Jump to content

News

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

Billboard Announces First CEO: Mike Van

After a prosperous three years leading Billboard as President, Mike Van has been announced as taking over the new position of CEO. This exciting announcement comes as no surprise. Van’s reign has shown expansive success in revenue and Billboard’s presence worldwide. In the last few years, he has not only cultivated amazing live experiences at THE STAGE in SXSW, Billboard Latin Music Awards, Billboard Music Awards, and Billboard Woman in Music. Moreover, he also led a revolution by modernizing this company by utilizing the power of social media.

Billboard’s Visionary CEO

In his new role as CEO, he will dive into the task of driving both the editorial and business side of this company with Hannah Karp as his editor-in-chief. Directing Billboard, a company that blankets over 15 countries, will be no easy task. However, Mike Van is no stranger to filling big shoes. He has previously held leadership positions for companies like Pandora, MRC Entertainment, and Complex, amongst others. With over 25 years of experience in marketing and monetization, Mike Van will surely continue to lead Billboard to be a profitable and highly recognized brand.
Mike Vance will report to the chairman and CEO of Penske Media Corporation, Jay Penske. Penske applauds Mike Van’s leadership so far, highlighting his abilities to create a collaborative and visionary environment. He is cultivating Billboard into a formidable force. Despite the demanding change within the music industry, Mike Van has continuously been able to supply outstanding results for the brand.
After the news broke, he stated that Billboard will “shape the next 125 years by continuing to celebrate artist and executive achievements through our charts, content, global IP expansion and evolving our signature live experiences, cementing our position as the definitive voice of music business and culture.” With his words, he leaves everyone watching this brand develop on a hopeful note. They hope he will keep the ball rolling and continue to lead Billboard through the ever-changing industry of media and music.
The post Billboard Announces First CEO: Mike Van appeared first on EDMTunes.
Ravebot
Ravebot

Tomorrowland One World Radio Launches the 2025 Top 1000

It’s that time of year again. One World Radio has officially kicked off the 7th edition of the Tomorrowland Top 1000, a celebration of the most iconic tracks in the history of one of the world’s most beloved music festivals. Starting today, electronic music fans around the globe can tune in for eight hours of daily programming that dives deep into dance music’s most unforgettable anthems.
The countdown, featuring 125 tracks each day from Monday to Friday between 09:00 and 17:00 CEST, leads up to a grand finale on Friday, May 9, when the ultimate Number 1 track of 2025 will be revealed.
The Power of the People: Fans Shape the Top 10
In a brand-new twist this year, the final order of the Top 10 is still up for grabs. Fans — the People of Tomorrow — can vote to determine the final ranking of the Top 10 via the Tomorrowland App or at tomorrowland.com until May 8.
As an added incentive, participants will automatically be entered into a giveaway for two Full Madness Passes for Weekend 2 of Tomorrowland Belgium 2025. The winner, along with the most iconic anthem of the year, will be revealed during the final broadcast.
A Top 10 Worthy of Dance Music Royalty
While the ultimate #1 remains a mystery, One World Radio has revealed the 2025 Top 10 contenders in random order, and it’s a stacked lineup of timeless classics and modern anthems:
Sebastian Ingrosso & Alesso feat. Ryan Tedder – Calling (Lose My Mind) Martin Garrix feat. Bonn – High On Life Hardwell – Spaceman Swedish House Mafia feat. John Martin – Don’t You Worry Child Alesso vs OneRepublic – If I Lose Myself Avicii – Wake Me Up Age Of Love – The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix) Armin van Buuren – Blah Blah Blah Avicii – Levels Dimitri Vegas, MOGUAI & Like Mike – Mammoth These tracks have defined dance floors and festival moments for years, and with three new entries shaking up the Top 10, 2025 is shaping up to be one of the most exciting editions yet.
What to Expect: Classics, Hits, and Fresh Energy
Whether you’re in the mood for hands-in-the-air festival bangers or deep, emotional progressive house, the Tomorrowland Top 1000 delivers it all. Expect a curated selection of all-time radio hits, genre-defining records, and last year’s standout releases — all handpicked by Tomorrowland fans across the globe.
As always, the countdown is more than a playlist — it’s a sonic journey through the culture and evolution of electronic music, with One World Radio as your guide.
Where and How to Listen
Tune in every weekday through May 9 via:
The Tomorrowland App Tomorrowland.com One World Radio’s digital stream Don’t miss this annual tradition — a celebration of the music that shaped Tomorrowland and inspired generations of dance music lovers.
The post Tomorrowland One World Radio Launches the 2025 Top 1000 appeared first on EDMTunes.
Ravebot
Ravebot

Riot Ten and Versa Drop ‘Threats’ – A New Riddim Banger

Riot Ten, a recognized force in bass music, has teamed up with Versa for their latest collaboration, ‘Threats‘. This powerful track marks the fourth single from Riot Ten’s upcoming album. It blends sharp synths, intense basslines, and high energy to create a dynamic riddim experience.
‘Threats’
‘Threats’ opens with a heavy bass drone that quickly evolves into an anticipating bass, setting the tone for a high-energy track. A fakeout and vocal sample drops listeners into the first massive drop. The thunderous drop delivers mosh-pit energy, carrying you into a second build-up, leading to another explosive riddim drop. The combination of electronic mayhem and a heavy drum pattern makes this track a must-have in Riot Ten’s live sets. After the break, the track builds up again, creating an ultimate transition spot for DJs to incorporate the final drop into any classic riddim set.
Riot Ten and Versa
Born in El Paso, Texas, Riot Ten made his mark with hits like ‘Rail Breaker’. His music has been supported by industry heavyweights like Excision and Zeds Dead. Riot Ten has performed at top festivals like EDC Las Vegas, Coachella, and Lost Lands. His debut albums, “Hype Or Die: The Dead” and “Nightmares”, both saw chart-topping success.

Versa, known for his bold sound design, has rapidly gained recognition in the bass scene. He’s been featured at festivals like Forbidden Kingdom and Delirium Festival. Versa’s ability to create crowd-opening tracks has made him a standout in the underground bass community.
Riot Ten Tour Dates:
05.30.2025 – The Orlando Amphitheater at Central Florida Fairgrounds, Orlando, FL 
06.07.2025 – HYPE OR DIE – El Paso, TX
06.13.2025 – ARORA NOLA, New Orleans, LA 
07.31.2025 – Ember Music Hall, Richmond, VA 
08.01.2025 – Dancefestopia 2025, Lacygne, KS


Versa Tour Dates:
05.16.2025 — The Stache — Grand Rapids, MI
05.17.2025 — Red Rocks Amphitheatre (w/ ATLiens) — Denver, CO
05.31.2025 — Forbidden Kingdom Festival — Orlando, CO
06.13.2025 — Delirium Festival — Quebec, CA
06.21.2025 — Hostile Presents Construction Warehouse Rave — Los Angeles, CA

The post Riot Ten and Versa Drop ‘Threats’ – A New Riddim Banger appeared first on EDMTunes.
Ravebot
Ravebot

Porter Robinson Announces Rare Sunrise DJ Set at Miami’s Club Space

Porter Robinson is set to return to Miami’s legendary Club Space for a rare sunrise DJ set on June 20th. This marks his first performance at the iconic venue since 2023, where he performed as his progressive house alter ego, Air2Earth. The highly anticipated set promises an unforgettable experience of Porter vibes and a lovely South Beach sunrise.
Porter at Club Space: Set Details
Robinson has hinted that the performance will showcase a mix of genres, featuring his favorite club music. Fans can expect a blend of house music, disco, and progressive house sounds, combined with the signature Air2Earth vibes. Along with his usual setlist, Robinson promises a taste of his classic tracks.
About Club Space and Upcoming Shows
For more than 25 years, Miami’s Club Space has been a cornerstone for electronic music enthusiasts seeking unforgettable raves. Popular for its extended after-hours parties, the club attracts top DJs and selectors from around the world. Space’s legendary Terrace, with its clear ceiling, offers a unique experience where revelers can watch the starlit sky transform into sunrise, creating a magical atmosphere for fans to immerse themselves in the music. The club has earned a reputation as one of Miami’s premier destinations for electronic music, constantly pushing the boundaries of nightlife. Overall, Club Space will provide the perfect backdrop for Porter Robinson’s sunrise set.
The post Porter Robinson Announces Rare Sunrise DJ Set at Miami’s Club Space appeared first on EDMTunes.
Ravebot
Ravebot

Deezer Reports Modest Q1 2025 Revenue Growth, Still Plans on ‘Reaching Profitability This Year’

An interior shot of Deezer’s Paris headquarters. Photo Credit: Deezer
Deezer has reported a modest revenue improvement – and a subscriber dip – for 2025’s opening quarter. Nevertheless, execs are still banking on “reaching profitability this year.”
The publicly traded streaming company (DEEZR on the Euronext Paris) today published its Q1 2025 financials as well as its close to 300-page 2024 annual report. Keeping the focus on the former, Deezer disclosed Q1 2025 revenue of €134 million (currently $151.71 million), up 1.1% YoY.
Behind the sum, the Paris-headquartered business pointed to $90.04 million/€79.5 million (up 4.5% YoY) in first-quarter revenue from France, where “the contribution of a new deal signed at the end of 2024” fueled growth.
The remaining $61.73 million/€54.5 million (down 3.4% YoY), on the other hand, resulted from operations in all nations except France. Unsurprisingly, given those details, Deezer’s France-based direct subscribers increased 6.3% YoY to 3.5 million during Q1, against a 2.1% YoY slip to 1.8 million for Rest of World.
Letting Deezer take the wheel for a moment, the business updated its Q1 2024 figures for the report. “Q1-2024 data has been restated to offset the effect of the 50 thousand inactive Family account removal, on a like for like(LFL) basis,” the Access Industries subsidiary acknowledged in a footnote.
Meanwhile, non-direct “partnership” subscriptions, like with Mercado Libre and more, fell 14.6% YoY to 4.1 million for Deezer in the first quarter, the report shows. Even so, partnerships ARPU grew 2.6% YoY to $3.51/€3.10 as direct subs slipped 1.2% YoY in the same category to $6.23/€5.50.
As initially mentioned, Deezer doubled down on its longstanding objective of achieving profitability.
“As previously announced,” CEO Alexis Lanternier said in part, “we are fully focused on executing our new strategic direction, introducing bold and innovative music experiences designed to create long lasting value for fans, artists and our partners.
“New features are already live, with intuitive personalization and universal sharing, setting the tone for what we continue to build – a next level music experience based on the expectations of music fans of today and tomorrow.
“With confidence, we confirm our 2025 guidance and our objective of reaching profitability this year,” concluded Lanternier, who came aboard in 2024.
Deezer unveiled those new features – bolstered user control over algorithm recommendations, enhanced interface customizability, monthly consumption stats, and “a universal sharing link” that works across all streaming platforms – earlier in April.
During today’s trading, Deezer shares parted with about 1% of their value, finishing at $1.61/€1.42 apiece when the market closed.
View the full article
Ravebot
Ravebot

Zedd's New Documentary Goes Behind the Scenes of His Coachella 2025 Performances

While we all see the impressive production and performances from our favorite artists at Coachella each year, Zedd has provided an in-depth look into the immense preparation for that single hour onstage.
When fans secure their tickets to festivals or tune into livestreams, it's easy to assume that the performer simply shows up a few minutes before their set, performs and then goes home. But the job begins way before they even step foot on the festival grounds. 
To share this often-unseen reality with his fans, Zedd developed a behind-the-scenes documentary about his performances in Indio earlier in the month and uploaded it to YouTube.
In the video's 15-minute runtime, fans are given exclusive looks at his rehearsals with collaborators Julia Michaels and Bea Miller as well as his production team. The film also features footage of backstage encounters with fellow artists like Becky G, LL Cool J, Lisa, Jaden Smith and Gryffin before closing out with backstage views of Zedd's Outdoor Theatre stage performance.
You can watch Zedd's full behind-the-scenes documentary from both weekends of Coachella 2025 below.
Follow Zedd:
Instagram: instagram.com/zedd
TikTok: tiktok.com/@zedd
X: x.com/zedd
Facebook: facebook.com/zedd
Spotify: spoti.fi/2CoYpk2
Ravebot
Ravebot

Fat Joe Slaps Former Employee With Defamation Suit Over ‘A Torrent of Wholly Fabricated, Grotesque, and Scandalous Allegations’

Fat Joe, who’s filed a defamation lawsuit against one of his former employees. Photo Credit: Mika-photography
Drake isn’t the only rapper suing over allegedly false pedophilia claims. Now, Fat Joe says his former hype man defamed him with untrue allegations “of vile sexual misconduct, pedophilia, statutory rape, violence and stealing.”
54-year-old Fat Joe (real name Joseph Cartagena) just recently submitted the complaint to a federal court in his native New York. Aside from the mentioned hype man, Terrance Dixon (known professionally as TA), the complaint names as defendants attorney Tyrone Blackburn and his law firm.
For a bit of background, Fat Joe brought on TA as his hype man in or around 2006, according to the suit. Over the course of the professional relationship, which is said to have “ended amicably in 2019,” Fat Joe purportedly afforded TA “generous compensation.”
Fast forward to 2023, when TA allegedly “initiated a campaign of public harassment against” Fat Joe on social media.
“In an obvious money grab, all these years later, Dixon claims that he should have been paid more. He claims (falsely) that Cartagena recently blocked him from getting outside funding for a record label, which was the ‘last straw,'” the suit reads.
Furthermore, some of those not-so-subtle posts, which were still live on Instagram at the time of writing, accused the five-time Grammy nominee of sexual assault.
The accusations pertain in part to 2010 “inappropriate touching” allegations against Fat Joe, who denied the claims at the time and was cleared “of any involvement shortly” thereafter, per the text.
“Dixon knew that these statements were false: Cartagena never sexually assaulted anyone,” the suit maintains. “Authorities never charged or detained Cartagena…and cleared him of any involvement shortly after speaking with him. Rather, Dixon attempted to resurrect a decade plus-old false accusation and headline to support his campaign of harassment and extortion.”
Unsurprisingly, given the complaint, this alleged campaign was accompanied by demands for Fat Joe to cough up cash, per the suit.
Also unsurprisingly in light of the action, the rapper didn’t cave to the payment demands then or later in 2023, when the remarks “escalated” and “accused him [Fat Joe] of being a pedophile.”
Fast forward once more, past 2024 (when the alleged defamation continued) and into the current year. To this point in 2025, TA has allegedly levied false accusations at Fat Joe for cheating “him out of money and credit” on songs, besides penning “countless other posts attempting to belittle and humiliate” the plaintiff.
“Frustrated by his inability to overcome Cartagena’s resolve,” the complaint continues, “Dixon upped the ante by hiring” the aforementioned “Blackburn to continue his extortionate scheme.”
That attorney’s name will be familiar to some in the industry – though as Fat Joe and his counsel see things, Blackburn is only “an extortionist masquerading as a lawyer in a cynical ruse to use the court system as both a sword and a shield for his unethical conduct.”
Long story short, Fat Joe and his team are accusing Blackburn of engaging in “a pattern of unprofessional and erratic behavior that raises significant concerns.”
Said behavior includes allegedly threatening letters, an alleged threat to report Fat Joe to Homeland Security, and a whole lot else, the suit explains in more words.
And it’s against this backdrop that the defendants allegedly made massive settlement demands – one for a staggering $20 million – to prevent related litigation, according to the action.
All told, Fat Joe is suing TA for defamation and seeking relief from both TA and Blackburn for intentional infliction of emotional distress. DMN reached out to Blackburn for comment but didn’t immediately receive a response.
View the full article
Ravebot
Ravebot

New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. 
Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University.
Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. 
Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months.
The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather.
“The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.”
She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.”
Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others.
Read the complete report here.
Featured image courtesy: Pitch Music & Arts.
The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. 
Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University.
Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. 
Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months.
The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather.
“The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.”
She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.”
Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others.
Read the complete report here.
Featured image courtesy: Pitch Music & Arts.
The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

MANLY Summons Pure Bass Carnage With New Single ‘BLOOD BATH’

Last year MANLY dropped the speaker shredding ‘REVENGE’ EP which took the bass scene by storm with it’s insanely powerful and aggressive sound. He’s been quickly making a name for himself with his crazy productions and ‘BLOOD BATH’ further solidifies MANLY’s growing reputation.
Crashing the genres of tearout and riddim together, ‘BLOOD BATH’ is a high intensity, high impact, beast that thrills throughout. The breakdowns carefully build tension for the drop through foreboding atmospherics and restrained synths that are let loose in the chorus’. The Sydney based DJ pulls no punches here with a track that pushes the limits of aggression while remaining controlled when it needs to.
MANLY’s work has gained support and recognition from the scene’s top DJs including MARAUDA, SVDDEN DEATH, and MIDNIGHT T. His music has appeared on renowned labels like MALIGNANT, MENTIS, and SOUNDS OF MAYHEM where he has continued to grab people’s attention with his raw and brutal sound.
‘BLOOD BATH’ is in your face, full throttle, bass music at its finest. MANLY’s talent for creating controlled chaos is unmatched making him a must watch artist who is becoming an unstoppable force.
You can follow MANLY on his socials below:

Ravebot
Ravebot

EDC Thailand 2026: New Venue, First Hotel EDC, Tickets, and More

EDC Thailand 2026 is leveling up with four major updates after a successful debut this year: a brand-new venue, the first-ever Hotel EDC in Thailand, official confirmed dates, and ticket prices. From January 16–18, 2026, fans will dance across expanded grounds at Rhythm Park, can stay beachfront at the five-star Angsana Laguna Phuket by Accor, and enjoy a fully curated festival-meets-resort experience. Organized by Insomniac and destination partner Vibee, this year’s edition delivers a fully immersive rave journey anchored in luxury, music, and community. Ticket and package sales from $195 for 3 days, begin with Future Owl presales on May 2, so early birds can lock in discounted access. EDC Thailand 2026 isn’t just another festival weekend—it’s a complete destination experience for traveling ravers worldwide.
A New Home at Rhythm Park
EDC Thailand 2026 moves to Rhythm Park, a brand-new venue located in Laguna Phuket, just meters from the former site. The park is close to Boat Avenue, offering easy access for returning fans and international visitors flying into Phuket. This purpose-built space is larger and wider than before, giving fans more room to explore and dance freely. Designed for music festivals and cultural events, Rhythm Park enhances both crowd flow and production capacity across multiple stages. Surrounded by beaches, resorts, and tropical landscapes, the venue introduces a more immersive environment for the EDC experience. Rhythm Park is now positioning itself as Phuket’s new cultural hub, with EDC leading its international rollout.
Hotel EDC Thailand 2026: A Five-Star Festival Retreat
Hotel EDC Thailand will take place from January 15–19, 2026, marking its first international edition and setting a new festival standard. Guests will stay at the five-star Angsana Laguna Phuket by Accor, a beachfront luxury resort just minutes from Rhythm Park. Each Hotel EDC package includes a 4-night stay, 3-Day GA or VIP festival pass, and a Headliner Party Pack. The rooms host up to four people, designed with official EDC-themed gear for added excitement. Guests receive limited-edition merch, along with daily complimentary breakfast and food and beverage credits for select locations. A dedicated Vibee concierge will assist guests throughout the weekend with smooth check-ins and hotel support.
Hotel EDC guests will unlock exclusive access to the EDC Thailand Beach Party and daily hotel pool parties with live DJ sets. The experience includes wellness sessions, like sunrise yoga, meditation, and immersive water activities in the Andaman Sea. Guests can snorkel, relax by the beach, or attend interactive installations with pop-up DJ booths and performers. The resort features fine dining, white sand beaches, and photo-worthy backdrops designed to match EDC’s visual aesthetic. Each moment extends beyond the music, creating a fully programmed rave journey within the property.
Those choosing the VIP Hotel EDC experience receive expedited festival entry, private viewing decks, and premium air-conditioned restroom trailers. A beauty bar on-property allows guests to get rave-ready before heading to the festival each day. All VIP areas are 20+ only, and require valid photo ID for access across all EDC zones. “It’s not just a place to sleep—it’s a fully programmed journey where every moment is connected to the festival energy,” said Vibee and Insomniac. Hotel EDC Thailand presale opens May 1, 2025, with general on-sale May 2, 2025 at HotelEDCThailand.com.
EDC Thailand 2026 Ticket Prices
The Future Owl presale starts May 2 at 09:00 ICT (May 1 at 7PM PT) for fans eager to plan early. A 3-Day GA pass costs $195, giving access to all stages, performances, and EDC art experiences across the weekend. The 3-Day VIP pass starts at $315, and includes exclusive perks like fast-lane entry, VIP restrooms, and private viewing areas. VIP ticket holders must be 20+ with valid photo ID, and must present proof for all restricted areas. Buying early guarantees lower prices, and protects against scammers selling fake or overpriced tickets. Fans should buy only from official ticketing platforms listed on thailand.electricdaisycarnival.com.
Image Credit: Skyler Greene
The post EDC Thailand 2026: New Venue, First Hotel EDC, Tickets, and More appeared first on EDMNOMAD.
View the full article
Ravebot
Ravebot

SXSW Ex-President Says Penske Forced Him Out: ‘Leaving SXSW Was Definitely Not My Decision’

Photo Credit: Hugh Forrest for Penske Media
Former South by Southwest President Hugh Forrest says parent company Penske Media forced him out during an executive shakeup.
According to former South by Southwest (SXSW) President Hugh Forrest, leaving his role was not his choice. Instead, it was the decision of parent company, Penske Media, which now owns a 51% stake in SXSW.
“Leaving SXSW was definitely not my decision,” said Forrest in a statement. “I put my heart and soul into this event for more than 35 years—and I was looking forward to leading several more editions. To this end, I will be rooting big time for the Austin team going forward. The city, the country, the world needs the positive energy SXSW has traditionally provided, needs it now more than ever.”
Notably, his statement pushes back against Penske’s own about his exit. According to the publishing and events giant, its board elected Jenny Connelly to lead the Austin festival as its “director in charge.” This decision, they said, upset Forrest enough that he left the company. “When Hugh was told he was not going to get the CEO role at SXSW, and would be reporting to her, Hugh made the decision to leave SXSW,” reads a statement from Penske.
Forrest is one of 11 former employees who either left or have been fired by SXSW recently, including its veteran head of communications and its chief technology officer. Both their exits and the broader changes to SXSW were announced by Connelly on a video call last Friday.
According to The New York Times, SXSW did not meet Penske’s “ambitious” goals for the year—or in 2024. But the company has downplayed that assertion, focusing on this year marking “the highest ever sponsorship revenue in the history of the company.”
Penske Media acquired a 50% stake in SXSW in 2021, and it increased that stake by 1% two years later to take a controlling interest. Penske is the owner of Hollywood trade outlets such as Variety and The Hollywood Reporter.
View the full article
Ravebot
Ravebot

Siam Songkran 2025 Was a Reminder of What Made It Great in the First Place

I’ve been going to Siam Songkran since its first edition in 2019. Each year had its own highlights, but something about 2025 felt like coming home. The return to Bravo Arena brought back memories of the early days, when the setup was simpler but everything felt connected. This year managed to take that original feeling and build on it without overdoing anything.
There were proper seating zones and shaded areas that helped when you needed a breather between sets. The food and chill zone was packed with options. I stopped by stalls serving grilled meats, som tam, and crispy pork with rice. That pork stall had a full queue by the time people started arriving in real numbers. Amazon Coffee was set up inside the same area. I went more than once for an iced americano, and every time the booth was already busy.
One part of the festival that stood out was the Muay Thai area. Trainers were holding sessions where people could try simple moves or just watch. It was set along one of the main walkways so you couldn’t miss it. A small crowd was gathered every time I passed. Nearby was a smaller stage focused on Thai DJs. It was a tight space, but the crowd stayed and the sets kept building. I didn’t plan to spend that much time there, but I ended up staying longer than expected because the music pulled me in.
Sets That Stood Out
Dillon Francis had one of the most ridiculous and fun sets of the weekend. He pulled out a giant Thai inhaler mid-set and sniffed it on stage like it was nothing. The crowd around me started laughing, but he didn’t make it a big deal. He just kept going. The music jumped around like his sets always do. Nothing was predictable. There were no awkward pauses, no dragged-out sections. Just him doing what he does best without taking it too seriously.
Yellow Claw and Flosstradamus went back-to-back and it turned into one of those sets where you didn’t want to move. I was front row with friends and we didn’t stop dancing the whole time. Every drop hit the way it should. There were moments when the crowd shouted before anything even happened. The trap sections brought everyone together. It felt exactly like the kind of set we needed.
Hardwell brought out all the bigroom tracks people were hoping for. He gave space for the older stuff but didn’t turn it into a throwback set. The last fifteen minutes were the part that stuck with me most. He dropped his new collab with Sub Zero Project and it hit straight away. Right before ending, he thanked his tour manager who was stepping down after years on the road. It was a quiet moment but it meant something. Then he closed out strong without dragging it out.
Dimitri Vegas and Steve Aoki playing together felt personal. I’ve grown up listening to both of them so seeing them share a set was something I didn’t think I’d get to experience. They didn’t overdo anything. They just played everything they knew would work. It was track after track and every one of them landed. For someone like me, that set was the kind you walk away from smiling without needing to explain why.
Transitions That Deserved Attention
Siam Songkran 2025 took its transitions seriously. Between the big sets, the festival didn’t just rely on background visuals or sponsor reels. Instead, there were short performances that brought Thai culture to the front. Traditional instruments were played live on stage alongside Thai dance routines. The performers came out in full costume and moved across the platform while the crowd watched quietly. It wasn’t something people ignored. Most stayed in place and watched the entire thing.
There was no talking or explanation. It didn’t need any. The performances spoke for themselves. It was clear that Siam Songkran had made a choice to build these parts into the experience rather than treat them as something optional.
At one point, there was a drone show that caught everyone’s attention. The drones moved in unison and created visual shapes that tied back to the Songkran theme. After that, a fireworks sequence lit up the sky. It didn’t feel rushed or thrown in for effect. People actually stopped what they were doing and looked up. For a few minutes, nobody was filming or talking. They just watched.
Siam Songkran didn’t treat these transition moments as background. They gave them space. They gave them meaning. Without forcing anything, it reminded everyone that the festival is still rooted in where it started and why it exists.
Final Thoughts
Siam Songkran 2025 didn’t feel like it was trying to outdo itself. It brought things back to where they worked best. The return to Bravo Arena gave the festival its footing again. The setup was clear. The experience didn’t feel scattered. Everything had a purpose.
The Muay Thai zone made sense where it was. The food and chill area had the right balance. The smaller stage for Thai DJs got real attention. The traditional dance and instrument performances between sets gave people something to stop and watch. The drone show and fireworks were done properly and added something that stuck with people afterward. None of it felt like filler.
I’ve gone every year since 2019. This edition reminded me why. It wasn’t just about the names on the lineup or how loud the production could go. It was about how it all came together. Siam Songkran didn’t try to be something new. It brought back what people liked in the first place and kept it real.
If next year follows the same approach, I’ll be there again. No question.

Ravebot
Ravebot

Udio to Begin Fingerprinting Outputs Under Audible Magic Tie-Up: ‘A Clean and Robust Way to Identify the Use of AI-Generated Music’

Udio is set to begin fingerprinting its outputs under a deal with Audible Magic. Photo Credit: Possessed Photography
With AI tracks pouring onto streaming services in droves, Udio is now set to begin fingerprinting its users’ outputs under an Audible Magic tie-up.
The involved parties reached out with word of the audio-ID system. Revolving around a “content control pipeline,” the approach will see Udio register tracks at the source via Audible Magic so DSPs can then “reliably recognize” the works, according to the companies.
From there, Udio and Audible Magic drove home in their formal announcement, said DSPs (and, before that, distributors) can “apply the appropriate business rules around” the labeled recordings.
Time will tell exactly what the “business rules” entail; Udio intends to begin rolling out the fingerprinting feature during “the coming months.” And in the bigger picture, Udio certainly isn’t the only music-generation player in town.
To be sure, plenty of other AI music platforms are pumping out audio like no tomorrow and appear unlikely to stop doing so anytime soon. But Audible Magic didn’t hesitate to tout Udio’s “proactive rights management solution…as a model for how AI platforms and rights holders can work together” moving forward.
“This partnership demonstrates Udio’s substantial commitment to rights holder transparency and content provenance,” indicated Audible Magic CEO Kuni Takahashi. “Registering files directly from the first-party source is a clean and robust way to identify the use of AI-generated music in the supply chain.”
Regarding the scope of AI music’s streaming-service explosion, Deezer earlier in April said north of 20,000 machine-made tracks were hitting its platform daily.
That’s up from 10,000 daily AI uploads closer to 2025’s beginning, according once again to Deezer, which has for years been striving to identify the relevant works.
Furthermore, evidence has already pointed to both largescale AI royalty scams and more measured approaches to absconding with compensation that would have otherwise reached proper artists (or at least their labels).
In a nutshell, the situation is one component of an increasingly raw streaming deal for non-major-label talent. It’s harder than ever for these artists to stand out in the badly overcrowded streaming arena, and many are being denied would-be royalty payments to boot.
But this adjacent consideration is a different discussion. At least in theory – and assuming on-demand platforms, not solely rightsholders, actually utilize the information – labeling AI-generated uploads accordingly could be a means of counteracting the intensifying audio tidal wave.
However, doing so won’t settle the ongoing debate about generative AI training authorization – a topic front and center in multiple industry lawsuits.
One of those high-stakes suits involves the major labels and Udio, another involves Amazon-partnered Suno (which itself inked an Audible Magic deal in October 2024). The plodding cases are still wading through the discovery waters; in the Suno showdown, the presiding judge today granted a joint request to extend a written-discovery deadline until May 30th.
View the full article
Ravebot
Ravebot

Downtown Licenses Content to Audius Decentralized Blockchain Platform

Photo Credit: Downtown / Audius
Audius, the largest decentralized music community, discovery platform, and marketplace for artists and fans, signs a global deal with Downtown Music.
The deal encompasses both the recording and publishing side of Downtown’s business, and paves the way for millions of licensed recordings from Downtown’s extensive catalog to be added to Audius. It also unlocks a new way for Downtown’s artists and labels to directly connect with their fans and control how their music is monetized beyond the typical streaming model.
Artists on Audius can set their own terms and control the pricing of their music, and fans can support their favorite artists with direct payments. Music fans can seamlessly use their credit card to pay artists in USDC, which can be converted by artists and rights holders to any currency of their choice.
“Downtown’s rich client base is one of the most respected in the industry, and we’re thrilled to bring it to the Audius community,” said Roneil Rumburg, co-founder and CEO of Audius. “When artists and labels can maintain full control over how their work is shared and monetized, and fans can directly support the music they love, everyone wins.”
“At Downtown, our mission is to empower creativity, and we strive to provide our artists, songwriters, and the businesses that work alongside them with innovative opportunities to connect directly with fans and earn more from their music,” said Harmen Hemminga, VP of Product & Services Strategy, Downtown. “Audius opens new doors for creative fan engagement and monetization, putting control into the hands of artists and rights holders. We are excited to see how our clients’ catalogs thrive in this unique ecosystem.”
Having built a global ecosystem across four core service divisions—Artist & Label Services, Distribution, Music Publishing, and Royalty & Financial Services—Downtown currently supports over 4 million artists and 5,000 business clients in 150 countries.
Downtown works with artists, songwriters, and rights holders at every stage—from newcomers to hitmakers and icons—while managing the estates of some of the most beloved artists in the history of popular music. These include Meat Loaf, Miles Davis, and John Lennon & Yoko Ono.
Recently, Downtown has signed deals with Neton Vega (Downtown Artist & Label Services), Jason Mraz (Downtown Neighboring Rights), Pamungkas (FUGA), and Cameron Montgomery (Downtown Music Publishing).
View the full article
Ravebot
Ravebot

Morgan Wallen’s Wilder Music and WCM Sign Jared Mullins to Global Publishing Deal

Photo Credit: Jessi Vaughn Stevenson (WCM), Jared Mullins, Morgan Wallen, and Phil May (WCM) by David Lehr
Warner Chappell Music Nashville and Morgan Wallen’s publishing company, Wilder Music, have signed a global publishing deal with Jared Mullins.
Known for his dynamic songwriting, singer-songwriter Jared Mullins has co-written several No. 1 hits, including “Thank God” by Kane Brown featuring Katelyn Brown, and Jake Owen’s “Homemade.” Both tracks topped the Billboard Country Airplay chart, while the latter also headed the Country Aircheck/Mediabase charts. Mullins’ growing list of collaborators include Wallen, Little Big Town, and Mitchell Tenpenny, among others.
“I’ve been lucky enough to know Morgan for over a decade,” shared Jared Mullins. “As an artist, he’s obviously one of the greatest of all time, but he’s also one of the best writers in the world. I’m extremely grateful and incredibly humbled that he believes in me enough to make me the first signing of Wilder Music.”
“Warner Chappell is known for championing great songs and for signing and re-signing some of the best writer ever to put words and melodies together. Working with Jessi and getting to know the rest of the WCM crew has been amazing. I’m so thankful for this opportunity and I can’t wait to see what the Lord has in store for me,” Mullins continued.
“I’ve seen firsthand the amount of talent Jared has as a writer. He brings passion, authenticity, and fresh ideas in every write he’s in. It’s undeniable,” says Wallen. “I’m humbled to be launching this new venture with Warner Chappell, and even more excited that Jared is the first signing at Wilder Music.”
“It is incredibly exciting to be working with Jared. His talent is vast and varied, and to be partnering with Morgan is the cherry on top,” adds Jessi Vaughn Stevenson, VP, A&R and Digital, WCM Nashville.
Growing up between Westminster, Maryland, and Romney, West Virginia, Jared Mullins spent the majority of his childhood along the East Coast. In 2013, he moved to Nashville, eager to make his mark on the country music scene. He quickly began making a name for himself on Music Row by building connections, developing his brand, and focusing on crafting exceptional music.
Throughout his career, Mullins has contributed to various recordings for a range of country music artists such as Cole Swindell, Justin Moore, Granger Smith, Runaway June, and Parmalee, among many others. In 2022, he co-wrote LOCASH’s single, “Beach Boys,” featuring The Beach Boys’ co-founder Mike Love and longtime bandmate Bruce Johnston.
View the full article
Ravebot
Ravebot

Katy Perry Responds to Online Criticism of New Tour, Blue Origin Flight—Calls Herself a ‘Human Piñata’

Photo Credit: @eddysonline / TikTok
Is Katy Perry’s career at a crossroads? Once considered pop royalty, the singer has faced a wave of public backlash that began long before her 11-minute space walk. The pop singer has responded to the internet’s backlash, calling herself a ‘human piñata’ in the process.
Perry’s latest album 143 was intended to be a triumphant return for the pop singer, but instead it has widely been labeled a commercial disappointment. From lackluster chart performance to the tepid critical response—fans aren’t feeling it.
That’s partially due to Perry’s decision to work with producer Dr. Luke, who has faced long-standing sexual abuse allegations from Kesha. While Dr. Luke has denied the allegations and there have been no criminal charges, fans were not so forgiving. None of the songs from 143 charted on the Billboard Hot 100—and the album itself fell off the Billboard 200 charts just two weeks after debut.
Earlier this month, the pop singer joined an all-female Blue origin space tourism flight, which she called a groundbreaking flight for women in STEM. But the public reaction to the flight focusing on celebrities like Katy Perry and Gayle King’s experience instead of Aisha Bowe (former NASA rocket scientist) and Amanda Nguyen (bioastronautics research scientist) created a perfect storm of online backlash. Photos of Katy Perry kissing the ground went viral on social media, with Wendy’s tweeting “I kissed the ground and I liked it.”
The first videos from her Lifetimes Tour in Mexico City went viral just this week after her first show on April 23. Clips of the choreography were shared millions of times, with viewers expressing shock and dismay at her awkward moves. Dubbed the Queen of Cringe, many viewers questioned why anyone would pay hundreds of dollars to see a show worse than what you can find at Disneyland on the average day.

With the general public lambasting her choreography for her Lifetimes Tour, Perry took to social media to address how the negative attention has impacted her.
“Please know I am okay, I have done a lot of work around knowing who I am, what is real and what is important to me,” the pop singer begins. “My therapist said something years ago that was a game-changer, ‘no one can make you believe something about yourself that you don’t already believe about yourself’ and if I ever do have any feelings about it then it’s an opportunity to investigate the feelings underneath it.”
“When the ‘online’ world tries to make me a human piñata, I take it with grace and send them love, cause I know so many people are hurting in so many ways and the internet is very much so a dumping ground for unhinged and unhealed.”
View the full article
Ravebot
Ravebot

Max White Returns To The Spotlight With Chart-Topping Anthem ‘Need You’

After a 20-year hiatus from the decks, Max White is back with just as much passion and drive as ever. Once a staple in the underground DJ scene, he stepped away from the nightlife two decades ago to pursue a career in medicine. But last year, the beat called him back—and he answered with a monumental return.
His explosive comeback to the music world has been nothing short of electric. Max’s latest track, ‘Need You’, dropped just in time for Ultra Music Festival and instantly caught people’s attention. A high-energy mainstage anthem, the track features soaring vocals from the talented Mary Lova, blending melodic emotion with festival energy.
What followed was a meteoric rise from pursuing a career in medicine to having ‘Need You’ reach #1 on the Beatport Top 100 Mainstage Release Chart. It surpassed tracks from titans such as Armin Van Buuren which highlights just how powerful of a comeback this is.
“I am humbled that I am up in these charts with the likes of Armin van Buuren, Steve Angello, R3HAB and many other of my musical heroes,” Max shared, reflecting on the unexpected but well-earned recognition.
With several new tracks in the pipeline, collaborations lined up with rising and established names, and shows booked across the U.S. and Ibiza this summer, Max White is just getting started. Since his return he’s made it very clear that he’s still got the skills and that he’s back with a vengeance.
To follow Max White on Instagram, click the button below:
MAX WHITE INSTAGRAM
Ravebot
Ravebot

Outside Lands Confirms Full SOMA Lineup For 2025

Outside Lands has announced the full roster of DJs set to perform on its SOMA stage for 2025.
After shedding its roof in favor of a new open-air, 360-degree format last year, the San Francisco festival’s dedicated house and techno hotspot will be back under the sun and stars at Marx Meadow when the event returns to Golden Gate Park this August 8-10, boasting another eclectic lineup of legendary selectors and rising stars.
Throughout the weekend, SOMA’s picturesque views and sprawling dancefloor will play host to Afro house titan Black Coffee, fan-favorite house groovers like Claptone, BLOND:ISH, Dombresky, and San Francisco-by-way-of-Detroit hero Claude VonStroke, and more Dirtybird alumni like Walker & Royce and Girl Math (VNSSA B2B Nala).
Also on the bill are underground legends like Floating Points and DJ Koze, rising garage talent NOTION, leading Amapiano duo TxC, melodic house artist &friends, and a dash of hard techno from Nico Moreno, plus several of Cali’s finest in Baalti, Banksia, DJ Mandy, and Infinite Jess. Check out the roster below.
In its social media lineup announcement, Outside Lands went on to confirm that SOMA will feature a new surround sound system, new lighting, and an even larger dance floor this year.
Read EDM Maniac‘s feature on SOMA at Outside Lands 2024 here.
Other acts performing elsewhere at Outside Lands include Tyler, The Creator, Hozier, Doja Cat, Anderson.Paak, Vampire Weekend, John Summit, Jamie xx, Sammy Virji, Levity, Bleachers, and many more.
For more information or to purchase tickets, visit sfoutsidelands.com.

Featured image courtesy: Outside Lands. Credit: Alive Coverage.
The post Outside Lands Confirms Full SOMA Lineup For 2025 appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

Outside Lands Confirms Full SOMA Lineup For 2025

Outside Lands has announced the full roster of DJs set to perform on its SOMA stage for 2025.
After shedding its roof in favor of a new open-air, 360-degree format last year, the San Francisco festival’s dedicated house and techno hotspot will be back under the sun and stars at Marx Meadow when the event returns to Golden Gate Park this August 8-10, boasting another eclectic lineup of legendary selectors and rising stars.
Throughout the weekend, SOMA’s picturesque views and sprawling dancefloor will play host to Afro house titan Black Coffee, fan-favorite house groovers like Claptone, BLOND:ISH, Dombresky, and San Francisco-by-way-of-Detroit hero Claude VonStroke, and more Dirtybird alumni like Walker & Royce and Girl Math (VNSSA B2B Nala).
Also on the bill are underground legends like Floating Points and DJ Koze, rising garage talent NOTION, leading Amapiano duo TxC, melodic house artist &friends, and a dash of hard techno from Nico Moreno, plus several of Cali’s finest in Baalti, Banksia, DJ Mandy, and Infinite Jess. Check out the roster below.
In its social media lineup announcement, Outside Lands went on to confirm that SOMA will feature a new surround sound system, new lighting, and an even larger dance floor this year.
Read EDM Maniac‘s feature on SOMA at Outside Lands 2024 here.
Other acts performing elsewhere at Outside Lands include Tyler, The Creator, Hozier, Doja Cat, Anderson.Paak, Vampire Weekend, John Summit, Jamie xx, Sammy Virji, Levity, Bleachers, and many more.
For more information or to purchase tickets, visit sfoutsidelands.com.

Featured image courtesy: Outside Lands. Credit: Alive Coverage.
The post Outside Lands Confirms Full SOMA Lineup For 2025 appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

Goldenvoice Surf Club Returns as Coachella's Leading Daytime Retreat

After hosting a noteworthy first season in 2024, Goldenvoice Surf Club returned to the desert for two standout weekends of fun under the sun.
Located inside the Palm Springs Surf Club, the daytime pool party series acted as a perfect poolside retreat before attendees headed east to the company's main event, Coachella.
Having once been the home of a sprawling water park, the venue included accommodations not found at your run-of-the-mill desert pool party. Water slides, a meandering lazy river, a swimming pool, and a massive surfing wave pool were all easily accessible to partygoers across both weekends.
Ava Austin
A spacious, grassy amphitheater acted as the main destination for dance music enthusiasts, where the music from the main stage echoed throughout the vast water complex.
As for daily programming, the talent performing across both weekends included a who's who of stars from across the electronic music spectrum. Throughout both weekends, genres like techno, house, and progressive were all represented, bringing a wide array of dance music lovers together under the desert sun.
Ava Austin
Notable performances include Chris Lorenzo, Sammy Virji, Massano, EDM.com Class of 2025 inductee Max Styler and techno superstars Sara Landry and Eli Brown, among others.
With a stacked lineup of global talent, Goldenvoice Surf Club has reformulated both of Coachella's already jam-packed weekends. The unique poolside atmosphere, combined with its many water activities, caters to guests ready to dance and those looking to recharge and unwind.
FOLLOW GOLDENVOICE SURF CLUB:
Website: gvsurfclub.com
X: x.com/gvsurfclub
Instagram: instagram.com/gvsurfclub
FOLLOW COACHELLA:
Website: coachella.com
X: x.com/coachella
Instagram: instagram.com/coachella
YouTube: youtube.com/coachella
Facebook: facebook.com/coachella
Ravebot
Ravebot

Armin van Buuren Announces New Colossal Album ‘Breathe Out’ Release Date

One year after the release of Breathe In, an album centered around Armin van Buuren’s journey of reconnecting with his fans and the music he loves, the world-renowned Dutch DJ and producer is announcing the forthcoming release of Breathe Out. This new release, out on June 27, completes the full body of work that is Armin van Buuren’s ninth studio album, Breathe.
Breathe Out
In both sound and meaning, Breathe Out is a natural follow-up to Breathe In. It sees a new, healthier, and reconnected Armin van Buuren deliver some of his best work yet. Inspired by a stronger sense of self, more creativity, and an even more dauntless approach to studio work, the album is chock-full of sound fusions and expert songwriting, showing that a balanced mind and lifestyle can lead to wonder.  
The Breathe album features a total of 51 tracks, with Breathe In (Part 1) containing 12 tracks and Breathe Out (Part 2) adding 39 tracks. Combined, the two parts bring together a diverse collection of tracks, including chart-topping hits, surprising collaborations (e.g. Pendulum & Rob Swire, Sam Gray, Moby, Bon Jovi), and new releases like ‘Let It Be For Love’ (feat. Jai Ryu) and ‘Gimme The Love’ (with Seth Hills, feat. Alessia Labate). 
About Armin van Buuren 
Armin van Buuren has long been a global ambassador for electronic music. He currently has nine full-length artist albums to his name — Breathe In included — and continues to cultivate a massive worldwide following through his weekly A State of Trance radio show, event series, and album series, reaching 44 million listeners from more than 80 different countries on a weekly basis.
Armin van Buuren headlines tens to hundreds of shows per year at leading festivals and venues around the world, including Electric Daisy Carnival (Las Vegas, New York), Ultra Music Festival (Miami), Lollapalooza (Chicago) and Tomorrowland (Belgium), plus residencies on Ibiza and in Las Vegas. Past summer alone, he reconnected with fans through over thirty shows, including the ‘Feel Again’ shows in the Ziggo Dome, Ultra Europe, Tomorrowland, Parookaville, Creamfields, Electric Zoo, and his summer residencies at Hï Ibiza and Ushuaïa. 

The post Armin van Buuren Announces New Colossal Album ‘Breathe Out’ Release Date appeared first on EDMTunes.
Ravebot
Ravebot

Chris Stussy Announces Coast-to-Coast Doubleheader in New York and LA

Chris Stussy is bringing his distinct brand of deep, groove-laden house music to the United States for a pair of summer concerts he's called the biggest headline shows of his career.
Dubbed the "USA Weekender," the two-night affair kicks off July 18th in New York, where he will take over the cavernous Brooklyn Storehouse for a late-night set running from 10pm to 5am. He'll head across the country the following evening, traveling west to Los Angeles for an open-air show at at Exposition Park, set against the city’s golden-hour skyline from 5pm to midnight.
The announcement follows Stussy’s return to Coachella in April and the successful debut of his "USS" event series at London’s Roundhouse earlier this year. With lineups carefully curated by the Dutch DJ himself, the weekender promises a "music-first" experience in both cities, showcasing a handpicked selection of special guests to complement his evolving style, according to a press release.
Known for fusing classic house sensibilities with sleek, modern production, Stussy has emerged as one of the genre's most influential new figures. These U.S. shows signal a continued expansion of his global reach as well as a chance for American fans to catch the rising star in his element.
Pre-sale tickets go live Thursday, May 1st, with Los Angeles access beginning at 10am PT and New York following at noon ET. General sales open later that day.
Follow Chris Stussy:
X: x.com/djchrisstussy
Instagram: instagram.com/chrisstussydj
TikTok: tiktok.com/@chrisstussydj
Facebook: facebook.com/djchrisstussy
Spotify: tinyurl.com/yysewt2z
Ravebot
Ravebot

Fyre Festival Designer Discusses Scammers on Social Media

Oren Aks, the former social media designer for Fyre Festival, recently spoke out about the role social media plays in elevating the profiles of individuals associated with criminal behavior. Speaking to Fox News Digital, Aks highlighted how social media has contributed to the glorification of figures like Fyre Festival creator Billy McFarland. Also, notorious scam artist Anna Delvey Sorokin, and UnitedHealthcare CEO murder suspect Luigi Mangione.
The Role of Social Media in Idolizing Controversial Figures
Aks pointed out that social media platforms have made it easier for people like McFarland, Sorokin, and Mangione to gain fame despite their criminal backgrounds. He noted that social media users tend to focus on the narrative surrounding these individuals, often elevating them to iconic status, regardless of their actions.
Reflection on the Fyre Festival Experience
Aks also reflected on his time working for the ill-fated Fyre Festival in 2017. He recalled the warning signs that the event was doomed from the start. He mentioned logistical issues and lack of preparation as red flags, which became evident when he arrived at the site and saw FEMA-style tents set up for the festival. Despite this, he believed the event would still go on smoothly until the reality set in.
The Fall and Future of the Fyre Festival Brand
After the failure of the original Fyre Festival, McFarland launched Fyre Festival 2, which was postponed weeks before its scheduled start in May 2025. McFarland has since announced plans to sell the Fyre Festival brand, including its trademarks, intellectual property, and digital assets. Listen to Oren Aks’s message here.
The post Fyre Festival Designer Discusses Scammers on Social Media appeared first on EDMTunes.
Ravebot
Ravebot

Feed Me Reveals 2025 U.S. Tour, New Album In the Works

Feed Me has a hunger that only a new tour could satisfy.
The deeply influential British DJ and producer has announced a tour of the U.S. in May, when he'll feast on a number of major cities including Seattle, Denver and Chicago.
The tour's artwork is styled like the 90s PlayStation game WipEout. It features plenty of clever, nerdy details, like the "PAL" branding, which is used to denote that the contents of the game are from Europe, like Feed Me.
The virtuosic producer, whose real name is Jon Gooch, also revealed that he's working on a new album. He has not formally announced a title or release date for the record, which will be his first since 2019's self-titled Feed Me.
"I am very much looking forward to heading back over to the USA for these shows coming up - I’ve been working on a new album, whole new set, new paintings as well as other project stuff," Gooch wrote on social media. "I’ve also been mostly offline while doing so…what started as a break from socials turned into a bit of a phobia about getting online again BUT here I am."
Feed Me's upcoming run will kick off May 9th, 2025 at Seattle's Substation. You can purchase tickets to the tour here.
View the original article to see embedded media.
Follow Feed Me:
X: x.com/feedme
Instagram: instagram.com/feedme
Facebook: facebook.com/youfeedme
Spotify: spoti.fi/2Nbc2G0
Ravebot
Ravebot

Important Information

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