and Returning Favorites Shake Up the Rankings
This year’s top ten featured three new entries, adding fresh energy to the already stacked lineup. Avicii’s ‘Wake Me Up’ made an impressive jump of seven spots, landing in seventh place. Hardwell’s ‘Spaceman’ climbed a massive fifteen places to secure ninth. The Age of Love remix by Charlotte de Witte and Enrico Sangiuliano also made headlines, rising eight spots to round out the top ten. This year’s ranking proved that both timeless anthems and modern productions continue to captivate listeners.
Martin Garrix Dominates With Record-Breaking 42 Tracks
Dutch superstar Martin Garrix stood tall as the most featured artist, securing 42 entries in the list. Close behind were Tiësto with 41 and David Guetta with 36, proving the Dutch dominance in dance music remains strong. Swedish House Mafia took the title of highest ranked trio, while Charlotte de Witte became the top-ranked female artist. This year’s highest new entry went to Adam Port and Stryv’s ‘Move’, landing at number 69.
Global Participation Keeps the Spirit of Tomorrowland Alive
The Tomorrowland Top 1000 once again proved its power to bring the People of Tomorrow together. Fans from across the globe shaped the final results with their votes, creating a living history of electronic music. The eclectic list spanned decades and genres, featuring both radio hits and underground anthems. The Netherlands led the charge, with more artists represented than any other country. This global participation reflects Tomorrowland’s status as a unifying force in the electronic music community.
Tomorrowland Top 10 Results for 2025
Swedish House Mafia feat. John Martin – Don’t You Worry Child Avicii – Levels Martin Garrix feat. Bonn – High On Life Dimitri Vegas, MOGUAI & Like Mike – Mammoth Sebastian Ingrosso & Alesso feat. Ryan Tedder – Calling (Lose My Mind) Alesso vs OneRepublic – If I Lose Myself Avicii – Wake Me Up Armin van Buuren – Blah Blah Blah Hardwell – Spaceman Age Of Love – The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix) The post Fans Crown “Don’t You Worry Child” As Ultimate #1 Track in Tomorrowland 1000 appeared first on EDMNOMAD.
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[INTERVIEW] Will From Super Progressive Talks Interviews, Progressive House, Albums, And More

We recently spoke to one of the most dedicated acts in the Electronic scene.
During my short career in press, I’ve interviewed a ton of people, some even role models to me and my music career. After talking with icons such as Ferry Corsten, Tony McGuinness, and even Hardwell, what’s next? How about interviewing the interviewer? I’d played around with this idea for a while, and then something spectacular came in the mail by surprise: a connection to Super Progressive.
I often get a bit nervous when about to interview someone, but this time I was properly nervous. I didn’t know William by name, but I’d seen a couple reels on socials, and how he’d got to so many A-tier artists of Progressive House. Funnily enough, the day before we spoke, my Insta algorithm showed me his recent interview with Hernan Cattaneo. You know we’re talking big leagues here.
A proper journalist, he founded a YouTube channel in the Lockdown years and began sharing the rich and long history of Progressive House, often approaching some of its living legends for them to have a say themselves on his space. With his videos consistently getting five-digit viewcounts nowadays, we can confidently say he’s become a part of the history of the genre he loves so much.
All of this to say: we spoke with Will. And it was such an interesting chat, we’re happy we get to share this moment with you. Without further to do, behold, the interviewer of interviewers, the man himself, Super Progressive, in conversation with yours truly.
The Interview
(Please note, the bolded text represents a question (or EDMTunes intervention), while the paragraph(s) following it represent Will’s answers.)
First of all, thank you for coming in. We’re super excited to have you. Now, getting right to the questions, how would you describe Super Progressive? Is it an interview channel, a mix channel, perhaps history? How would you label it? Or rather, would you want to label it at all?
I would describe Super Progressive as a podcast about the past, present and future of Progressive House. I started it out as a podcast about the pioneering 90s DJs of Progressive House. And as I learned more about it, obviously you get interested in the current state of affairs of the sound. And you are made aware of so many different current producers and DJs. And so I started covering that as well. So it’s a podcast devoted to the past, present and future of the Progressive Sound.
Got it. We want to know the why’s and the how’s. Quite literally, why and how did you start Super Progressive, and how were your first steps? Who was your first interviewee?
Why I started it was, my older cousin gifted me his old Global Underground collection. And I really enjoyed the CDs. But what really set things off for me was when I found an online community called Progressive House Classics. It’s a Facebook group. And I realized there’s a whole generation of clubbers that are still extremely passionate about these CDs and these mix compilations that came out 30 years ago.
So when I saw that there were so many passionate clubbers, I went to look up more information about this era. And there was next to nothing. There was literally nothing on YouTube and there was next to nothing in terms of written articles. Because most of the coverage had been done before the Internet. So I just saw it as an opportunity to create content that I was really passionate about. I’m a journalist. So I saw it as an opportunity to be a journalist for a very specific but existing audience.
So that’s why I started it. And then how I started it was I made some illustrated videos that covered different Global Underground CDs. I was also a huge fan of The Nine Club, which is a skateboarding podcast. And I just borrowed their format. And instead of interviewing skateboarders, I interviewed DJs. 
My first interview was with Paul Oakenfold. I had done a video about his Global Underground New York GU-007 album, which we did offline. But he liked how the video came out a lot. So when I asked him to do the first interview, he said yes. He was living in Los Angeles at the time and he actually invited me to his house to film the interview. And then with that interview, that was my golden ticket. Because you can bring a Paul Oakenfold interview to a lot of people. And that’ll at least kind of respect what you’re trying to talk about. Because Paul is such an important DJ in the spread of this sound around the world.
So I went from Paul to Anthony Pappa to Danny Tenaglia, Sander Kleinberg to Dave Seaman. And you just take one interview, show it to the next person you want to interview, hopefully they enjoy it. And luckily all the DJs are really nice and they were all down when they didn’t have to be. So it worked out like that.
Amazing. Do you ever feel anxious or nervous before talking to somebody? Because my first interview in this format, my first proper call, was Ferry Corsten, and I felt the weight on my shoulders. I was so excited, but there’s also a huge responsibility to step up.
I only feel nervous when I don’t do my preparation. I feel like if I spend time preparing, I won’t be as nervous. Also, I get really nervous when the DJ has a really, really dedicated fan base. Because they, the fans, are always going to know more than you. But you just don’t want to come off as if you didn’t do your research. These fans that have grown up with this music and have lived this music their entire life, they all will always know more than I.
A lot of my job is also figuring out what the fans want to find out about, more than what I personally want to know. Because it’s all new to me. I do a lot of research, I speak with a lot of long-time fans. I often post to my Instagram stories — I just did it with Paul van Dyk. I’m like, “Hey, I have an interview with Paul van Dyk coming up. What should I ask?”. It’s all the same scene, but the Trance stuff, it’s a whole different devoted fan base. And I didn’t want to come on and not know my stuff. So they really helped me out in picking questions that they wanted to know more about. 
Now, I’ve got to ask, why Progressive House? Why not, for example, 90s House, since it also has such an extensive and rich history? What dragged you to that one particular genre?
I think I just liked that sound the most. It all started because I enjoyed listening to those compilations. And that’s just the sound that does it for me. I like the percussive elements, I love the melodic elements. And I love the way that the tracks can blend together in a mix compilation. So really, the reason why I chose Progressive House ultimately, I guess, comes down to my music taste. Not my taste as in a selector, it’s just what I enjoy listening to the most.
Well, now, asking from interviewer to interviewer. I always say this as the final words to my articles. I learn a lot from the people I talk to. And I guess learning from them is one of my favourite aspects of it all. It is arguably why I do it in the first place. Do you feel like you learn from the people you interview? Not only about them and their lives, but lessons you can apply to your own life from their experiences?
Oh my gosh, of course. It’s super inspiring to talk to people. These DJs come from all different countries around the world. All different socio-economic backgrounds. A lot of them came from not a lot at all. And they go and follow their dream and become an international DJ. How could you not be inspired by that?
The one story that comes to mind is Hernan [Cattaneo] selling his car to go to Sound Factory in New York just to see Frankie Knuckles DJ. It’s like, how could you not be inspired by that? Those are stories that you hear about, and this scene is full of them. Another relatable story. Danny Howells, when he had his first ever Essential Mix, was working full-time in the psychiatric ward as a nurse. So many people can relate to that. So many producers out there working a full-time job, but trying to be a full-time DJ. And the history of this music is filled with inspiring stories like that.
What style do you feel your interviews are like, what do you want to achieve when approaching someone for an interview?
I think I want my interviews as an opportunity for these DJs to express their unfiltered passion for this music. You have to have such a deep passion for this music to make it to the top. Because you literally have to listen to thousands of tracks each week. So you have to love this music.
And all I want for the interviews is to get as much information as possible. But let the DJs speak, ask two or three questions in the span of an hourlong interview, just because the DJs can talk and talk and talk about themselves. And I’m not trying to direct the conversation anywhere. I’m just trying to have them express their passion. So I think that’s what I like about podcast interviews. You’re just there to direct or stoke the flame of the DJ that you’re interviewing.
Now, you have different-length videos in your channel. Is that intentional, or does it just come naturally that you have some longer form interviews and then some shorter ones?
I think I’ve got to a point where now I try to be a little bit more intentional with my questions. The interviews are starting to get to an hour and a half, two hours long. So I’m looking to ask better questions as an interviewer to suit the format of a particular interview better.
I try to be more thoughtful with my questions. Which naturally cuts down the interview length. In-person interviews are always shorter. Unless you’re talking to Danny Tenaglia, who can talk for an hour and a half about this. But I try and do 20-minute in-person interviews and 45-minute remote interviews. And that’s a sort of comfort zone that I’ve settled into.
I see. Yeah, in my case as well, I always separate an hour for virtual interviews. But then in person, it’s always quicker and people have places to go and whatnot. And it’s often before a show.
Exactly. Most of my interviews are in the artist’s hotel room before a show. You want to be respectful.
Well, since you’re an avid listener as much as you are a journalist, you’d probably be in the loop about the Argentinian Progressive sound blowing up lately. I love it. But what’s your take on it? Do you see it as a wave or a current? 
I mean, to me, the Argentinian scene is not a wave. It’s like the epicenter of the Progressive scene in the world. I’m always learning about different regions. So I’m always finding new producers that I enjoy. But my favorite producers are from Argentina. I’d say Mike Griego. I like Kabi a lot. Obviously Ezequiel Arias. Those are some of my favorite producers. I definitely don’t think it’s a wave. I’ve been into this music for four years now. When I got into it, Argentina was at the top. And it’s still at the top. I think it’s awesome.
Have you ever been to Argentina to one of their parties?
Oh, I got to get down. I was supposed to go down for Sunsetstrip this year, which I guess ended up being an okay decision. I feel bad, but the rain was crazy. So I’m going to try and go down. I’ve been living in Europe. And probably sometime when I’m spending more time in America, I’ll make the trip down.
Now, I’d love to know, because you’re a DJ as well, aren’t you?
Yeah.
Great. Let’s play something. Tell me one essential track to carry on your sticks on a night out. Must be an original track.
It’s ‘Space Fly’ by Stereo Underground and D-Nox. It is inspired by ‘Magic Fly’ by Space, a song from the 70s. That’s my go-to track, end-of-set track. I play it freaking all the time and I’m just a huge fan of it. It’s the track that I play religiously now.
And now the same thing, but with a remix, edit, bootleg, anything that you feel you can’t go wrong with playing.
Let me give you a recent one. I really like the Mike Griego remix of Freedo Mosho’s ‘Paradise Lost’. I like that one a lot.
Lovely. Now, I asked the following question to Tony from Above & Beyond last year and also to Khen. What’s your opinion on albums? I like to ask this question because I feel like the concept of the album is being lost to time and algorithmic business, you know?
I love albums. For me, I think albums take the pressure off artists and you really get to see how creative they can be. My favorite album in the Electronic music history is Sasha’s Airdrawndagger. I was just a kid when it was released. It got criticized at first because it wasn’t an all-club-focused album. Those are the albums where the creativity is at the forefront, that stand the test of time. I love artist albums.
Now I’ve got two more questions. This next one I like a lot. I try to ask it as often as I can. If you could travel to the past any number of years that you find interesting, 5 years, 10 years, and meet your past self, what would you tell yourself? Were you worried about something that was really not necessary?
Right after college. In 2018, I was working a job at ESPN and my hours were 6 PM to 2 AM. My off days were Tuesday and Wednesday. On Saturdays and Sundays, I’d work 10 AM to 6 PM. So on a Saturday, I could finish at 6 PM and not have to be in until 6 PM the next day. I would always go to New York City, take the train, and it was a three-hour journey to go to raves.
I was always so stressed because I felt like I was missing out on so much of the music. I would tell myself, “Don’t worry, you’re going to get more of this music than you could ever hope for or dream of down the road, so don’t be so devastated when you can’t go to a party that all your friends are going to”.
Beautiful. And well, finally, suppose there’s someone in our audience who admires you and looks up to your work and wants to be like you one day. They’re just starting out as journalists, or they’re starting to get into the music world, trying to make better contacts, trying to speak to people. What’s one piece of advice you would give them in order to be successful?
I would just say, if you’re passionate about something, focus on how you can make a contribution to it. No matter how big or how small. There are endless ways to contribute to Electronic music.
You can be a producer, you can be a DJ, you can be an event promoter, you can create an Instagram account, you can create a podcast. So much stuff you can do without the permission of anyone else. So I would just say, figure out how you enjoy spending your time relating to this music and try and make a contribution to the scene out of that.
Even if it’s curating playlists, whatever you want to do. Everyone in this scene respects passion for the music because that’s the most important thing. So I would just say focus on finding out, just try and make a contribution however you want to make it.
Thank you. It’s very interesting that you say that. At least this part of the industry is very respectful in my opinion too. You can notice the difference between different, even genres inside Dance music, but this music as a whole, it’s nowhere close to mainstream Pop music. There’s a connection that is so powerful between Electronic music fans and their artists. I can’t explain it, I can’t describe it. But I know you know what I mean.
Oh no, I absolutely know. These people care about the music more than anything I’ve ever seen. I totally understand. It’s mostly inspiring, sometimes it’s shocking. I’m like, “Oh my gosh”. It’s awesome.
Well, that’s a wrap. Thank you so much once again!
Final Words
What can I say… That was great. Will is such a down-to-earth guy, our conversation was 100% genuine from the get-go. It was an honour to have had such a character in here, in our little interview space. Thank you so much mate!
Look, I’m much more of the YouTube channel, but if you want to get some of the extensive wisdom collected and accrued in Will’s Super Progressive podcast, below you’ll find the Spotify link to listen on the go. I know I’ll be using this format during car rides. And below that I’ve left his frequently-updated playlist of Progressive House bangers. Your choice.
You can follow Super Progressive on his YouTube channel, Instagram, and Spotify. And stay tuned to our channels for the latest on everything regarding the Dance music industry.
The post [INTERVIEW] Will From Super Progressive Talks Interviews, Progressive House, Albums, And More appeared first on EDMTunes.
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Diddy Paid $20M Settlement to Cassie After 11-Year Relationship to Settle Civil Lawsuit

Photo Credit: U.S. Attorneys SDNY
Cassie Ventura, the R&B singer and former partner of Sean ‘Diddy’ Combs, delivered testimony on May 14 in the rap mogul’s ongoing trial.
In a dramatic moment that closed her second day on the witness stand, Ventura confirmed for the first time that Diddy and his companies paid her $20 million to settle the civil lawsuit she filed in November 2023.
The $20 million settlement is a figure that was previously undisclosed to the public and was revealed during Ventura’s direct examination by prosecutors in Manhattan. Ventura stated unequivocally that the payment came from Diddy and his associated companies, bringing to light the substantial financial agreement that led to the swift dismissal of her civil lawsuit just one day after it was filed.
Ventura’s lawsuit accused Combs of a decade-long pattern of physical abuse, sexual assault, and coercion. Those allegations include that Combs drugged her, forced her into sexual encounters with male prostitutes, and orchestrated what he dubbed ‘freak-offs’—drug-fueled sex parties that he directed and filmed. That initial civil action and its swift settlement sparked a wave of additional lawsuits and triggered a federal criminal investigation that led to Combs’ arrest on charges including sex trafficking and racketeering.
While on the stand, Ventura recounted harrowing details of her relationship with Diddy from 2005 to 2018, describing incidents of rape, beatings, and psychological manipulation. She testified that the abuse left her feeling ‘disgusting’ and ‘humiliated’ and explained her decision to testify as a desire to “do what is right” after years of trauma.
Ventura’s testimony is central to the prosecution’s case, providing firsthand accounts of the alleged abuse and the circumstances that led to criminal charges against the rap mogul. The revelation of the $20 million settlement underscores the gravity of her claims and the high stakes involved in the trial. If convicted, Sean ‘Diddy’ Combs could face a life sentence in prison.
Cross-examination by the defense team is expected to focus heavily on her credibility and the nature of Cassie’s relationship with Combs. Defense attorney Marc Agnifilo has indicated that infidelity and related text messages will be central topics, aiming to portray the relationship as mutually damaging rather than one-sidedly abusive. The defense’s questioning is anticipated to last through at least Friday, as the defense attempts to poke holes in Cassie’s testimony.
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Sony Music Reports Double-Digit Full-Year Revenue Jump — And 4.8% Streaming Growth for Q1 2025

SZA, whose SOS Deluxe: Lana generated the most recorded revenue of any Sony Music release during Q1 2025 as well as the 12 months ended March 31st. Photo Credit: Erin Cazes
Sony Music Entertainment (SME) achieved a double-digit year-over-year revenue spike during fiscal 2024, but recorded music streaming revenue increased by a modest 4.8% during 2025’s first three months.
These and other takeaways come from a new earnings report released by the overarching Sony Group Corp. This performance breakdown covers January, February, and March 2025, the final quarter of the conglomerate’s fiscal 2024.
Beginning on the quarterly side, Sony Group pointed to ¥463.57 billion (currently $3.16 billion) in music revenue, representing a 9.8% YoY increase. As usual, though, that sum includes a sizable contribution from the music-adjacent visual media and platform.
Stated concisely, the latter, lumping together mobile gaming, anime, and more, is best omitted to get an idea of core Sony Music revenue. Another important side note: Sony Group collects revenue in all sorts of currencies but reports in yen; exchange rates helped the below results along.
Less visual media and platform, then, music revenue came in at $2.64 billion/¥387.46 billion during calendar Q1 2025, up roughly 4.5% YoY, the document indicates.
Behind the first-quarter total, each category save non-streaming recorded revenue improved from the same period in 2024.
However, recorded streaming’s growth rate finished at the initially mentioned 4.8% ($1.32 billion/¥193.04 billion in total revenue), compared to a 16.3% YoY boost for Sony Music Publishing ($656.54 million/¥96.28 billion).
Digging into those numbers for just a moment – Sony Music’s full-year showing is, of course, also worth exploring – publishing streaming revenue is said to have risen 25.6% YoY to $378.20 million/¥55.46 billion in Q1 2025.
And as of March 31st, Sony Music Publishing’s owned-and-administered catalog contained a cool 6.63 million works, up from 6.24 million in the prior year, per the report.
Back to recorded revenue for 2025’s opening quarter, physical sales enjoyed a 12% YoY hike to $183.10 million/¥26.85 billion. By revenue, Sony Music artists’ Q1 bestsellers were SZA’s SOS Deluxe: Lana, Tate McRae’s So Close to What, Lisa’s Alter Ego, and Tyler, the Creator’s Chromakopia as well as Igor, respectively.
All told, music operating income (including for visual media and platform) finished at $569.97 million/¥83.58 billion for Q1 2025, up nearly 17.4% YoY.
Transitioning to Sony Music’s full-year financials, revenue less visual media and platform rose 13.1% YoY to hit $10.75 billion/¥1.58 trillion.
Within the sum, recorded music kicked in $8.16 billion/¥1.20 trillion (up 12.2% YoY), including $5.38 billion/¥788.77 billion from streaming (up 11.2% YoY) and $724.40 million/¥106.15 billion from physical (up 4.8% YoY).
Fiscal bestsellers included SZA’s aforementioned effort, Beyoncé’s Cowboy Carter, We Still Don’t Trust You by Future as well as Metro Boomin, and Travis Scott’s Utopia, respectively.
Publishing revenue, on the other hand, jumped 16.3% YoY to crack $2.59 billion/¥379.81 billion for the 12-month stretch. And full-year music operating income, at $2.44 billion/¥357.26 billion, was up 18.4% YoY.
Looking ahead to the 12 months ending March 31st, 2026, execs are anticipating “essentially flat” sales at Sony Music. Also on the horizon are further catalog purchases and business acquisitions “in high growth markets such as Latin America, India, and other Asian countries.”
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Run, Rave, Repeat: A "Detroit Techno 5k" Is Debuting During 2025 Movement Festival

Motor City's storied Movement Electronic Music Festival is getting a boost of endorphins over Memorial Day Weekend with the launch of the "Detroit Techno 5k," a new event blending running with techno.
Scheduled for Sunday, May 25th, the 75-minute run will take participants along the scenic Detroit River and through the historic grounds of Fort Wayne. As the first-ever fitness-focused event tied to Movement, it’s both a race and a celebration of techno culture in the genre's birthplace.
The event is being organized by longtime runners and friends Harrison Diskin and Zac Berlin, who worked closely with Movement and the city of Detroit to secure permits, according to The Jewish News. Diskin, a veteran event producer in Detroit and Chicago, is also an avid runner who found that staying out late for shows began to take a toll on his body.
"When we take care of our bodies and our minds, it makes a lot of the late nights more enjoyable and a lot more accessible," he said. "As attendees are maturing, there's a growing interest in health and wellness that’s really starting to resonate."
That mind-body connection is at the heart of the race, which invites participants of all skill levels to run, walk or just warm up ahead of a long day at Movement, the nation's leading techno festival. Open to all fitness levels, the 3.1-mile course will conclude with an afterparty featuring a DJ set by renowned house music producer Will Clarke. After crossing the finish line, participants can refuel with local favorites like Dutch Girl Donuts and The Schvitz before heading straight to Movement. 
Tickets to the "Detroit Techno 5K" are on sale now. Movement is scheduled for May 25–27 at Detroit’s Hart Plaza with a lineup featuring Charlotte de Witte, Jamie xx, Sara Landry, Nina Kraviz and more.
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All Of The EDC Vegas 2025 Updates You Need To Know

EDC Las Vegas 2025 is here and these are the updates you cannot miss. Learn about meet-and-greets, livestream start times, and Insomniac’s exciting global expansion. Ravers from around the world come to Electric Daisy Carnival as it returns to Las Vegas this May 16-18, 2025, bigger and brighter than ever before. To make it easier for you, we’ve compiled everything you need to know to make the most of your EDC experience this year.
Here’s the essential EDC Vegas updates this 2025 that’s on our radar:
EDC 2026 Dates Confirmed for May 15-17
We’re not even done with the 2025 edition but this is probably one of the most important EDC Vegas updates. As if the excitement for EDC 2025 wasn’t enough, Insomniac just dropped the dates for EDC’s 30th anniversary in 2026. Spotted on a taxi billboard in Las Vegas, the teaser confirmed May 15-17, 2026 at the Las Vegas Motor Speedway. With the “Dirty 30” theme already building hype, now is the perfect time to book hotels early to secure the best rates and availability.
Win a Meet and Greet with Eurotrash at BeatBox BeatBus
EDC 2025 brings fans an exciting chance to meet their favorite duo Eurotrash, powered by BeatBox. The first fifty Headliners who stop by the BeatBox BeatBus on Saturday from 11:55 PM to 12:25 AM might score a wristband for an exclusive meet and greet. There’s no catch. All you have to do is show up early, be one of the first in line, and you’re in. Consider this your sign to set a reminder because these wristbands are limited to the first 50 people only.
The Great Pokémon and Kandi Meetup Returns for 2025
Ravers both new and seasoned know that community is the heartbeat of EDC. The 11th Annual Great Pokémon and Kandi Meetup is happening once again on May 17, 2025, right at the Rainbow Road entrance. This fan-favorite gathering will host two meetup times, the first from 9:30 PM to 10:30 PM, and again from midnight to 12:30 AM. Expect to swap kandi, meet fellow Pokémon fans, and celebrate unity under the electric sky. If you’re entering from Rainbow Road, you can’t miss it.
BOGO Drinks for EDC Headliners at Airoma Cafe
If you’re looking for pre-festival fuel or a pick-me-up after the afters, head to Airoma Cafe Las Vegas. Show your EDC 2025 wristband and get a buy-one-get-one-free drink deal. The offer runs from May 16 to May 19. The rules are simple—limited to one free drink per person, and your wristband must be worn at the time of payment. It’s a great way to save while you sip and recharge for the night ahead.
Insomniac Radio Launches Free 24/7 Streaming App
In a major move ahead of the festival, Insomniac launched its new radio app, bringing nonstop dance music to listeners worldwide. The free app features four curated channels: ONE, ANALOG, IMPACT, and LUCID. Whether you love techno, trance, bass, or festival anthems, there’s something for every taste.
ONE brings you festival anthems, big room bangers, and crowd favorites. It features music you’ll hear at kineticFIELD, circuitGROUNDS, and cosmicMEADOW. ANALOG dives deep into house and techno with beats straight from Day Trip and Factory 93. During EDC Las Vegas, it becomes the exclusive stream for stereoBLOOM. IMPACT powers up with bass-heavy chaos, featuring dubstep, DnB, trap, and hardstyle. It takes over the wasteLAND stage live during EDC. LUCID delivers melodic techno, deep house, and trance, designed for fans of Dreamstate and Interstellar. It becomes your exclusive audio gateway to quantumVALLEY. Insomniac Radio also streams artist-led shows from top names like Hardwell, Martin Garrix, John Summit, and Illenium. You’ll even get live EDC Week club sets, including Chris Lorenzo at Marquee Dayclub on May 14, and Gorgon City at Hotel EDC on May 15. Download the Insomniac Radio app on iOS or Android now to join the experience.
Official Livestream Schedule Announced
Can’t make it to Vegas and missing the rave updates for EDC 2025? No worries, Insomniac has your back. Electric Daisy Carnival will broadcast live on Insomniac TV and YouTube starting Friday, May 16 at 6:45 PM PT. The livestream will cover kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN, and bassPOD. Viewers can tune in daily to catch exclusive performances from the world’s biggest electronic artists.
Livestreams will run separately each day and are completely free on TV.Insomniac.com. Global start times have already been posted. So wherever you are, you’ll be able to catch the magic in real-time.
EDC Vegas 2025 Livestream Start Times
Las Vegas – Friday 6:45 PM PT Los Angeles – Friday 6:45 PM PT Seattle – Friday 6:45 PM PT Mexico City – Friday 7:45 PM CT Toronto – Friday 9:45 PM ET New York – Friday 9:45 PM ET Orlando – Friday 9:45 PM ET Sao Paulo – Friday 10:45 PM BRT London – Saturday 2:45 AM BST United Kingdom – Saturday 2:45 AM BST Madrid – Saturday 3:45 AM CEST Amsterdam – Saturday 3:45 AM CEST New Delhi – Saturday 7:15 AM IST Shanghai – Saturday 9:45 AM CST Hong Kong – Saturday 9:45 AM HKT Tokyo – Saturday 10:45 AM JST Seoul – Saturday 10:45 AM KST Sydney – Saturday 11:45 AM AEST EDC Colombia Announced for October 2026
Insomniac continues its global expansion with the official announcement of EDC Colombia, arriving October 2026 in Medellín. The festival will take place at the Unidad Deportiva Atanasio Girardot. This marks the next chapter in Insomniac’s journey, following successful editions in Mexico, Brazil, the UK, China, India, and South Korea.
Pasquale Rotella, Insomniac’s Founder and CEO, confirmed the partnership with Páramo Presenta, promising to deliver an authentic and elevated experience. Fans can expect world-class stage designs, art installations, carnival rides, and local cultural elements. Stay tuned to EDCColombia.com for lineup and ticket details.
See You Under the Electric Sky
Whether you’re dancing in the heart of the Speedway or tuning in from across the world, EDC is more than a festival. It’s a community fueled by love, creativity, and connection. Every light, every beat, and every smile adds to the story we build together. As you step into the magic of EDC Las Vegas 2025, remember these updates and carry peace, love, unity, and respect in everything you do. Be kind to strangers, look out for one another, and share the moment. The energy you give is the energy you get. We’ll see you under the electric sky—together, as one.
The post All Of The EDC Vegas 2025 Updates You Need To Know appeared first on EDMNOMAD.
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Champagne Drip and Linney Join Forces for Dreamy Bass EP, "Story Arcs"

Champagne Drip and Linney have reunited to release Story Arcs, a genre-bending EP out now via Liquid Stranger's Wakaan imprint.
The three-track project masterfully oscillates between future bass, house, dubstep and drum & bass as Champagne Drip threads his dreamlike production through the emotive vocals of Linney, a recent inductee to the EDM.com Class of 2025. The duo last teamed up in 2021 for "In My Dreamz," and their latest once again strikes a compelling balance between storytelling and hypotonic production.
"I poured a lot into Story Arcs—it came from a real place and gave me the chance to blend all the styles I love," Champagne Drip shared on social media.
The EP begins with "Inside Out," a bass track swirling with Champagne Drip's psychedelic soundscapes and Linney's aching lyrics. Then comes "Castle," where she guides us through a kaleidoscopic dubstep sequence before the arrangement closes with a breathtaking four-on-the-floor drop. They close with "Running," a liquid drum & bass cut that layers angelic vocals over carefully sculpted drum patterns and neurobass.
You can listen to Story Arcs below and find the new EP on streaming platforms here. 
Follow Champagne Drip:
X: x.com/champagnedrip
TikTok: tiktok.com/@champagnedrip
Instagram: instagram.com/champagnedrip
Facebook: facebook.com/champagnedrip
Spotify: spoti.fi/3bqf31k
Follow Linney:
X: x.com/linneyofficial
TikTok: tiktok.com/@linney
Instagram: instagram.com/linney
Facebook: facebook.com/linneyofficial
Spotify: spoti.fi/33ARzWg
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Here’s a Sneak Peak At UNVRS Ibiza Before It Opens

After months of speculation, the details of Ibiza’s newest nightclub have been revealed. Named [UNVRS], the venue will open its doors on Friday, May 30, 2025, and comes from The Night League, the group behind Ushuaïa and Hï Ibiza, led by Yann Pissenem.
Built on the site of the former Privilege Ibiza, [UNVRS] is described as a multi-functional nightlife venue with an ambitious architectural and artistic vision. The project is positioned as both a tribute to Ibiza’s clubbing roots and a forward-looking reimagining of the nightclub experience.
Design and Concept
[UNVRS] combines traditional Ibizan aesthetics on the exterior—whitewashed walls and natural stone textures—with an interior designed to surprise. The venue blends architectural references from brutalism, retro-futurism, and art deco, and includes both indoor and outdoor areas. It features layered floors, mirrored corridors, and sculptural elements, with all furniture and fixtures either custom-made or artisanally crafted. One standout feature is the Dome Terrace, a visible structure from the nearby highway, designed to offer panoramic views of Ibiza Town.
Scale and Technical Capabilities
The central dancefloor has been constructed to accommodate large-scale productions. The venue includes a custom-engineered L-Acoustics sound system and a roof structure capable of supporting major production rigs. Lighting is handled through three integrated systems—architectural, functional, and performance—controlled via centralized software. Acoustic insulation also functions as thermal insulation, adding an environmental dimension to the build.
The production design is being developed in collaboration with High Scream, known for their large-scale show work in nightlife and events.
VIP and General Access
[UNVRS] includes a VIP area designed to offer a discreet and immersive experience, with an inverted U-shaped balcony and private walkways including an area known as The Catacomb. A VIP-only outdoor terrace is also part of the layout. That said, the venue emphasizes open access and free movement, aiming to create a shared experience regardless of ticket type. Unique Features
A notable and unconventional space within the club is The Wild Comet, described as a “micro-club” located within the venue’s restrooms. It includes a DJ booth and sound-reactive lighting, effectively turning a functional area into a performance space. Each restroom is individually designed, avoiding uniformity and contributing to the venue’s overall concept.
Food & Beverage
A curated dining area is included, offering both elevated and casual options. Food has been selected to complement the clubbing experience—avoiding overpowering aromas or messy textures—and drink storage has been optimized for temperature control.
Conclusion
With its opening scheduled for May 30, [UNVRS] introduces a new concept to Ibiza’s nightlife landscape—merging high-end design, large-scale production capability, and curated guest experiences. It remains to be seen how the venue will be received, but early indications suggest it could become a new point of reference in the island’s evolving club scene.

The post Here’s a Sneak Peak At UNVRS Ibiza Before It Opens appeared first on EDMTunes.
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Craig Oram on Sound, Influence, and Creative Direction within Today’s Electronic Music Scene

In this interview, we connect with Craig Oram to dive into the foundations of his musical identity, tracing how formative moments, global influences, and underground scenes have helped shape his direction as a Producer. From witnessing live performances to exploring the wider scope of the Electronic Music scene, Craig shares the key experiences that set him on a path toward building his own sound, remaining both curious and passionate as he continues to shape his musical journey and evolving style.  
As we sit down to discuss his approach, inspirations, and navigation of the ever-shifting landscape of Electronic Music, we look forward to gaining insight into Craig Oram and his unique perspective. 
Hi Craig, how are you doing? 
Hey! Much appreciate the chance to chat again! 
I’m all good, currently back out at sea at work, but thankfully, I am still getting the time I need for producing. 
Can you remember the first artist or track that made a lasting impression on you? 
That’s a good question, there’s plenty! But I’ll try to think back… 
I think there are a few occurrences when I was younger which were turning points in my music taste and interest in the genre. 
Seeing Deadmau5 play at Rockness in Scotland in 2012 – the set featured all his own music and his revolutionary light show – that made a huge impression on me. 
Similarly with Eric Prydz / Cirez D – his track called ‘Tomorrow’ – the tightly produced, powerful groove and 16th note bassline kept me replaying that track for a while. Moving forward, I then tried to find tunes that dialled that style up a notch. 
I think it was around 12 years ago when I was on holiday in Cape Town. I met some lads surfing at the beach, and one of them was a producer. He showed me Psytrance for the first time. To be honest, I can’t remember the track or artist, but when I heard it, I immediately liked the aesthetic of the sound and the energy it provided. I think that was when I realised anyone can be a producer, and you don’t need a huge studio to do it. 
How have your early experiences at festivals shaped your musical taste and direction as a producer? 
Going from small festivals in Scotland to larger ones in England and then to some of the biggest festivals in Europe and America, at first, it was quite difficult to differentiate what I was listening to. Also, when you’re younger, you’re usually much more drunk! 
It took a while for me to find the music I really liked. It started with listening to random stuff, then kind of mainstream Techno, then searching for funkier Tech House/Disco stuff. Then, when I went to Ozora, I loved the Psytrance – but the tunes I heard at the Techno stage were like a fusion of Psy/Melodic/Minimal Techno, and that really resonated with me. 
You’ve mentioned artists like Lu4o, Shagy (IL), and Groove Delight before—what is it about their sound that resonates with you? 
I feel you can tell they’ve gone their own way and created tunes they want to make, rather than what they think the audience wants. It keeps their music authentic, and their ability is shown so well through their productions and mixes. 
I love their sound choice, bass groove, energy and creativity. It’s not stereotypical or predictable – there’s a psychedelic element to their tracks, and I love to see when they release something new. 
Are there any non-electronic genres or artists that have influenced your approach to rhythm or atmosphere? 
Sometimes UK/US rap will influence my rhythm, but mostly just due to trying to fit my style of bassline around their vocals. 
Some of the basslines from older Funk Rock tracks give me inspiration and sometimes remind me not to overproduce. 
I feel sometimes I overlook the atmospheric elements in my tracks as I get too excited about the main idea, but I am trying to put more effort into the accompanying elements. 
Do you find your influences changing as your production style evolves, or do you tend to return to certain sounds or artists? 
The psychedelic influence, I feel, is ingrained in my production process now. 
I think my influences remain fairly constant. I stick mostly to Tech House, Indie Dance, and some Melodic Techno. My close friends share a similar music taste to me and are constantly on the lookout for new tunes/artists. Sometimes they’ll show me a track or artist they’ve recently discovered, and it will ignite a new avenue to try and create a similar track. 
How does your environment or the people around you contribute to what you’re inspired by musically? 
My environment is constantly changing, and I have barely any routine. My life consists of working away on an oil rig off the coast of Israel for a month, then I’m released back into the world for a month. 
I juggle travelling and trying to see my friends and family as much as I can. My surroundings vary massively from one week to the next. I feel this is good for creativity though, as I really don’t know what will inspire me next – but I’m always open and looking for opportunities. 
Is there a specific track or set you’ve heard that made you think differently about how you wanted to make or play music? 
I think when I heard Lu4o’s track ‘Just for Laughs’ for the first time, I knew what standard of groove, energy, creativity and clarity I wanted to aim for in my tracks. It opened my eyes to a whole new avenue of underground sub-genres and other similar producers, and to not be afraid to just produce what I really want. 
How do you balance drawing inspiration from others with staying original in your own productions? 
This is probably easiest explained with a recent example… 
There’s an unreleased track that Adam Sellouk and other melodic DJs are playing now – I think it’s called ‘Make You’. It’s simple, but it hits hard and is produced fantastically. I loved the energy, and it made me feel a certain way. 
So, I decided I wanted to produce that style of track with the aim of achieving a similar feeling. Or at least try… It’s not my typical kind of style, but I really enjoyed producing it. 
I don’t really use reference tracks at all when I’m in the production stage, as I find sometimes it may push you to mimic the other artist’s track too much. 
I just start a new project, get the initial bass rhythm going, then any new elements I audition in the track, I decide if it gets me closer to how I felt when I listened to the track that inspired me in the first place. My trust in my own intuition has grown a lot in the past 24 months, and sometimes, once I’ve finished a track, I can barely even remember how I did it… 
I started and finished this track here, at work, following two night shifts, and I think it may be one of the cleanest tracks I’ve made so far. It will come out soon – it’s called ‘Work It.’ 
Are there any scenes or regions—like Brazil’s minimal scene or the UK underground—that you keep a close eye on for inspiration? 
Brazil’s underground minimal scene has had a strong impact on how I produce, especially in the bass side of my tracks. I would often listen to DJ sets from clubs like Green Valley or Universo Parallelo. I’d love to visit Brazil, and it would be a dream to play there. 
Nowadays, the amazing Tech House that’s coming out of Argentina is massively inspiring me right now. Labels like LOW CEILING and Kindegarden showcase a lot of this style. 
There’s a style of music that came out of Egypt over 10 years ago, and most of the producers behind it have either stopped producing or completely changed their style. If you search for artists like S-lap, Proof, Shata, or Mooh – for me, their music was ahead of its time. It gave me a lot of insight into how creative you can be with rhythm. 
If you could collaborate with any artist that’s influenced you, who would it be and what kind of track do you imagine making together? 
I would kill to collaborate with CADELAGO – I feel his sound and hybridisation of genres is very fresh and powerful, and all his remixes are very relatable for audiences. He also has his own Psytrance alias ARCTURUS – his tunes are unreal too. I feel our tastes are not so different. 
As we end our interview with Craig Oram, we thank him for his time and for allowing us a glimpse into his creative world. Remaining inspired by the diversity of Electronic Music and its ever-evolving substyles, he continues to refine his sonic identity, motivated by the pursuit of originality, connection, and steady artistic growth. With new music on the horizon, the road ahead is set to see Craig further develop his sound and approach, so be sure to keep him on your radar and follow him across social media, staying tuned for updates on his latest projects and releases. 
Craig Oram Online   
Spotify | Instagram   
The post Craig Oram on Sound, Influence, and Creative Direction within Today’s Electronic Music Scene appeared first on EDMTunes.
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Stax Museum Announces Digital Version of Bob Abrahamian Soul Music Collection

Photo Credit: Bob Abrahamian by SoulFM / CC by 3.0
The Stax Museum of American Soul Music unveils a website dedicated to late Chicago DJ and music historian Bob Abrahamian’s vast soul music collection.
Noted Chicago DJ, record collector, and music historian Bob Abrahamian’s vast collection of music and interviews is now available digitally through the Stax Museum of American Soul Music. Today, the Stax Museum announced the launch of its new online initiative, the Bob Abrahamian Collection Website—”a groundbreaking online archive that pays tribute to the late Chicago radio host, collector, and soul music historian whose passionate work helped preserve the deep soul sounds of a generation.”
Abrahamian, who died in 2014 at age 35, collected a treasure trove of content, including rare recordings, oral history interviews, and full-length episodes of his legendary “Sitting in the Park” radio show, which aired on Chicago’s WHPK 88.5 FM. The website will offer access to previously unreleased digitally restored radio broadcasts, exclusive interviews with artists, and searchable transcripts. The digital home for the collection will offer curated playlists and upload new content every two weeks.
The Stax Museum first acquired Abrahamian’s collection in 2021—a wealth of some 35,000 45 RPM singles and LPs as well as related materials, including high school yearbooks, photographs, scrapbooks, and other artifacts. The collection was donated by Abrahamian’s family to the Stax Museum after several years of discussions with the organization. Previously, the collection was on loan to Chicago’s Black Music Research Center at Columbia College until it closed its doors in 2019.
“Bob’s dedication to preserving the cultural memory of American soul music was unmatched,” said Abrahamian collection curator and former Stax Museum executive director, Jeff Kollath. “This new website brings his work to the public in a way that’s accessible, immersive, and historically essential.”
To celebrate the site’s launch, the Stax Museum will hold an event tonight (May 14) at Central Station at 7 PM, with a special DJ set by Kollath and Central Station’s Cadillac Zac, featuring records from the Abrahamian Collection.
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SeatGeek and StubHub Follow Ticketmaster’s Lead with Upfront Ticket Pricing

Photo Credit: Ashley King (StubHub website)
With Ticketmaster offering all-in pricing on its website and mobile apps, both secondary ticketing marketplaces SeatGeek and StubHub have done the same.
The move among ticketing platforms was driven by new Federal Trade Commission (FTC) regulations and mounting consumer frustration at ticket prices. Research has revealed that up to 50% of abandoned purchases from consumers are the result of hidden fees only disclosed at checkout. Ticketmaster’s adoption of all-in pricing happened earlier this week—now all fees except local taxes are included in the advertised price.
The change addresses years of criticism surrounding ‘junk fees’ and hidden charges that often blindside concert ticket purchasers. With Ticketmaster setting the precedent, both SeatGeek and StubHub have updated their platforms to conform with the new FTC rules. SeatGeek was previously criticized for revealing its 10-48% buyer fees only at checkout. Now it includes the total ticket cost including mandatory fees (minus taxes) at the start of the buying process.
The StubHub website was the first to confirm to all-in ticket pricing, while the mobile app did not. Digital Music News reached out to StubHub to ask why and was informed that the all-in pricing app roll-out is now included on mobile, too. Checking the prices of Beyonce concert tickets on the StubHub platform revealed fees are included and a new pop-up notification announcing such.
This harmonization in upfront ticket pricing across the industry for live events is a direct response to both regulatory pressure and consumer dissatisfaction with the ticket buying process. Gone are the days where ticket markets tack on an additional $75 on top of a $150 ticket price—nearly doubling the cost for consumers. While this is a good start for upfront pricing, it’s worth noting that tacked on fees and their breakdown remains opaque for buyers.
All three ticketing entities do not provide a breakdown of the ‘fee price’ shown at check-out. Ticketmaster mentions that fees may include service fees, processing fees, facility charges, and any venue-specific fees—but it does not break down these fees in the final checkout presentation. Instead, all fees are lumped into the fee category. States like New York have introduced bills that would cap additional service charges at 15% of the ticket value, further refining tacked on fees by ticketing platforms.
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SoundCloud Announces Terms Update Amid AI Training Controversy — IP-Rights Advocate Says ‘The Change Doesn’t Go Nearly Far Enough’

SoundCloud CEO Eliah Seton, who’s responded to the ongoing controversy about his platform’s AI training policies. Photo Credit: SoundCloud
Amid pushback targeting an AI-focused update to his platform’s terms of use, SoundCloud CEO Eliah Seton has responded to the controversy. But critics say a new TOS adjustment doesn’t go far enough to protect artists.
The SoundCloud head addressed the fiasco in a more than 650-word open letter today. This lengthy follow-up arrives on the heels of criticism from artists as well as a few not-so-helpful statements from the company.
As we previously recapped, an early 2024 update (which, presumably implemented sans email notification, just recently entered the media spotlight) to SoundCloud’s terms compelled artists to “explicitly agree that” their music uploads “may be used to inform, train, develop or serve as input to artificial intelligence or machine intelligence technologies.”
The company subsequently claimed it hadn’t actually trained or allowed training on protected works – albeit while leaving the door open for related initiatives down the line.
Enter the response from Seton, who maintained once more that SoundCloud hadn’t “used artist content to train AI models” or authorized “third parties to scrape or use artist content from SoundCloud to train them either.”
In keeping with the Musiio owner SoundCloud’s prior remarks, the exec described the relevant TOS clause as an effort to power “smarter recommendations, search, playlisting, content tagging, and tools that help prevent fraud.”
“More broadly,” the CEO deflected, “we use AI to identify emerging talent, personalize the platform experience, and support real-time customer service, all designed to support human artists and engage real fans.”
Getting to the heart of the matter, Seton then acknowledged that the February 2024 TOS section “was too broad and wasn’t clear enough.”
Running with the point, the four-year SoundCloud higher-up confirmed a fresh terms update that looks as though it may put the kibosh on certain “opt-out” requirements. The latter would leave it up to artists and rightsholders to proactively exclude their work from on-platform training.
Instead, the adjusted TOS, which Seton disclosed in full, would seemingly mean that artists would have the chance to expressly consent to some types of AI training beforehand. Nevertheless, even the modified language doesn’t close the aforementioned training door altogether.
“We will not use Your Content to train generative AI models that aim to replicate or synthesize your voice, music, or likeness without your explicit consent, which must be affirmatively provided through an opt-in mechanism,” the proposed alteration reads in part.
“For the avoidance of doubt,” the important text continues, “neither SoundCloud nor any third party is allowed to use, copy or reproduce any Content delivered to the Platform under separate agreements…for the purposes of informing, training developing (or as input to) artificial intelligence technologies without authorization from the applicable rightsholders.”
On X, Fairly Trained CEO Ed Newton-Rex (whose TOS discovery set the training controversy in motion) took issue with the “aim to replicate” stipulation.
“SoundCloud have changed their terms on AI in response to user backlash, but the change doesn’t go nearly far enough,” Newton-Rex wrote.
“Their new terms will say they won’t train gen AI models that replicate your voice / style,” he continued. “But they leave the door open to the much more likely gen AI training: models trained on your work that might not directly replicate your style but that still compete with you in the market.
“If they actually want to address concerns, the change required is simple. It should just read ‘We will not use Your Content to train generative AI models without your explicit consent,’” the former Stability AI exec proceeded.
The way Newton-Rex sees things, if SoundCloud decides to leave the fresh terms “unchanged” from here, “we can only assume” the new approach “is intentional.”
Suffice to say that the multifaceted issue won’t be going away anytime soon. For SoundCloud in particular, future AI announcements, pertaining to training or not, will be closely scrutinized. And it remains to be seen how different DSPs will approach training moving forward.
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Tomorrowland To Open Retail Store In Ibiza With Terrace DJ Sets & Tattoos

Tomorrowland is opening its first-ever retail store in Ibiza.
The festival behemoth today unveiled plans to launch a flagship storefront on the nightclub-laden island, showcasing Tomorrowland’s signature blend of music, art, dining, and hospitality across more than 5,000 square feet in the new Ibiza Gallery retail complex in Playa d’en Bossa, located just steps from Ushuaïa and Hï Ibiza.
Set to open on June 6, the store was designed by Tomorrowland’s in-house Great Library Design Studio and is replete with architectural elements said to embody “the enchanting world of Tomorrowland in every detail,” according to a press release, including the brand’s famous butterflies and other immersive displays that bear likeness to its WEAREONE.world headquarters in Antwerp, Belgium.
Inside, fans can purchase a range of curated lifestyle products and exclusive brand collaborations, such as Serax homeware, MORPHO design, Baobab Collection candles, and JBL speakers and headphones, as well as official Tomorrowland apparel and accessories, including the festival’s official fragrance.
Outside, the Tomorrowland Store has its own terrace for DJ sets, complete with a wine bar serving pours of Tomorrowland’s Acta Non Verba and Solo Vida wines, signature Hierbas, and craft coffee. Fans can expect it to act as a dynamic venue for sunset DJ sessions, meet-and-greets, and exclusive tastings, according to a press release.
Elsewhere, visitors can check out the Tomorrowland Expo for a history lesson on the long-running festival with various artifacts, and the most dedicated fans can show off their loyalty with some new ink from the Tomorrowland Store’s on-site tattoo studio.
Check out images of the new Ibiza Tomorrowland Store below. For more information, visit store.tomorrowland.com.
 
Featured image courtesy: Tomorrowland.
The post Tomorrowland To Open Retail Store In Ibiza With Terrace DJ Sets & Tattoos appeared first on EDM Maniac.
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Tomorrowland To Open Retail Store In Ibiza With Terrace DJ Sets & Tattoos

Tomorrowland is opening its first-ever retail store in Ibiza.
The festival behemoth today unveiled plans to launch a flagship storefront on the nightclub-laden island, showcasing Tomorrowland’s signature blend of music, art, dining, and hospitality across more than 5,000 square feet in the new Ibiza Gallery retail complex in Playa d’en Bossa, located just steps from Ushuaïa and Hï Ibiza.
Set to open on June 6, the store was designed by Tomorrowland’s in-house Great Library Design Studio and is replete with architectural elements said to embody “the enchanting world of Tomorrowland in every detail,” according to a press release, including the brand’s famous butterflies and other immersive displays that bear likeness to its WEAREONE.world headquarters in Antwerp, Belgium.
Inside, fans can purchase a range of curated lifestyle products and exclusive brand collaborations, such as Serax homeware, MORPHO design, Baobab Collection candles, and JBL speakers and headphones, as well as official Tomorrowland apparel and accessories, including the festival’s official fragrance.
Outside, the Tomorrowland Store has its own terrace for DJ sets, complete with a wine bar serving pours of Tomorrowland’s Acta Non Verba and Solo Vida wines, signature Hierbas, and craft coffee. Fans can expect it to act as a dynamic venue for sunset DJ sessions, meet-and-greets, and exclusive tastings, according to a press release.
Elsewhere, visitors can check out the Tomorrowland Expo for a history lesson on the long-running festival with various artifacts, and the most dedicated fans can show off their loyalty with some new ink from the Tomorrowland Store’s on-site tattoo studio.
Check out images of the new Ibiza Tomorrowland Store below. For more information, visit store.tomorrowland.com.
 
Featured image courtesy: Tomorrowland.
The post Tomorrowland To Open Retail Store In Ibiza With Terrace DJ Sets & Tattoos appeared first on EDM Maniac.
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Insomniac Radio App Enters Streaming Space With 24/7 Free Dance Music, Hinting at a Shift in Fan Community Platforms

Photo Credit: Insomniac
Insomniac has launched a new streaming app offering nonstop electronic music, without ads or subscription requirements. 
The Insomniac Radio app delivers curated music streaming 24/7 across four channels. Insomniac has previously released exclusive festival sets on platforms like Apple Music but is now building its own dedicated streaming space.
The app is free to use and built around genre-specific channels: ONE, ANALOG, IMPACT, and LUCID. Each channel is designed to reflect different corners of dance music. From the bass-heavy wubs and house heads to the more melodic world of trance, the platform is structured to mirror the same audience groups that define its festivals.
Are other event organizers even thinking about how to extend their communities in this way?
It raises questions about why more event producers with strong communities have not taken this route, or an avenue similar to a dedicated streaming app. Many rely a little too heavily on social media content, YouTube livestreams, or the occasional playlist. With how deeply some of these brands have embedded themselves into fan communities, it’s surprising more haven’t explored dedicated streaming as a long-term extension of their ecosystem.
Beyond the always-on channels, listeners can tune in to over 100 artist-hosted shows, including 40 exclusive series. The lineup of hosts includes artists, creators, event headliners, industry professionals, and curators, contributing a range of perspectives to the platform. Names range from established headliners like John Summit, Martin Garrix, Alison Wonderland, Afrojack, Hardwell and more.
During major Insomniac events, the app will also function as a live broadcast hub. Insomniac Radio will stream exclusive audio from select stages at EDC Las Vegas 2025, including stereoBLOOM, wasteLAND, and quantumVALLEY. These stages will not be part of the video livestream, making the app the only way to hear these sets remotely.
EDC Week club performances from artists including Chris Lorenzo, Biscits, and Mochakk are also being incorporated into the programming, expanding the app’s scope beyond large-scale festivals to include smaller venue events.
For participating artists, the platform offers an additional distribution channel outside of traditional DSPs and social media.
Unlike platforms driven by algorithms, the special curation of Insomniac Radio allows artists to present their work within a branded and genre-specific context tied to live event communities. This format may be particularly useful for artists looking to engage with niche or regional audiences tied to Insomniac’s festival network. It also provides a way to maintain visibility between tour cycles, potentially supporting fan retention and discovery in a more controlled environment.
With no paid tier or sponsored interruptions, it’s a different model than what we’ve seen from traditional DSPs, and an unique step for a festival company.
Insomniac has also been expanding its global footprint, with the recent debut of EDC Medellín and other international editions. Whether the app will eventually become a central digital layer connecting these events in the Insomniac universe, this feels like the start of something new. 
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Nine Inch Nails Announce Future Ruins Festival of the ‘World’s Most Influential’ Film & TV Composers

Photo Credit: Nine Inch Nails by Allina S (chocolate_starfish__) / CC by 2.0
Nine Inch Nails’ Trent Reznor and Atticus Ross announce the full lineup for Future Ruins, a new festival bringing together the biggest composers in film and TV.
Future Ruins is set to take place at the Los Angeles Equestrian Center on November 8, featuring performances that include festival organizers and Nine Inch Nails duo Trent Reznor and Atticus Ross. The festival is described as a “first-of-its-kind music festival: a day-long event where the world’s most influential film and television composers step out from behind the screen and onto the stage.”
“It’s about giving people who are, literally, the best in the world at taking audiences on an emotional ride via music; the opportunity to tell new stories in an interesting live setting,” said Reznor. “Every artist is a headliner.”
According to the festival’s website, “each artist is encouraged to take big swings and re-imagine their work for a live audience. Ranging from electronic sets and live bands to orchestral performances, fans have the chance to experience live debuts from composers who rarely appear on stage.”
Confirmed acts for the event include John Carpenter, Danny Elfman, Claudio Simonetti’s Goblin, Mark Mothersbaugh, Hildur Guðnadóttir, Kyle Dixon and Michael Stein, Ben Salisbury and Geoff Barrow, Questlove, Isobel Waller-Bridge, and Terence Blanchard.
Nine Inch Nails, who have also won multiple Oscars for Best Original Score, are scheduled to perform as well, but they won’t be performing Nine Inch Nails material. The industrial icons have a wealth of soundtrack scores to their names, including The Social Network, Watchmen, Gone Girl, Soul, The Girl with the Dragon Tattoo, Challengers, and more.
Fans looking to hear Nine Inch Nails’ material can catch Reznor and his band during their Peel It Back Tour across the UK, Europe, and North America, starting next month. An extensive run of dates kicks off on June 15 at the 3Arena in Dublin, before they head to Manchester’s Co-op Live on June 17, and London’s O2 Arena on June 18. The tour then heads to mainland Europe and North America.
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Headliners Revealed For Mixmag Ibiza Sessions Debut Residency At Amnesia, Ibiza

Since being founded in 1983, Mixmag has grown exponentially from starting out as a print magazine to becoming a multi-platform brand recognised worldwide. 42 years on from their beginnings they’re continuing to expand their horizons with the debut residency of Mixmag Ibiza Sessions at Amnesia, Ibiza.
Spanning from June 11th to October 1st, Mixmag will be taking over the legendary Amnesia, Ibiza terrace with 8 exquisite events headed up by a lineup of unbelievable artists. Each event features a fresh lineup of DJs from around the world with a variety of different genres on display across each event.
Their kicking off the proceedings in a big way on June 11th with the legends that are Armand Van Helden, Sam Divine, Ares Carter, and a b3b set from Harvy Valencia, Jesse Calosso, and Jean Pierre. In the following weeks the terrace will be graced by even more dance music icons and rising stars including the likes of Boys Noize, Space 92, Oguz, Franky Wah, and Fish56Octagon. The lineup is already top tier and there are still more artists to be announced to join this pool of dazzling DJs.
Grego O’Halloran, Promoter of Mixmag Ibiza Sessions at Amnesia says; “It’s incredibly exciting to be able to launch the Mixmag Ibiza Sessions residency. We will be bringing a high energy dance floor experience to Amnesia’s iconic terrace, creating an unprecedented vibe in that room, on top of a massive multi-genre line-up from all parts of electronic music. See you on the dance floor!“
With some amazing artists, an immersive, up close dancefloor experience, as well as hosting special pop-up shows around the island, Mixmag have cooked up something special. Whether you’re a fan of house, techno, trance, tech house, or all of the above, Mixmag Ibiza Sessions has you covered.
To get your tickets, click the button below:
MIXMAG IBIZA SESSIONS TICKETSYou can follow Mixmag on their socials below:
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Marshmello To Voice Character In New ‘Smurfs’ Movie

Marshmello has been cast to voice a character in Paramount’s forthcoming Smurfs movie reboot.
Though it remains uncertain who he’ll play in the live-action-meets-CGI film, Variety reports that the masked EDM superstar will join an A-list Smurfs cast that also includes Rihanna as Smurfette, John Goodman as Papa Smurf, and other stars like James Corden, Nick Offerman, Dan Levy, Sandra Oh, and more.
Written by Pam Brady, known for her work on South Park and Team America, and directed by Chris Miller, known for Puss in Boots and Shrek the Third, the new Smurfs movie follows Smurfette as she leads her little blue brethren on a quest to save Papa Smurf from evil wizards.
Marshmello’s role in the film may come as a surprise to some, considering the helmeted artist only began sharing his voice in 2021, after years of relying on hand gestures and mimed interviews. Just last week, Marshmello, widely believed to be the alias of producer and DJ Chris Comstock, sat down for a two-hour chat with Daniel Wall in his first full-length voice interview.
When it comes to music, the “Happier” and “Come & Go” hitmaker has released a trio of new singles so far in 2025, linking up with the Jonas Brothers on “Slow Motion,” Argentine rapper Trueno on “Fale Então,” and AR/CO on “Worlds Apart,” following his bass-heavy EP The R∞ts, which arrived late last year.
Fans can catch Marshmello in Paramount’s Smurfs when it opens in theaters on July 18.
Featured image courtesy: Marshmello.
The post Marshmello To Voice Character In New ‘Smurfs’ Movie appeared first on EDM Maniac.
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Listen to John Summit's Remix of Delerium and Sarah McLachlan's 1999 Trance Classic, "Silence"

Remixing dance classics requires both reverence and audacity, qualities John Summit wields with finesse in his new remix of Delirium and Sarah McLachlan's turn-of-the-century trance hit, "Silence."
Summit's official remix is out now via Tomorrowland Music, the record label launched by the iconic EDM festival of the same name. The Chicago-born electronic music superstar manages to inject his anthemic sound while preserving the spiritual quality that made the original a genre-defining moment back in 1999.
McLachlan's timeless, crystalline vocals serve as the bedrock of Summit's reimagining, their existential weight magnified by his contemporary production approach. What emerges is a remarkable dialogue between decades as McLachlan's timeless meditation on human disconnection finds renewed urgency within Summit's propulsive house beats, proving that certain emotional truths transcend the confines of both musical eras and their dancefloors.
The track's journey from Madison Square Garden debut to official release mirrors Summit's own meteoric rise. His ability to bridge the generational gap (he also remixed deadmau5 and Kaskade's 2008 classic "I Remember") speaks to a producer who understands and respects dance music history while pushing relentlessly forward.
"As a longtime raver and trance fan, it’s an absolute honor to remix 'Silence’ by Delerium," Summit said in a press release. "I originally made this remix as an edit for my first ever arena show at the iconic Madison Square Garden and it quickly became a fan-favorite. It’s hard to give justice to such a classic, but I think Sarah McLachlan’s powerful vocals along with my trance infused modern tech house production helps bring this song to life in this current era and I’m so stoked to share this one with the world."
You can find Summit's remix of "Delirium" on streaming platforms here.
Follow John Summit:
X: x.com/johnsummit
Instagram: instagram.com/johnsummit
TikTok: tiktok.com/@johnsummit
Facebook: facebook.com/itsjohnsummit
Spotify: spoti.fi/3oVz7hG
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Party All Week Long At EDC Las Vegas 2025

Every seasoned raver knows: EDC Las Vegas isn’t just a festival—it’s a pilgrimage, a “final boss” of the electronic music world. While the official festivities run from May 16-18, the real magic begins long before the gates of the Las Vegas Motor Speedway swing open.
In true Vegas fashion, the city turns up the volume early, with pre-parties, legendary poolside ragers, and exclusive club events kicking off as early as Tuesday, May 14. From iconic residencies to after-hours sessions, EDC Week is more than a weekend—it’s a full-blown electronic odyssey.
Between the sheer scale of EDC and the nonstop chaos of Las Vegas, planning your weekend can feel overwhelming for veterans and newbies alike. That’s where EDM Maniac comes in.
We’ve done the digging, sorting through the sprawling lineup of events before, during, and after the festival to curate the ultimate weekend itinerary. From can’t-miss parties to exclusive VIP access, consider this your insider guide to navigating EDC Week like a pro.
Kickstarter Events
For those with the stamina, the budget, and a generous PTO policy, EDC Week kicks off well before the weekend hits. The pre-parties begin as early as Tuesday, building momentum day by day until the grand opening ceremony under the Electric Sky. In classic Insomniac fashion, the official EDC Week lineup pulls no punches, delivering a stacked roster of top-tier DJs to light up Sin City. The first major spark? A high-octane set from ARMNHMR at Omnia Nightclub on Tuesday night.
By Wednesday, the momentum hits full stride with a genre-spanning slate of pre-parties featuring heavy-hitters like Chris Lorenzo, Alison Wonderland, Beltran, and Mau P—each bringing their own signature energy to the midweek madness.
Thursday turns up the heat with a stacked daytime lineup that spans the spectrum of electronic sound. Bass lovers can dive into the chaos at the Bassrush pool party, featuring heavy-hitters like Basstripper, Jessica Audiffred, Riot Ten, Samplifire, and more.
For those craving a smoother groove under the sun, Day Trip offers a more laid-back vibe with sets from Adam Ten, Azzecca, Gorgon City, Jackie Hollander, and Riordan. And that’s just the start—Chris Lake, Deorro, Porter Robinson, MEDUZA, James Hype, Dabin, and Said The Sky are also set to take over venues across the city, delivering a Thursday that feels more like a full-blown festival day.
As the sun sets on Thursday, the energy only intensifies. Bassrush takes over the night with a thunderous lineup featuring AHEE, INFEKT B2B LEVEL UP, Kompany, Ray Volpe, Sol, SVDDEN DEATH, and YDG—guaranteeing a seismic start to the weekend. Over at the Downtown Las Vegas Events Center, techno heads will find their sanctuary with a relentless back-to-back from Sara Landry and Nico Moreno. And, of course, no EDC kickoff would be complete without dance music’s favorite duo: John Summit and Dom Dolla, who bring their signature swagger to the iconic LIV Nightclub for a night of pure mainstage magic.
EDC Week takes over Las Vegas with a citywide celebration hosted at the Strip’s most iconic venues. From legendary nightclubs like XS, Omnia, Hakkasan, Zouk, and LIV, to sun-soaked destinations including Marquee Dayclub, Encore Beach Club, Daylight Beach Club, and Tao Beach, the party spans every corner of the city.
Meanwhile, Camp EDC will be kicking the weekend off with a Camp EDC homecoming party hosted by Mochakk B2B DJ Gigola, MCR-T, and Alex Chapman & Zoe Gitter.
The full list of official EDC Week pre-parties can be found here with links for tickets.
For those seeking a more intimate, community-driven experience, iHeartRaves is bringing its signature flair to the Luxor Hotel & Casino with “Lux Rave”—a vibrant celebration of rave fashion, creativity, and connection. Expect exclusive meet-and-greet moments, curated style showcases, and a deeper dive into the culture that fuels festival life beyond the stages.
Pool Parties
You can’t party all day unless you start in the morning, right? Las Vegas wouldn’t be complete without daytime pool parties, and EDC Headliners love to be their host. Each day of EDC weekend, Virgin Hotels—home to the official Hotel EDC experience—transforms its pool deck into a day-to-night party paradise, soundtracked by a carefully curated roster of fan-favorite DJs.
Friday kicks off with high-energy sets from Audien, Danny Avila, Deerock, Yellow Claw‘s €URO TRA$H, MORTEN, Nostalgix, and TELYKAST. On Saturday, the vibes shift with a house-heavy lineup featuring Biscits, Carrie Keller, Malaa, Tchami, and Walker & Royce. The weekend closes in style on Sunday with performances from Adventure Club, Baby Savage, CHYL, Elephante, Luci, and MitiS—ensuring the poolside energy stays just as electric as the Speedway.
Beyond the Hotel EDC experience, Las Vegas’s top venues and resorts are diving headfirst into the action with their own high-octane pool parties all weekend long. On Friday, catch FISHER turning up the heat at Marquee Dayclub while Subtronics delivers bass-heavy mayhem at Encore Beach Club. Saturday keeps the momentum going with Eric Prydz commanding the decks at Marquee and The Chainsmokers bringing chart-topping energy to Encore. To close out the weekend, John Summit takes over LIV Beach on Sunday for a sun-drenched finale. And with world-class talent popping up across the Strip, expect standout sets to be sprinkled throughout every sun-soaked day.
For those opting to stay at Camp EDC, the festival experience extends beyond the main stages with exclusive pool parties right in the heart of the action. On Friday, the poolside vibe heats up with performances by Biscits, LF SYSTEM, and Noizu. Saturday brings an underground twist with sets from Andromedik, Drinkurwater, LAYZ, and SOTA. And to close out the weekend, Sunday’s pool party delivers a high-energy finale with performances from SIDEPIECE, Torren Foot, and Walker & Royce, keeping the tempo just as intense as the festival itself.
Meanwhile, for those looking to venture off the beaten path, Liquid Nightclub offers a refreshing alternative to the Insomniac-sponsored circuit. Running Thursday through Sunday, the venue will host a lineup of underground favorites including Cheyenne Giles, DJ Buza, Scooter & Lavelle, and DJ Shr3d—perfect for fans craving something a little less mainstream, but just as high-energy.
The Afters
In Las Vegas, the party never stops—and during EDC weekend, that energy hits another level, extending to the clubs until about 5AM. On Friday night, Brazilian sensation Alok takes over the decks at Hakkasan, while Saturday night sees Crankdat bringing the heat to Zouk Nightclub. To cap off the weekend, Afrojack will close out the festivities at XS on Sunday, delivering a high-energy finale. With DJs turning up the intensity all weekend long, expect legendary performances to keep the party going until the early morning hours at the city’s most iconic venues.
At Camp EDC, the party doesn’t wind down—it continues through the early morning hours, with top-tier artists setting the tone from 5-10AM each day. Saturday’s sunrise session features the smooth grooves of Funk Tribu, ØTTA, and Omiki, while Sunday morning kicks off with a powerhouse lineup of Baggi, Dennis Cruz, and Vintage Culture. As the weekend draws to a close, EDC bids farewell with an unforgettable send-off, as Ben Sterling B2B Beltran B2B ChaseWest and Slugg bring the beats one last time before the festival fades into memory.
For those looking to stretch the magic of EDC weekend into the week, the party continues on Monday night with two powerhouse sets. Kaskade takes over Zouk Nightclub, delivering his signature sound to keep the energy alive, while John Summit brings his electrifying beats to LIV Nightclub, ensuring the EDC vibes linger just a little longer.
The post Party All Week Long At EDC Las Vegas 2025 appeared first on EDM Maniac.
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Party All Week Long At EDC Las Vegas 2025

Every seasoned raver knows: EDC Las Vegas isn’t just a festival—it’s a pilgrimage, a “final boss” of the electronic music world. While the official festivities run from May 16-18, the real magic begins long before the gates of the Las Vegas Motor Speedway swing open.
In true Vegas fashion, the city turns up the volume early, with pre-parties, legendary poolside ragers, and exclusive club events kicking off as early as Tuesday, May 14. From iconic residencies to after-hours sessions, EDC Week is more than a weekend—it’s a full-blown electronic odyssey.
Between the sheer scale of EDC and the nonstop chaos of Las Vegas, planning your weekend can feel overwhelming for veterans and newbies alike. That’s where EDM Maniac comes in.
We’ve done the digging, sorting through the sprawling lineup of events before, during, and after the festival to curate the ultimate weekend itinerary. From can’t-miss parties to exclusive VIP access, consider this your insider guide to navigating EDC Week like a pro.
Kickstarter Events
For those with the stamina, the budget, and a generous PTO policy, EDC Week kicks off well before the weekend hits. The pre-parties begin as early as Tuesday, building momentum day by day until the grand opening ceremony under the Electric Sky. In classic Insomniac fashion, the official EDC Week lineup pulls no punches, delivering a stacked roster of top-tier DJs to light up Sin City. The first major spark? A high-octane set from ARMNHMR at Omnia Nightclub on Tuesday night.
By Wednesday, the momentum hits full stride with a genre-spanning slate of pre-parties featuring heavy-hitters like Chris Lorenzo, Alison Wonderland, Beltran, and Mau P—each bringing their own signature energy to the midweek madness.
Thursday turns up the heat with a stacked daytime lineup that spans the spectrum of electronic sound. Bass lovers can dive into the chaos at the Bassrush pool party, featuring heavy-hitters like Basstripper, Jessica Audiffred, Riot Ten, Samplifire, and more.
For those craving a smoother groove under the sun, Day Trip offers a more laid-back vibe with sets from Adam Ten, Azzecca, Gorgon City, Jackie Hollander, and Riordan. And that’s just the start—Chris Lake, Deorro, Porter Robinson, MEDUZA, James Hype, Dabin, and Said The Sky are also set to take over venues across the city, delivering a Thursday that feels more like a full-blown festival day.
As the sun sets on Thursday, the energy only intensifies. Bassrush takes over the night with a thunderous lineup featuring AHEE, INFEKT B2B LEVEL UP, Kompany, Ray Volpe, Sol, SVDDEN DEATH, and YDG—guaranteeing a seismic start to the weekend. Over at the Downtown Las Vegas Events Center, techno heads will find their sanctuary with a relentless back-to-back from Sara Landry and Nico Moreno. And, of course, no EDC kickoff would be complete without dance music’s favorite duo: John Summit and Dom Dolla, who bring their signature swagger to the iconic LIV Nightclub for a night of pure mainstage magic.
EDC Week takes over Las Vegas with a citywide celebration hosted at the Strip’s most iconic venues. From legendary nightclubs like XS, Omnia, Hakkasan, Zouk, and LIV, to sun-soaked destinations including Marquee Dayclub, Encore Beach Club, Daylight Beach Club, and Tao Beach, the party spans every corner of the city.
Meanwhile, Camp EDC will be kicking the weekend off with a Camp EDC homecoming party hosted by Mochakk B2B DJ Gigola, MCR-T, and Alex Chapman & Zoe Gitter.
The full list of official EDC Week pre-parties can be found here with links for tickets.
For those seeking a more intimate, community-driven experience, iHeartRaves is bringing its signature flair to the Luxor Hotel & Casino with “Lux Rave”—a vibrant celebration of rave fashion, creativity, and connection. Expect exclusive meet-and-greet moments, curated style showcases, and a deeper dive into the culture that fuels festival life beyond the stages.
Pool Parties
You can’t party all day unless you start in the morning, right? Las Vegas wouldn’t be complete without daytime pool parties, and EDC Headliners love to be their host. Each day of EDC weekend, Virgin Hotels—home to the official Hotel EDC experience—transforms its pool deck into a day-to-night party paradise, soundtracked by a carefully curated roster of fan-favorite DJs.
Friday kicks off with high-energy sets from Audien, Danny Avila, Deerock, Yellow Claw‘s €URO TRA$H, MORTEN, Nostalgix, and TELYKAST. On Saturday, the vibes shift with a house-heavy lineup featuring Biscits, Carrie Keller, Malaa, Tchami, and Walker & Royce. The weekend closes in style on Sunday with performances from Adventure Club, Baby Savage, CHYL, Elephante, Luci, and MitiS—ensuring the poolside energy stays just as electric as the Speedway.
Beyond the Hotel EDC experience, Las Vegas’s top venues and resorts are diving headfirst into the action with their own high-octane pool parties all weekend long. On Friday, catch FISHER turning up the heat at Marquee Dayclub while Subtronics delivers bass-heavy mayhem at Encore Beach Club. Saturday keeps the momentum going with Eric Prydz commanding the decks at Marquee and The Chainsmokers bringing chart-topping energy to Encore. To close out the weekend, John Summit takes over LIV Beach on Sunday for a sun-drenched finale. And with world-class talent popping up across the Strip, expect standout sets to be sprinkled throughout every sun-soaked day.
For those opting to stay at Camp EDC, the festival experience extends beyond the main stages with exclusive pool parties right in the heart of the action. On Friday, the poolside vibe heats up with performances by Biscits, LF SYSTEM, and Noizu. Saturday brings an underground twist with sets from Andromedik, Drinkurwater, LAYZ, and SOTA. And to close out the weekend, Sunday’s pool party delivers a high-energy finale with performances from SIDEPIECE, Torren Foot, and Walker & Royce, keeping the tempo just as intense as the festival itself.
Meanwhile, for those looking to venture off the beaten path, Liquid Nightclub offers a refreshing alternative to the Insomniac-sponsored circuit. Running Thursday through Sunday, the venue will host a lineup of underground favorites including Cheyenne Giles, DJ Buza, Scooter & Lavelle, and DJ Shr3d—perfect for fans craving something a little less mainstream, but just as high-energy.
The Afters
In Las Vegas, the party never stops—and during EDC weekend, that energy hits another level, extending to the clubs until about 5AM. On Friday night, Brazilian sensation Alok takes over the decks at Hakkasan, while Saturday night sees Crankdat bringing the heat to Zouk Nightclub. To cap off the weekend, Afrojack will close out the festivities at XS on Sunday, delivering a high-energy finale. With DJs turning up the intensity all weekend long, expect legendary performances to keep the party going until the early morning hours at the city’s most iconic venues.
At Camp EDC, the party doesn’t wind down—it continues through the early morning hours, with top-tier artists setting the tone from 5-10AM each day. Saturday’s sunrise session features the smooth grooves of Funk Tribu, ØTTA, and Omiki, while Sunday morning kicks off with a powerhouse lineup of Baggi, Dennis Cruz, and Vintage Culture. As the weekend draws to a close, EDC bids farewell with an unforgettable send-off, as Ben Sterling B2B Beltran B2B ChaseWest and Slugg bring the beats one last time before the festival fades into memory.
For those looking to stretch the magic of EDC weekend into the week, the party continues on Monday night with two powerhouse sets. Kaskade takes over Zouk Nightclub, delivering his signature sound to keep the energy alive, while John Summit brings his electrifying beats to LIV Nightclub, ensuring the EDC vibes linger just a little longer.
The post Party All Week Long At EDC Las Vegas 2025 appeared first on EDM Maniac.
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