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[EDM House Network] Mike Galvin Unveils ‘Rubber Heart, Iron Soul’ with LVLD Music

Mike Galvin returns to LVLD Music for the 2nd time with his brand new single ‘Rubber Heart, Iron Soul’, delivering a moody and energetic sonic experience. This track immerses listeners into a hypnotic soundscape built on granulized synth textures, a resonant and powerful bassline, and an unrelenting rhythm that forgoes traditional build-ups and drops. Instead, Mike Galvin crafts a mesmerizing flow designed to draw listeners into a deep, trance-like state with each replay. The tension between ethereal sleekness and shadowy, hopeful aggression defines the track’s unique allure.
Looking ahead, Galvin continues to push expressive electronic compositions forward, with more solo releases on the horizon and exciting collaborations in the works. Notably, he is set to team up with UK vocalist Natalie Holmes, promising a fusion of his signature production style with her evocative voice.
Mike Galvin’s musical journey began with classical training before he found his way into Dublin’s underground rave scene in the 2000s, following a stint in indie bands. His diverse influences include jazz improvisation, epic film scores, and the raw energy of Berlin and Detroit’s house and techno movements. After relocating to Toronto in 2015, Mike Galvin expanded his creative reach, playing session guitar on releases and remixes for Canadian artists like Sophia Danai and composing film scores, including the award-winning Irish short film ‘A Silence Between’.
Today, his music captures both the introspective nostalgia of post-rave solitude and the deep emotional connection of communal dancefloor experiences. As he continues to evolve, Mike Galvin remains committed to crafting immersive soundscapes that resonate with both heart and movement.
Stay tuned for more from this dynamic artist as he continues to shape his ever-expanding sonic universe.
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[EDM House Network] Tagavaka Unveils ‘ETERNAL’: A Journey Through Sound and Memory

Tagavaka has returned with his highly anticipated album ‘ETERNAL’, now available on all major streaming platforms. The album marks a significant step in his artistic evolution, delivering a comprehensive listening experience across eight meticulously crafted tracks: ‘ÓRLA’, ‘SAVE YOU’, ‘GRAINS’, ‘ABSORB’, ‘ETERNAL’, ‘CONSCIOUSNESS’, ‘FADE INTO YOU’, and ‘MEMORY’. Each track serves as a chapter in a larger narrative, capturing the emotions and memories that shape the human experience.
From the opening moments of ‘ÓRLA’ to the reflective conclusion of ‘MEMORY’, ‘ETERNAL’ invites listeners into a world of intricate sound design, emotive melodies, and carefully arranged rhythms. The album explores the full spectrum of emotions, seamlessly blending ambient textures, progressive elements, and dynamic drum patterns to create a sense of movement and depth. It is both deeply personal and universally relatable, drawing on themes of nostalgia, growth, and introspection.
Tagavaka describes the album as an exploration of emotions and the moments that define us. “I wanted each track to feel like its own journey, using sound to reflect the complexities of life—from delicate and uplifting moments to intense and melancholic ones. This project is deeply personal, yet I believe its themes are something everyone can connect with.”
Tracks such as ‘SAVE YOU’ and ‘FADE INTO YOU’ highlight Tagavaka’s ability to merge emotional depth with precise production, layering evocative synths over carefully structured rhythms. Meanwhile, ‘GRAINS’ and ‘CONSCIOUSNESS’ venture into more experimental territory, weaving atmospheric soundscapes with evolving textures and intricate percussive elements. At the album’s center, ‘ETERNAL’ serves as a defining moment, incorporating analog synths, breakbeat elements, and live instrumentation to create a sound that is rich and immersive.
With previous releases earning critical acclaim and prominent playlist placements, ‘ETERNAL’ further solidifies Tagavaka’s reputation as a forward-thinking force in electronic music. The album showcases his refined approach to production, balancing technical precision with raw emotion. Every track contributes to a larger vision, making ‘ETERNAL’ not just an album but an experience meant to be felt as much as heard.
As Tagavaka continues to push creative boundaries, this release serves as both a reflection of his journey so far and a bold statement of what’s to come. ‘ETERNAL’ is available now, bringing a mix of deep textures, rich melodies, and immersive rhythms. Each track tells a story, blending emotion with intricate production. Dive into the full album and experience the soundscape he has crafted, where every element is carefully designed to transport listeners into his evolving musical world.
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[GrooveCartel] Ultra Music Festival is now reachable by Train via Brightline

The trip to Ultra Music Festival 2025 is going to be just as amazing as the festival itself. Brightline and Red Bull have worked together to create NEXT STOP: ULTRA, a unique pre-festival experience that turns the train ride from Orlando to Miami into a mobile celebration of Ultra’s ongoing tradition.
Building on the success of last year’s event, the 2025 version takes the idea to a whole new level with live DJ sets, premium drinks, and a variety of surprises along the way. Ultra festival-goers can start their weekend on Friday, March 28th, when they leave Orlando at 12:50 PM and get to Miami just in time for the 4 PM opening of the festival.
The train is getting a new “chill car” for 2025. This is a place where people can get into the festival mood slowly with carefully chosen lounge music. This clever addition is the perfect counterpoint to other cars’ more lively atmosphere. Red Bull is adding to the experience by giving out their new Spring Edition energy drink, which will keep people going on the trip.
The ticket plan, which starts at $183 for a one-way SMART trip from Orlando to Miami, includes all food, drinks, and entertainment on board. Festival tickets are not included in the train experience, but you can find complete packages that include hotel stays, Brightline transportation, and festival passes.
For people who are worried about getting back late at night, Brightline has planned several departure times from MiamiCentral stop over the course of the festival weekend:
Friday: 11:45 PM and 1:00 AM Saturday: 11:50 PM and 1:00 AM Sunday: 12:45 AM Keep in mind that the trips back will be run as normal Brightline routes to West Palm Beach, without the event features. You can buy tickets for trains that run late at night on gobrightline.com or the Brightline app.
As a unique way to get to and from the Ultra Music Festival, the NEXT STOP: ULTRA train turns what could be a normal trip into an important part of the Ultra experience. Because there are only a few departures from South Florida stations each day, festival-goers who want to go on this one-of-a-kind train trip should book their spots early.
More information about the DJs playing and other surprises will be released soon. This pre-festival journey looks like it will be an unforgettable start to Ultra’s 2025 version.
Q/A
When does the NEXT STOP: ULTRA train depart and arrive?
The train departs from Orlando on Friday, March 28th at 12:50 PM and arrives in Miami just before 4 PM, timed perfectly for the festival’s opening.
What’s included in the NEXT STOP: ULTRA ticket price?
The ticket (starting at $183 for SMART one-way) includes live DJ sets, curated food and beverages, access to the new Red Bull Spring Edition drinks, and surprise experiences throughout the journey. Note that Ultra Music Festival tickets are not included.
How can festival-goers return after the event?
Brightline offers late-night return trains from MiamiCentral station at multiple times: 11:45 PM and 1:00 AM on Friday, 11:50 PM and 1:00 AM on Saturday, and 12:45 AM on Sunday. These return trips are standard Brightline services (not special event trains) and only travel to West Palm Beach.
The post Ultra Music Festival is now reachable by Train via Brightline appeared first on The Groove Cartel.
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[EDM House Network] EDC Las Vegas 2025: Pasquale Rotella’s Biggest Announces During the Music Through Music Livestream

As tradition continued, during tonight’s Music Through Music livestream, Insomniac Founder & CEO Pasquale Rotella unveiled plenty of updates for EDC Las Vegas 2025, setting the stage for an incredible 29th edition of the festival. With a brand-new theme, expanded stage designs, a groundbreaking music education partnership, and the return of fan-favorite experiences, this year’s festival promises to be bigger and more dynamic than ever.
Under the theme “kineticMETROPOLIS,” EDC Las Vegas will transform into a futuristic city of sound, energy, and connection, embracing the innovation and diversity that make the festival an unparalleled experience. Highlights include the debut of Ubuntu, a new stage created in partnership with South Africa’s Bridges For Music Academy, an expanded bionicJUNGLE, a redesigned quantumVALLEY, and the final year of the current bassPOD stage design before an all new structure arrives in 2026. Additionally, Insomniac’s Discovery Project has joined forces with Icon Collective, offering this year’s competition winner a full-ride scholarship to the renowned music production school.
With 16 total stages, an expected 500,000 Headliners, and a lineup featuring more than 250 artists, EDC Las Vegas 2025 is shaping up to be the most ambitious and electrifying edition yet. Here’s everything you need to know about the biggest announcements from Rotella’s livestream.
EDC Las Vegas 2025 Theme: kineticMETROPOLIS This year’s theme transforms the festival into a futuristic city of sound, energy, and connection. 
Ubuntu: A New Stage in nomadsLAND In collaboration with South Africa’s Bridges For Music Academy, Ubuntu will spotlight Afro house rhythms with performances from students and legendary South African artists.
Discovery Project x Icon Collective Partnership For 2025, Discovery Project joins forces with Icon Collective, offering competition winners new opportunities. The EDC Las Vegas winner will receive a full-ride scholarship to the prestigious music production school. 
EDC Las Vegas Charity Auction Launches March 17 Returning with exclusive experiences, proceeds will benefit Westcare Nevada. 
EDC Las Vegas 2025: The Most Stages Ever This year features 16 total stages, with nine revealed tonight alongside a lineup boasting 250+ artists.
cosmicMEADOW: Special Live Act Incoming A must-see live performance awaits – stay tuned for the big reveal!
bassPOD: The Final Year of the Iconic Design Say goodbye to the current bassPOD stage – this will be its final year before an all-new design debuts in 2026. 
bionicJUNGLE: Expanded Dance Floor & Stage Hosts Bigger than ever, bionicJUNGLE will welcome hosts like HARD Recs, Live From Earth, HARD Selects, Planet X, and Factory 93 for a diverse sonic experience. 
quantumVALLEY: A New Look for Trance & Progressive With a fresh stage design, quantumVALLEy will be co-hosted by Interstellar and Dreamstate. 
wasteLAND: A Harder Edge with a Reimagined Layout While keeping its signature container aesthetic, wasteLAND will dedicate one full day to hard techno and hardcore. 
stereoBLOOM: VIP Area & Bigger Dance Floor More room to move and an all-new VIP section for an upgraded experience. 
neonGARDEN: A Fusion of Past & Present Blending elements from previous years, neonGARDEN will be hosted by Factory 93, Club Space, and for the very first time, Time Warp. 
General Admission and VIP passes for EDC Las Vegas 2025 are sold out. A limited number of 3-Day GA+ tickets are available here. 
Stay tuned for more exciting information and announcements at lasvegas.electricdaisycarnival.com. Stay connected and follow EDC Las Vegas on Instagram, Facebook, X, and TikTok. 
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[EDM House Network] Kygo Brings The Heat To Vegas: Announces Residency At Palm Tree Beach Club At MGM Grand Hotel & Casino In Las Vegas

World-renowned DJ, producer, and Palm Tree Crew co-founder Kygo is set to take over the Las Vegas Strip with an exclusive residency at Palm Tree Beach Club, the highly anticipated new day club from Palm Tree Crew and Tao Group Hospitality, opening in May at MGM Grand. Marking a major milestone in Las Vegas entertainment, Kygo will be the first artist to perform at the stunning venue, launching an electrifying summer-long lineup featuring some of the most celebrated names in electronic dance music.
“Las Vegas has always been a special place for me, so I’m beyond excited to open our venue on the Strip —and there’s no better place to kick off my first-ever daytime Vegas residency,” said Kygo. “I’m so grateful to bring this vision to life with our partners at Tao Group Hospitality and MGM Grand. Can’t wait to see my fans and Palm Tree Crew family in Vegas!”
Set to redefine daylife entertainment in Las Vegas, Palm Tree Beach Club fuses the luxury, energy, and escapism of Palm Tree Crew’s signature aesthetic with Tao Group’s world-class hospitality expertise. The venue will transport guests to a tropical paradise, offering breathtaking poolside views, elevated cabanas, VIP bottle service, immersive soundscapes, and electrifying performances from some of the biggest names in electronic music.
In addition to Kygo’s exciting new residency, Palm Tree Beach Club will welcome a stacked roster of internationally acclaimed artists, including Tiësto, Martin Garrix, Zedd, Steve Aoki, Alesso, Fisher, Chris Lake, DJ Pauly D, and more—ensuring that every weekend delivers an unmatched high-energy experience.
Kygo’s Palm Tree Beach Club residency will debut opening weekend on May 3rd, with special guest appearances and exclusive events to be announced throughout the season. Fans can expect state-of-the-art production, custom visuals, and unforgettable performances that define the next generation of Vegas daylife.
Tickets are on sale now, along with exclusive Palm Tree Beach Club VIP packages, cabanas and more. For more tickets, tables and more information on Palm Tree Beach Club, visit taogroup.com/venues/palm-tree-beach-club-las-vegas.
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[EDM House Network] Pure Pacha unveils Robin Schulz and dates for 2025 residency 

Grammy-winning star Robin Schulz is back for another summer of unparalleled party vibes at Pure Pacha. The global DJ favourite will play the Opening Party on 10 May with Oliver Heldens as well as on 17, 24 and 31 May then 6, 13, 20 and 27 September for the Closing Party.
German pioneer Robin Schulz is a multi-award winner who has collected more than 800 accolades from 30 different countries. He is renowned for serving up supersized sounds each week at Pure Pacha with plenty of his own chart-topping hits and plenty of infectious energy making each night truly unique. 
As well as regular sets from Schulz, Pure Pacha will once again welcome many more in-demand DJ talents for another epic season of eclectic electronic sounds. Oliver Heldens, NERVO, Jodie Harsh, Icona Pop, Alec Monopoly, The Menendez Brothers, Love Leya, WaveWave and Alle Farben are already lined-up, with plenty more to come. 
Pure Pacha is an Ibiza institution which offers the ultimate VIP party experience. It is a legendary and long-running night known for pushing the boundaries of a conventional club night with a diverse soundtrack and top-tier guests.
There is no finer way to soak up the true White Isle experience than Saturdays at Pure Pacha. 
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[EDMTunes] PARAFRAME – Metropolis

The Future is what Pavel Khvaleev does … until perhaps he doesn’t. Are we about to shatter a decade-long universal truth? Well, a little bit. Pavel’s fifth longform takes both name and inspiration from Fritz Lang’s iconic Metropolis – a breathtaking vision of retro-modern grandeur, meeting expressionist dystopia, high above cloudscraping edifices and stark industrial backdrops. That however was as so close to a hundred years ago as to make little difference. Pavel, by contrast, only began work on his ‘Metropolis’ after the release of his last two studio albums (‘Inhale’ and ‘Exhale’), back in 2021.

To do so, he’s drawn on a wellspring of collaborators from the pool of actors, singers, songwriters and voice artists he’s built up over twenty years of film and musicmaking. To put that into ‘Metropolis’s context, it includes Ryan Masson (soon to be seen in season 2 of The Last of Us) and the recently Grammy nominated singer Haley Johnsen.
A dazzling collage of progressive and melodic house, fringed with techno, February 2025 finds him ready to release this singular reimagining. Welcome to the world of PARAFRAME’S ‘Metropolis’. 1927’s Metropolis was a fusion of visual storytelling, uncanny silent era ether and strikingly toned music – a modus that Khvaleev’s respectfully channelled into his interpretation. When composing, his mind’s eye will take him places visually very specific indeed. To spaces that could be, well … anywhere but here. Naturally though, the frustration was he was ‘there’, but his audience wasn’t. Waiting for technology to catch up has long been the bane of the visionary, but historically the payoff is it gets there in the end. That was where Pavel finally found himself three years ago, and is also where he has broken step with Lang. The ‘playground’ that 3D engine technology now afforded him allowed him to place himself, not in front of ‘Metropolis’s towering structures, but inside them – within them. And to do that, he used Unreal Engine – the same tool that studios employ to visually power games like Fortnite and shows like The Mandalorian. 

The Frankfurt-based artist goes on to explain. “I already had good experience creating short 3D animations with Unreal Engine, so I decided to work on a conceptual, hour-long film, which integrated my live performances and that of my vocalists. 3D designer Vasiliy Poryagin sent me concept ideas for futuristic locations, that I then rebuilt and refined through Unreal, adapting them to become the visual component of ‘Metropolis’. I changed entire buildings, rearranged architecture and added wildlife, all the while being able to see the results rendered in real-time.”
Completing the project also required a collaborative troop of players, something Pavel already had close at hand. “Aside from their talent’, he continues, ‘many of these artists have fascinating backgrounds. Ryan Masson for example is a successful Hollywood actor, with one of his latest roles being in the new season of HBO’s The Last of Us. The wonderful and charming Haley Johnsen was nominated for a Grammy last year with her solo project.
Boticka, whose voice can be heard in the track ‘We Are The Only Ones’, has the most captivating and sensual tone in the world—or at the very least France! The guys from Denton Thrift were simply born to sing, and this is already our second collaboration together. Avis Vox, my wife, is essential to every one of my albums; I couldn’t imagine releasing one without her involvement.”


From one to the next, ‘Metropolis’s metropoles each vary in their aesthetic. From the worn and industrialized to the borderline pristine, each tonally reflects the audioscape PARAFRAME’s composed for it The technotic drive of recent single ‘Mermaids’ leans into, if not quite the apocalyptic, then certainly the worn and dystopian. By contrast, ‘Breathe’ models a refreshingly colourful, hyper-modern vision of mechanised industria. “I spent almost three years working on this album’ concludes Pavel.’ It was a long journey because sometimes it’s hard to know when a track is truly finished and ready to share. Each song has its own story and unique feel, but at the same time, they’re all connected by ‘Metropolis’s overarching vibe and atmosphere.”
PARAFRAME’s music to comes to life through ‘Metropolis’. You can experience it, in all its stunning 60-minute glory here, and its music through all good streaming and sales channels from Feb 7 via this link [blackhole.lnk.to/metropolisalbum].

Tracklist: PARAFRAME – Metropolis


01. Bird Life (with Avis Vox)
02. Breathe
03. We Are The Only Ones
04. Mermaids
05. Solid Breaker (with Denton Thrift)
06. Panic
07. Feel It Now (featuring Haley Johnsen)
08. Close To Me
09. Son Of Earth (featuring Ryan Masson)
10. Radiance
11. The Secret Place
12. Move


linktr.ee/paraframemusic
instagram.com/paraframemusic/
facebook.com/paraframemusic
youtube.com/@PARAFRAMEmusic

blackholerecordings.com
soundcloud.com/blackholerecordings
facebook.com/blackholerecordings
twitter.com/BlackHoleRec
instagram.com/blackholerecordings/
The post PARAFRAME – Metropolis appeared first on EDMTunes.
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[EDMTunes] Alt-Rock Group MENEW Breaks into EDM alongside Dzeko & BYOR on ‘Never Us’ Remixes

In May of 2024, Canadian Alt Rock Group MENEW teamed up with DJ Dzeko for their latest single ‘Never Us’. The pop-leaning dance record was a catchy and melodic EDM track the leaned more in the pop lane, not dissimilar from some of Dzeko’s most notable works. The record performed well at Dance radio in the US, gaining some momentum and breaking on to the dance and mix-showairplay chart during the summer.
In August, the group came back with an even more EDM leaning version of the record alongside the DJ, BYOR. This remix was a hard hitting, fast paced dance beat that brought the band into a completely different space. This record did not have that same pop flare, instead this remix shined as a beacon of the EDM genre, with its driving drums and synth melodies.
About MENEW
MENEW (pronounced ‘menu’) [aka. Brothers] are an alternative indie rock band composed of three brothers; Shade (lead vocals, guitar), Key (piano, synthesizers) and Nathan Samuel Phillip (drums, vocals). Their sound derives from a background of classical music training and British rock influence.
MENEW’s debut album Wide Awake Hello and follow up Mother Nature met much critical acclaim when short-listed for eight Grammy Nominations and have had placements on major networks including NBC, CBS, MTV, ESPN and films worldwide. They have since been featured on Network television including the Late Show with David Letterman and have toured and performed alongside artists such as U2, Stone Temple Pilots, Akon, Filter, Weezer and Linkin Park.
MENEW’s acclaimed single ‘Baby You’re like A Drug’, produced by Matt Wallace and mixed by Chris Lord Alge, released in 2016. The music video was directed by Josh Butler, and stars Joshua Jackson. The band’s new EDM side project Brothers, debut single ‘In Cali’ released in 2017 opening the Cannes Film Festival with a performance at Gotha Club alongside Hip Hop artist French Montana. Their new EDM track ‘Overdrive’ released 2019, coinciding with a European club tour including shows in Cannes, Monaco and St. Tropez.
The post Alt-Rock Group MENEW Breaks into EDM alongside Dzeko & BYOR on ‘Never Us’ Remixes appeared first on EDMTunes.
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[EDM.com] LSZEE Announce Longest Electronic Music Residency In History of Denver's Mission Ballroom

LSDREAM and CloZee are set to make history in Denver this June with an unprecedented four-night residency at Mission Ballroom, marking the longest consecutive run by an electronic act at the venue.
LSZEE will transform the famed venue, located in the city’s RiNo neighborhood, from June 19-22, 2025, delivering a pair of distinct performances that will each be showcased twice. The groundbreaking residency follows LSZEE’s triumphant sold-out debut at Red Rocks Amphitheatre in 2024, which was named by EDM.com as one of the year's best performances.
The shows also represent a pivotal moment for both Denver's electronic music community and the duo, as they become the first ever electronic act to headline Mission Ballroom for four consecutive nights. The carefully curated event series promises a plunge into LSDREAM’s psychedelic bass and CloZee’s intricate soundscapes, not to mention support from Effin, ASHEZ and more.
c/o Press
This announcement arrives as part of LSZEE’s extensive tour schedule, which solely features doubleheaders at premier venues across the country. However, the four-night run in Denver stands out as their most ambitious engagement yet.
Mission Ballroom quickly established itself as one of the country’s premier mid-sized music venues after its 2019 opening. Its state-of-the-art D&B Audiotechnik sound system and moving stage design create an ideal environment for LSZEE's dynamic, multi-sensory live experience.
Underscoring the unique nature of their two distinct performances, LSZEE have structured the ticketing to encourage fans to experience multiple nights of the residency. Special 4-Night and 2-Night Experience Passes are now available alongside traditional single-night tickets.
Directing $1 from each ticket sale, the residency carries additional significance through its partnership with PLUS1, a nonprofit that helps organizations launch funding initiatives for social and environmental justice goals.
You can purchase passes to LSZEE's residency at Mission Ballroom here.
Follow CloZee: 
X: x.com/clozeeofficial
Instagram: instagram.com/clozeeofficial
TikTok: tiktok.com/@clozeeofficial
Facebook: facebook.com/CloZeeOfficial
Spotify: tinyurl.com/3yf42jkw
Follow LSDREAM: 
X: x.com/lsdream
Instagram: instagram/com/lsdream
TikTok: tiktok.com/@lsdream
Facebook: facebook.com/LSDREAMMUSIC
Spotify: tinyurl.com/cntnkyw9


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[EDM.com] Hamdi Announces "Intimate Clubs Only" Tour

Fresh off a streak of high-energy performances across the Asia-Pacific region, UK dubstep sensation Hamdi has unveiled his latest venture: an "intimate clubs only" tour.
The EDM.com Class of 2024 star is set to take over some of North America’s coziest dancefloors, bringing his latest club-focused sounds up close to audiences this spring.
"Been wanting to do a run of purely intimate venues with sick sound for a while and I’ve been making a lott of club-focused music recently so now felt like the perfect time!" Hamdi said in an Instagram post on February 11th. Dubbed "Abomination" 
With a lineup of venues carefully curated to maximize energy and sound, the tour will kick off at Toronto’s CODA and hit six cities across the U.S. and Canada. Hamdi will move through Montréal's Newspeak, Denver’s Club Vinyl, Washington D.C.’s Culture, Atlanta’s DEF, and wrap up at Brooklyn’s H0L0. Each venue was chosen not only for its reputation, but also its intimate capacity, with Hamdi specifically selecting spots in the 400-600 capacity range.
Adding to the exclusivity of the tour, Hamdi made it clear that each stop will be at a club he’s never played before. And for those on the West Coast feeling left out, the producer teased that there’s something in the works: "Don’t worry West Coast, I’ve got some biggg stuff cooking for you dons soon!"
With a limited number of tickets available for each show, demand is expected to be high. Presale sign-ups are now live and a general on-sale is scheduled for this Thursday, February 13th at 10am ET.
Follow Hamdi: 
X: x.com/hamdimusic
Instagram: instagram.com/hamdimusic
TikTok: tiktok.com/@hamdimusic
Spotify: tinyurl.com/yc3s7ma2
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[EDMTunes] Backstreet Boys Announce Summer 2025 Sphere Residency: ‘Into the Millennium’

Backstreet’s back alright? It appears so. The Backstreet Boys have announced a huge Summer 2025 Sphere Residency. Titled ‘Into the Millennium’, the residency will be a run of 9 shows in July. They will mark the first pop group to take over the newly world-famous venue.
Fans can expect an unforgettable experience as the Backstreet Boys bring their legendary Millennium album to life, alongside a selection of their greatest hits. The group — Nick Carter, Brian Littrell, AJ McLean, Kevin Richardson, and Howie Dorough — will perform at the Sphere on July 11, 12, 13, 18, 19, 20, 25, 26 and 27. 
Fans can sign up for an artist presale now (through Feb. 17 at 10 p.m. PT) here for the first six dates. The Backstreet Boys Fan Club presale will kick off on Feb. 18 at 9 a.m. PT, with the artist presale launching on Feb. 19 at 9 a.m. PT. Additional presales will run throughout next week ahead of the general onsale that begins on Feb. 21 at 9 a.m. PT here.
From a dance perspective, Anyma and an array of artists have been taking fans on a visual and audio journey. Anyma announced support for his final sphere shows. ‘The End Of Genesys’ is on the horizon. Anyma and Afterlife will be presenting their final shows at the Sphere Las Vegas from February 27th – March 2nd, 2025. Each performance will feature a pantheon of industry-leading artists including John Summit, Mau P, Peggy Gou, Solomun, Cassian, and more.
The post Backstreet Boys Announce Summer 2025 Sphere Residency: ‘Into the Millennium’ appeared first on EDMTunes.
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[EDMTunes] Sonique Celebrates 25th Anniversary Of ‘Hear My Cry’ Album With 10-Stop UK Tour

Sonique, the iconic British singer and DJ whose 1998 hit, ‘It Feels So Good,’ became a dance anthem, is celebrating the 25th anniversary of her debut album, Hear My Cry, with a special UK tour. This October and November, fans across the country will have the chance to experience the album performed live in its entirety for the very first time.
The tour kicks off on October 3rd at Newcastle’s Boiler Shop, launching a 10-city journey that will take Sonique and her live band to Manchester, Bristol, Norwich, Birmingham, Leeds, Glasgow, Edinburgh, and London. The celebratory run culminates in a final performance at Brighton’s Chalk on November 1st. Sonique hinted at the upcoming tour on Instagram last week, expressing her excitement for returning to the stage and reconnecting with her fans.
Hear My Cry was a landmark album, propelled by the massive success of its opening track, ‘It Feels So Good.’ The song’s infectious energy and uplifting vocals resonated with audiences worldwide, cementing Sonique’s place in dance music history. This tour offers a unique opportunity for fans to relive the magic of the album and experience its tracks in a fresh, live context.
While Hear My Cry remains a classic, Sonique hasn’t stopped creating music. Although her last full album, Sweet Vibrations, was released in 2011, she has continued to collaborate with artists like Dario G, Ramiro, Johnny Gerontakis, and Power of Muzik, releasing a string of singles and performing at various festivals. Her enduring presence in the music scene speaks to her talent and passion for her craft.
More information about tour dates, tickets, and other details can be found here. This 25th-anniversary celebration is sure to be a memorable experience for Sonique and her dedicated fanbase.
The post Sonique Celebrates 25th Anniversary Of ‘Hear My Cry’ Album With 10-Stop UK Tour appeared first on EDMTunes.
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[EDMTunes] Colombian President Says Cocaine is No Worse Than Whiskey

During a televised cabinet meeting on February 5, 2025, Colombian President Gustavo Petro made a bold statement regarding the global war on drugs. He claims that cocaine is “no worse than whiskey” and should be legalized. Also, Petro argued that the criminalization of cocaine was rooted in geopolitical factors. He stated:
Petro’s Arguments and Comparison to Fentanyl
Petro’s comments highlighted the disparities in global drug policies. In detail, where drugs made in Latin America face stricter laws than substances like fentanyl. Which is linked to numerous deaths in the United States and is not criminalized. This seems unfair to Petro because it is produced by North American pharmaceutical companies. “Scientists have analyzed this: cocaine is not worse than whiskey,” said Petro, asserting that the war on drugs, led by countries like the U.S., has contributed to widespread violence in Latin America due to the push for aggressive crackdowns on traffickers.
Steps Taken in Colombia’s Drug Policy
In line with his calls for legalization, Petro’s government in 2023 repealed a decree allowing police to confiscate small amounts of drugs from users in public. This decriminalizes personal drug use in Colombia. He defended the move on social media and stated:
Petro’s government has also advocated for an end to the “drug prohibition regime,” suggesting that the failure of the war on drugs has made it clear that legal reform is needed to reduce violence and crime linked to the illegal drug trade.
Petro’s Call for Global Drug Legalization
Since his election in 2022, President Petro has remained firm in his stance on drug legalization. He views the failure of the war on drugs as a major factor contributing to ongoing violence and instability in Latin America. Also, continues to push for global changes in drug policy, particularly about the illegal status of substances like cocaine. He believes it is unjustly criminalized due to its Latin American origins.
The post Colombian President Says Cocaine is No Worse Than Whiskey appeared first on EDMTunes.
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[EDMTunes] Seven Lions Signs To New Management

MLennial, a premier artist management company specializing in multi-genre DJs and producers in dance and bass music – announces its newest addition to the roster: Jeff Montalvo, known by his stage name: Seven Lions. The American producer has been redefining electronic music for over a decade. His journey took off in 2012 when he won a Beatport remix contest for Above & Beyond’s ‘You Got to Go.’ Since then, he has released tracks on renowned labels like Anjunabeats, OWSLA, Casablanca, and his own imprint, Ophelia Records. A powerhouse on tour, Seven Lions has headlined iconic venues such as Red Rocks, LA State Historic Park, and Tacoma Dome, while also performing at festivals like Ultra Miami, EDCLV, and Electric Forest. Through Ophelia Records, he has become a leading force in melodic bass, amassing over a billion streams and fostering emerging talent. With an extensive touring schedule for 2025—including stops at Groove Cruise, High Altitude, Igloofest, Beyond Wonderland, and Ubbi Dubbi—he is set for another massive year.
Seven Lions will work with MLennial Artist Manager and Show Director, Paulette Varelas across all upcoming endeavors, including global touring. Based in Los Angeles, MLennial was founded in April 2024 by Mike Lisanti, an experienced artist manager and former COO of Prodigy Artists. With a background in artist development, production, and tour management, Lisanti has built MLennial into a leading force for cutting-edge talent, representing artists like Crankdat, BARELY ALIVE, Kompany, SABAI, and MUZZ.
Under his leadership, MLennial has pioneered innovative strategies, including a data-driven and TikTok-powered campaign that propelled Crankdat to global recognition. This approach led to a surge in social media growth, sold-out shows, and collaborations with major artists like DJ Snake and Juicy J. Crankdat’s 2024 EDC Las Vegas set further cemented MLennial’s impact, becoming the most attended closing set in Basspod history.
The post Seven Lions Signs To New Management appeared first on EDMTunes.
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[Decoded] Quiet Husband releases ‘Dream Pills’ EP

Quiet Husband · Dream Pills Last January, Richie Culver released his debut ‘Raging Habits’ EP under his techno/noise alias Quiet Husband, ranging from unsteady VHS moodpieces to high velocity trance-techno rinseouts, danker than the Humber in midwinter. Fresh from a mesmerising live set at Berlin’s Atonal festival the following summer, he dropped his debut full-length ‘Religious Equipment’ via Drowned By Locals in November,
Drilling deep into the gritty depths of industrial techno and noise once more. Pulling no punches with a set of tracks named after opiate blockers or substitute drugs like ‘Methadone’ and ‘Subutex,’ the album drew on the brutal, repetitive rhythms of techno, while spoken word passages cut through the chaos with a deeply personal narrative. From the gates of hell to the empty solace of noise, ‘Religious Equipment’ painted a harrowing portrait of addiction and substitution, where noise becomes a proxy for silence, and intensity replaces numbness. 
Less than 4 months later, Culver will release his ‘Raging Habits 2’ EP on 14th March, 2 days before his debut at Berlin and the world’s techno Mecca, Berghain. But unlike the rampant collage of industrial collage or techno and noise demonstrated on ‘Religious Equipment,’ the 5 tracks hear Culver take a slightly different approach, combining Chicago house-inspired beats with looping ambient elements and dark beat-less textures. As visceral as ever, Quiet Husband captures feeling without thought, a rush of endorphins skimming over the synapse surface, veering away from the claustrophobia of the internal worlds of Culver’s previous projects.

Track list – Army Crawl / Dream Pills / Death Happens Here / At Your Worst / Docker
Stream / Download here
The post Quiet Husband releases ‘Dream Pills’ EP appeared first on Decoded Magazine.
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[UKF] In Conversation With Charlotte Devaney

If you’ve ever met Charlotte Devaney, you know she’s a force of nature—captivating, electrifying, and unapologetically herself. She doesn’t just bring energy to the table; she flips it, spins it, and sets it on fire with her outrageous positivity and sharp, no-nonsense industry insights. Whether she’s pioneering new sounds, turning MCs into holograms, or dropping beats that demand attention, Charlotte’s hustle is unstoppable. She’s an advocate for hard work, a champion for women in the scene, and a powerhouse of creativity, seamlessly balancing music, business, and sheer unfiltered fun.
From her latest single ‘Latina’ (shot and directed in LA with a signature Devaney splash of colour and madness) to returning to the ever-evolving drum and bass landscape, she’s always pushing boundaries. And if you thought her Narni Shakers days were behind her, think again—2025 is bringing a fresh revival with a legendary reunion in the works! With a US tour on the horizon, a game-changing collab with Kele Le Roc, and a never-ending drive to shake up the scene, Charlotte is proving—once again—that she’s here to make noise, challenge norms, and keep the energy levels permanently maxed out. Let’s get into it…
Hello, How are you?
I’m good! 2024 was another amazing year and I feel very blessed to still be here making a living from this amazing industry, a very hard industry at times, but I’m blessed. There’s lots of exciting things happening. 
What have you been doing recently?
I’ve been releasing music, touring, plus turned a few MCs into holograms too!
I released four singles in 2024, and I’m now releasing remixes of all of the singles. I went out to LA in April 2024 and shot a music video for my single ‘Latina’ which is definitely one of my favorite songs I’ve made. It’s totally Charlotte and encapsulates everything about me really. It’s fun, bright, colourful and different. I wrote and spat the verses about myself! I’m definitely finding as I’m getting older, I know myself more, so it’s a lot easier to write about myself and feel confident with doing that!
I shot and directed the video for ‘Latina’ and I’ve just dropped a second video (the street edit)- when I went to LA, I shot way too much footage. I thought “I’m here,  I’ll just get a little bit more and a little bit more.” It went way overboard!  It’s definitely one of my favorite videos. Tt kind of reminds me a little bit of my video for ‘Flip It’ ft. Snoop Dogg. It has a little ‘Flip It’ flavor to it with a drum and bass twist! 
What I’m trying to do with my music is just bring fun into everything, bring fun and color which I think there’s a lack of at the moment. I also released a track called ‘End Bad’ in 2024 , which is another one of my favorites – it features MC Neat , as you’ve never heard him before! He sounds amazing, and a rapper called Dvyne who I discovered when she was only 14, she’s 18 now. She’s from Chicago and is super talented. This is her first ever dance tune, as she’s a hip-hop artist. That tune did really well, we had a lot of support from Radio 1 and Nia Archives supported it in her Equal Playlist Takeover,  it had a lot of underground love too. I just dropped a couple of remixes for ‘End Bad’ too. One by my girl DJ Millz, and another up and comer I came across recently Four D, both mixes are fire. I also released a garage record called ‘Don’t Let Me Leave’ with a singer called Leanne Louise, and a solo ballroom-style house record called ‘Hot Topic’. 
Right now I’m in the studio working on lots of new music , and have some exciting collaborations cooking , including one that I’m particularly excited about with the legendary Kele Le Roc, a beautiful liquid D&B love song, which will be coming out early summer! It’s something that’s really different for us both, so I can’t wait for everyone to hear that!.
Of course, Hologram Sessions as well, I’ve recently dropped a new one with Riko Dan and Killa P, which has been really well received. 
I wanted to ask you about Latina because it’s so catchy. I listened to it a couple of times and then I was singing it all day…
Yeah, it is catchy – that’s what everyone keeps saying to me! That’s why you never know- it definitely has hit potential. My track ‘Flip It’ took a long time to become a hit- about four years. I made it in 2012 as an independent and then it got signed three years later to Capitol Records in the US and remade, it was a really long process.
Has Latina got a remix coming out as well?
Not at the moment. I’m on the hunt for someone for a remix, I’d really like to try to find a big Latin artist. Like Snow the Product, she’s amazing. She’s actually one of my favorite rappers. She’s a Mexican-American, one of the hardest rappers ever. She’s so sick!  So someone like her would be amazing or just another dope Latin artist, there’s so much talent in that part of the world! 
I actually pitched this song to Cardi B before I released it. I was speaking to her A&R and he liked it, but I don’t think she got it. I don’t think drum and bass is really her thing. But I just thought “She would sound amazing on this song.” You’ve got to aim high!
I read back over one of your interviews with us where you were talking about the Snoop Dogg collaboration and the different people you have worked with. And how your whole ethos is just ‘Reach for the Stars!’ It’s definitely working for you…
At the end of the day, you get one life, you’ve got to try. And I’m just a hustler. I just think nothing’s ever too big, they can only say no! 
I love that…
So tell me about the second Latina video!?
I shot a lot of extra stuff in the markets, and on the streets ,  I went to all the Mexican/Latin quarters in East LA- the places that some people won’t go to. I was staying with my mate in West Hollywood and he was like, “I’m not taking you to Boyle Heights. It’s not happening, it’s dangerous over there!” But in usual Charlotte style , nothing phases me , and off I went! 
I traveled around those areas for three days in total, Boyle Heights, Elysium Park, MacArthur Park and people loved it. I felt nothing but love and good vibes from everyone. The people were very hospitable, letting me dance around in their shops and in their cars. Everyone in that video are just people on the streets that wanted to get involved. Everyone just loved the accent and the song with its Latin flavor!
Let’s talk about Hologram Sessions because when you started them the world of live performance was in a completely different space, do you think the way we consume live sets has changed since lockdown?  
Definitely. Live streams are not as big as they were. I think it was crazy in lockdown, the way that people were consuming live streams. That was all we had, wasn’t it?!
It was kind of making and breaking artists at that time. Now, they’ve just gone back to being like a radio show. I’ve turned Hologram Sessions into more of a music video vibe now,  a piece of content that you can consume whenever you want. I put out the clips and they go off on socials and it’s just something that’s always there now. During lockdown it was an hour DJ set- it was made to feel like it was a live experience, but now it’s just a piece of crazy content that goes alongside everything else I’m doing. 
The shorter ones have done really well, I did one with Scrufizzer and Bellyman recently. That was amazing. That’s had over 270,000 views on YouTube. The shorter ones are between four and six minutes, so they’re like freestyles- Fire in the Booth vibes. 
Do you know how many you’ve done altogether now?
I must be on about 26/27 episodes now, and it’s still a very unique concept! 
The first ever episode with Skibadee was in June 2020. The Hologram Sessions will always be a little part of him that he left behind because it started because of him. When I first started doing it, we had a lot of ideas and plans. It was my idea, but it came off the back of a random live stream we did in lockdown. It’s just sad that he’s no longer with us because it’s evolved so much since then.  
When we first started doing it, we didn’t know what we were really doing. We were like “We’re going to stick this piece of green on the wall!” which kept falling down, and it wasn’t recorded that well, it was just trial and error. But now the way we do it is so high-tech- we’ve learned so much , so I’m sad that I didn’t get to do a really sick Hologram Session with him.
So how did it originally come about? 
When lockdown started people were doing videos with an MC spitting into their phone on one side and a DJ on the other. So I rang Skibba up and I was like, “I’ve done this D&B mix, I’m thinking of making a whole video to it and streaming it. Do you want to spit over it?” He sent me back some vocals but there was no video. And he said, “I couldn’t really stand there for a whole hour with my phone. So I just did the audio for you Char.” 
So I went to work on it and I was like, “Right, I’ve got my video and this audio. What am I going to do? I need to do some Hype Williams s**t here. I need to do something fun.” I went online and I found this music video of Skibba on a black background on YouTube and took a little section of it and looped it for an hour. 
My business partner and I were messing around with it , we put a hologram effect on it and were like, “That looks cool!” , we live streamed it,  and it had over 100,000 views!  We were like, “F***ing Hell, people are feeling this!” So then I was like, “Right, Ski, we’ve got something here, come round and let’s try and do it properly.” So then he came round and we filmed the first ever episode, which when I watch it back now. I’m like, “My god, this is a bit rough round the edges.” It’s out of time in places and was filmed in my back garden. But people absolutely love that episode, no matter how rusty it was, so many people say it’s their favorite ever episode! 
That’s such a great story, to think what it’s become from those early days….
We just learned along the way really and it’s been a lot of happy accidents and a lot of “Oh right that’s how you do this and that’s how you do that!” We did one with Turno that we shot at Defected HQ .That was probably the hardest one we’ve ever done. We wanted the challenge of the world’s first-ever Hologram DJ B2B!  
That one looks crazy, I can’t work out how you did it. Were you in the same room?
No. That one took a lot of effort. It took two months to edit that and then we had to reshoot stuff a couple of times. It was really, really hard to do that one. 
I wanted to talk to you a bit about women in drum and bass. You’re a bit of a legend in my house. My kids call me a Narni Shaker when I’m dancing around at home- because I’ve told them all about the legendary dancers…
I’ve got some news. 
Please talk to me…
I’m bringing back the Narni Shakers 2025 style… and I’m working on something very exciting!  So many people talk about the Narni’s and keep saying to me, “Why don’t you do it? Get the old girls back together and then hint that I should get up there! I’m like “F*** off, that’s not going to happen!” But we have got a reunion happening so that should be exciting! All will be revealed in the coming months! 
Narni Shakers One Nation Brixton Academy 17 November 2001
Back in the day, dancers were a massive part of the rave atmosphere. You’ve been there through it all- including when there wasn’t much female representation behind the decks or in front of them.
We’ve come to the point now where women can do what they want… And I just wondered what your take was on the whole journey with females in D&B…
That’s quite a deep one to be honest. I’ve been going out to drum and bass and jungle raves since the mid ‘90s. It was very male-dominated back then. You did get women in the ’90s, DJ Rap will always be the queen to me because she was the only female I really ever saw as a raver aside from the dancers.  There are so many reasons why she’s such a legend, she really did come through in a male-dominated time. There was Kemistry & Storm, Wildchild and a few others as well, but I really looked up to her, she was the blueprint. 
When the Narni Shakers started, in 2001, Rap had gone to live in America, so we didn’t see her on a regular basis playing at the raves. There were very few women at all. It’s still very male-dominated now, but I mean, it was really male-dominated then. Women on the whole weren’t really DJs- they would look to be dancers or agents that was the general path. 
I lived in London when I was really young and then moved to a small town in Lincolnshire. I lived there until the age of 19. So that was where my early raving days and my school days were. When I left school around that time it was like “OK, what do you want to do when you leave school? I guess the norm was to be a hairdresser or a travel agent.” There weren’t the choices there are now. There weren’t as many aspirations. So when I left school I went to college to do hairdressing and I quickly realised I didn’t want to do that, so I tried something else, went back again and did travel and tourism – there weren’t as many doors open for women or young people in general. 
Going back to the drum and bass scene I definitely feel like one of the many reasons the Narni Shakers were so big is because women really attached themselves to us as much as men fancied us- we were one of the only thing’s for women to look up to. I remember looking out in the rave and there being hundreds of women dressed like us. We were a very powerful influence at that time, and we were fearless, we didn’t give a s**t. There were no rules back then, we were very sexual as well, but we did it in a way where we owned it. We didn’t care. We were going to dry hump each other on stage. It was 2001, no one gave a s**t,  there were no mobile phones to take pictures and videos , it was totally free!  
It was great in a lot of ways, in the sense that you could do and say whatever you wanted , there were no rules, plus people were not as judgemental in general. I think if you came from that generation, and you grew up before social media, you were part of a very special time, a time that we will never see again.
But on the other hand, for women, there just weren’t as many opportunities or paths and we had to fight for our place, for our respect. From the day I started the Narni Shakers, my main aim was for us to be as respected as the artists on stage that we were working with, to be faces, more than dancers, more than just girls looking sexy as decoration, and we achieved that ten-fold. We were doing female empowerment before the phrase even existed! 
Fast forward to now, it’s so much better- but I still think there’s a long way to go. There are a lot more opportunities but I still look at a lot of flyers now and I still see just mostly male headliners, and still some events with no females at all, or just the token women at the bottom of the line up. Although there are a lot of women now, I still feel like there could be more incentives and opportunities. 
I also feel there should be it would be good to see more mental health support and awareness for women in dance music. As women we go through so much with our hormones and general health, way more than people will ever see in a lot of cases. We also have children, all while trying to navigate this very tough industry,  so I think there should be so much more awareness and support on that level. 
I find the change in representation of women within D&B an incredibly interesting subject…
My DJing career has gone on so many different journeys. I haven’t always played drum and bass but I was a huge part of drum and bass when I was dancing. I was always the boss of the group. I was the organiser. That’s just always been me as a person- I’ve always been someone that wants to get stuck in and get the job done.
I’ve always felt very equal to any man. I’ve always felt like that “If you can do it, I can do it.” and I’ve always had loads of male friends. That’s always been my happy place, so I’ve never been phased by wanting to do anything a man can do. As much as there weren’t as many opportunities on offer back in the day, I’ve never felt like I couldn’t do stuff. 
I started DJing in ‘03 I had a radio show on Invincible Radio playing drum & bass until ‘06 before I played on the club circuit. And again, there weren’t really many women playing at all around that time. I didn’t really think about it at the time though. I was just like, “Yeah, I just want to play my music.” And again, I was always hanging around with the mandem. I was always like one of the guys. 
For me DJing started off with drum and bass and then I got offered via My Space by a Greek promoter in 2007 to play in a club in Athens as my first ever club gig playing hip-hop. Hip-hop has always been one of my first loves and has definitely influenced every aspect of my musical journey. 
I love rappers. I think that’s where my love of MCs comes from. I love all the early rap superstars from my generation, Missy Elliott ,  Busta Rhymes, Snoop Dogg, 50 Cent , Nicki Minaj etc. And even to this day, me and Fabio are huge rap fans and follow hip hop avidly. I started playing hip-hop, EDM and house and ended up having a really amazing time for about 11-12 years and flying all over the world , solo and sometimes alongside a unique DJ show I created with The Narni Shakers, which was the first of its kind. I started producing around that time as well, making EDM and House records – which is where ‘Flip It’ came from. I had an amazing , crazy time and have some great memories from those years! 
I left the scene for a bit. I was always there, going to the raves and of course, being with Fabio. I didn’t really start playing drum and bass properly again until lockdown. So when people speak to me about females in drum and bass and talk about me in a legendary sense , I find it quite interesting, because my D&B journey hasn’t been linear. I was a Narni Shaker and then went off doing other things. So I’m relatively new to it as a DJ in reality. One thing I’ll say though, is drum and bass is a musical family, like no other. Once you’re in it, you can go off and explore other things, but that family will always be there…and right now I feel like my life has come full circle, being right back where I started.
But would I call myself a feminist? Yes! And as a pro-female/feminist kind of girl, I still think that drum and bass is a frustrating place for a woman. I find it frustrating myself, let alone anyone new coming through.
I notice a lot, that most of the time the men are at the top of lineups in big letters, lights, bells and whistles. It’s all about the guys. There might be more opportunities for women than there were, and there’s a lot more women who want to be DJs and want to do anything a man can do these days. Great. But what about equal opportunities? What about equal billing? I think that is still a problem. Promoters, most of the time,, think men are going to sell the tickets over women, which isn’t always the case. Because just as I mentioned with Narni Shakers in the 00s, female fans really looked up to us, and it’s no different today so it’s important we’re represented as equally as possible in those main arenas at peak times too.
We’ve got to make promoters believe that women can sell tickets and that they should be put up there on a pedestal with the men. It will always be better than 20 years ago and hopefully in 20 years time, the conversation will be even better than it is now. We can only hope for progression to continue.  But all of this aside , I still believe you have to work hard for whatever you want in life, male or female. I’ve never wanted to be a token woman, I’ve always wanted to be respected for my talents regardless of my gender. 
I wanted to talk to you a bit about Karma London. You do a lot of business related stuff in the music industry. So for the people who might not know, what is Karma London?
Karma London is a 360 production company, record label & management company.  We’re a production company in the sense that we do filming, editing-creative.
I learned to edit in the early stages of my career. I’ve always co-edited all my music videos ,  just because I’ve always had a flair and been creative. I wanted everything there for myself, I was paying out so much money for music videos, it’s so expensive to pay for everything singularly. Me and my business partner just started buying all our own kit and we’ve ended up with a production company, recording studio and filming studio. We are fully self-sufficient, we do advertising work and shoots as well as all the music stuff. 
So there’s that side of things. And then the management company that manages Fabio & Grooverider and also myself and all our affiliated brands such as Return to Rage, Hologram Sessions , Fabio’s Generation Liquid.  I’ve always been a boss from the early days of the Narni Shakers, so this side of me was a natural progression.
You’ve got your business hat and got your creative hat, is it hard to balance the two different aspects of the business and of your career? 
Yeah it is. I must admit though since getting involved with Fabio & Grooverider , it’s also helped me in my career and my business. But yeah, you do have to have one hat for manager- the bitch telling everyone what to do, the organiser. Then the other side is this fun crazy character that I’ve built for myself over the years. Which has evolved into the love/hate figure that is here today!
Unfortunately the Charlotte Devaney brand comes with lots of people who love it but then lots of trolls as well.
That’s the other thing about being a woman,  I’ve noticed that online women get a lot more trolling than men.  Some of the things I see written about me I’m like “Have a day off will you?!” It doesn’t bother me, because I was getting trolled , before social media on the forums. Drum & Bass Arena, Dogs On Acid. Narni Shakers used to get so much abuse. So, again, it was always women getting picked on. 
I find mostly middle-aged men who just seem to find women an easy target, it’s kinda mad. Today in drum and bass if you’re pretty, glamorous or in any way outlandish or colorful or anything apart from the head down, do as you are told type. Straight away you’re labeled as cringe. 
It doesn’t bother me because I have enough self-belief to know I’m a bad bitch. I’m good at what I do, not everyone is going to like me and that’s okay. I’ve built my whole career on being a polarizing artist, I want to stand out and be uniquely me. I pride myself on it, but with that comes some hate and jealousy. 
When I read trolling comments, I think “But I don’t know you though. So why do I give a f**k what you say about me? Furthermore, if you’re talking about me, it’s all good- keep the algorithm going! I’ve had so many extra streams on my music, and extra followers when I’ve had posts go viral with people fighting about whether they like me or not in the comments, so I just sit back and laugh. 
Women in drum and bass get trolled a lot. I just want to know why we can’t just live and let live? Why can people not just scroll past if they don’t like something, why do we have this pack, bullying mentality online? I will never understand it. When I first started out, it was about peace, love, and unity. I don’t think we’ve got a lot of that at the moment. I think there’s too many opinions and because of social media , people don’t seem to be happy for others’ success, so they channel that into baseless hate. I have to say if I wasn’t the strong person I am,, it would really get to me. 
Going back to Karma London, it’s very busy. There’s a lot going on, so much more than people will ever see!  I’m running a lot of stuff behind the scenes , like the The Fabio & Grooverider Outlook Orchestra Project for instance. 
Big up for that, by the way…
It’s very exciting. Myself and Noah from Outlook Festival came up with that idea and we’ve grown it as a brand that’s getting bigger and bigger year by year. We’ve got the Royal Albert Hall in March which sold out in four days.  
It’s great for the scene, and I think it’s good for the diversity of the scene to show the roots of where it all came from. I would love to see a bit more diversity like it was in the ’90s/’00s. 
And you’re touring soon? 
I’m doing my first US tour in October 2025, which is exciting. My first gig in America was in 2006, when I was a dancer. And almost 20 years later, I’m coming back to do a proper Charlotte Devaney DJ tour, which is amazing. 
I’m really excited because for a long time I’ve noticed a lot of support from America for my music. A lot of American people hit me up. They love the style, and the crazy vibe!
They love that energy, don’t they… Do you think you’re going to play a different type of set for the US compared to the UK? 
Not really. When I went out there in April and did a one off gig for Respect, I played my normal set and they loved it. My drum and bass sets are very mixed anyway. I like to throw in some old school, some rollers and a couple of jump up tunes as well. I just kind of go with the flow and whatever I think the crowd are into really. I never plan my sets. 
I’m old school. I learned from Fabio and Randall and these are people that taught me and you just didn’t do that back in the day. You’d look at the dance floor and you’d go, “Okay, yeah, the tune is not working- next one” I find it very hard to plan my sets. Sometimes you have to for certain things, but yeah, it’s always better not to. 
I feel like you can tell when someone’s reading the room. I think you get a different vibe to when a set has been planned. 
Anything else you want to say?
Watch this space for more Charlotte Devaney madness and good vibes injected into the world! I ain’t stopping anytime soon… Sorry haters!!
I just want to keep trying to smash down doors against sexism and against ageism because I’m very passionate about that too.
I don’t like ageism. I find it repulsive to be honest, I hate the label   Heritage DJ’ I personally find it really disrespectful. At the end of the day, if you’re good at what you do, it doesn’t really matter how old you are or how long you have been around. I’m very respectful of my peers, those who have opened doors so I and others could walk through them. I would never dream of calling someone ‘old’ or ‘past it’ or ‘heritage’ , I just have too much respect. 
Age is another thing in which I feel like women get unfairly treated way before men. For instance, a 45 year old woman compared to a 45 year old man, the woman is deemed old, but for a man that’s considered fairly young. When I was modeling, dancing and acting by the age of 25, you were considered old. The pressure that I felt to be skinny, to be young was insane. I look at all the CVs that I used to write from back then and I used to change my age every single year, a year back, a year back, a year back, same with my Wikipedia page.
Now I don’t care as much. I’m owning who I am a lot more and that’s the great thing about today, you can be unapologetically yourself. Whereas back then, you couldn’t really own who you were as a woman. You had to be this young sexy thing forever. It was a real thing. 
I’m much more open about talking about the fact that I was around in the 90s and I’ve done all these amazing things because I should be proud of it rather than trying to pretend that I’m still 25. I’m not, and that’s cool, I have a story, a legacy and I’ve become wise and can help influence others now which is a good feeling! 
All we can do is keep trying to break down the doors and barriers… I really respect that you mentioned ageism…
It’s not something I‘ve personally felt, not as a DJ not in this day and age. But I guess you never really know how others perceive you.
I think DJing has always opened itself up to being slightly ageless. But with drum and bass I do notice that there’s a kind of conveyor belt of young female DJs. They’ll be a flavour of the month for X amount of time and then there will be someone else. Again it just comes down to ageism, because you can have a 50 year old Male DJ up there for years , but you can’t have a 50 year old female DJ, not that many of them anyway.
But anyway- Thank you for having me. I will continue to just be myself , and hopefully inspire others along the way! 
Big up UKF for always supporting me from day one. I never forget people who have supported and helped me and anyone reading this shouldn’t either.
www.charlottedevaney.com

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[EDMTunes] WMC Announces Initial Programming for 2025 Return

The Winter Music Conference (WMC) is back for its landmark 35th edition, set to take place from March 26–28, 2025 at the Eden Roc Miami Beach Resort. As the longest-running conference in electronic music, WMC has been a cornerstone for industry professionals and artists. This year, the event promises insightful panels, educational workshops, exclusive events, and a chance to connect with influential voices shaping the future of the electronic music industry.
Top Speakers and Programming Highlights
WMC 2025 will feature notable artists such as LP Giobbi, Shimza, HAYLA, Aluna, and Sydney Blu sharing their expertise and perspectives on the evolving dance music scene. Also, industry leaders from Ultra Records, SoundCloud, Defected Records, and more will engage in critical discussions about the future of electronic music.
Artist Speakers
LP Giobbi Shimza HAYLA Aluna Sydney Blu Industry Leader Speakers
Alex Greenberg – Falcon PR Alex Jukes – Jukebox PR/The Tribes Andy Daniell – Defected Records Anna Horowitz – WME Bina Fronda – Ultra Records Blake Coppelson – Proximity II Kompass Music Group Cameron Sunkel – EDM.com Candace Silva-Torres (p/k/a SiLVA) – KCRW Carly Peterson – Circa Celena Fields – EVEN Chris Johnson – SoundCloud Chuck Fishman – Soul Clap Records Connie Chow – FUGA II shesaid.so AMS Cristiana Votta – Alegria Agency Dani Chavez – Good Girl Management Dani Deahl – BandLab Danny Klein – SPIN Magazine II Robot Sunrise David Waxman – Ultra Records Deron Delgado – EMPIRE Dance/Dirtybird Dilini Weerasooriya – Merrill Wealth Management (Bank of America) Dorothy Caccavale – FM Artists/Three Six Zero Eddie Sears – Republic Records Elyn Kazarian – Women In Visuals/dublab Emma Hoser – Liaison Artists Eric Silver – Red Light Management Eryk Puczek – FriendsOfFriends.Agency Gavin Ryan – Big Beat Records/Atlantic Records George Hess – G5 Entertainment Gina Tucci – 146 Records Hallie Halpern – SeriouslyHallie Studios Harmony Soleil – c895 Seattle Hilary Gleason – Backline Jason Adamchak – Calculated Creative Agency Jaye Hamel – 1of1 Custom Jeroen te Rehorst – BEAT Music Fund/Armada Jess Page – Rareform Jordyn Reese – Do Better For Artists Kat Bein – Super Kat World Katie Bain – Billboard Katie Knight – Can U Put Me On Guestlist Podcast Kyle Jones – EDM.com Lauren Anderson – LabelWorx Lewis Kunstler – 2 + 2 Management II Young Art Records Lorne Padman – Dim Mak Records Matt Sherman – Sherm In The Booth Podcast II Hood Politics Records Megan Venzin – DJ Mag Nicholas Saady – Pryor Cashman LLP Olivia Mancuso – Elevated Frequencies Podcast Ollie Zhang – 88rising Paula Quijano – Little Empire Music Pete Anderson – ETP Agency Peter Slayton – Slayton Creative Sam Mobarek – Major Recordings (Warner Records) Seth Shapiro – Shapiro Legal, PLLC Shannon Herber – Wise River Consulting Silvia Montello – Voicebox Consulting Simon Scott – Cirkay LTD Sonya Okon – Helix Records/Ultra Publishing Steph Conlon – Easier Said Taryn Haight – Wasserman Tom Williams – L’Affaire Musicale Vivian Belzaguy Hunter – Ultra Music Festival II Ascendance Sustainable Events Watse de Jong – Manager, Martin Garrix Will Scott – Helix Records / Ultra Publishing Additionally, WMC attendees can look forward to a variety of educational sessions, including panels and workshops on music production, technology, and industry trends. Will Darling, founder of EDM Tips, will host a special workshop on maximizing creativity in music production.
Exclusive Networking and Events
Beyond educational programming, WMC 2025 will offer several networking events such as the WMC Kickoff Networking Mixer, the Official WMC Pool Party, and the inaugural EDMAs/IDMAs Hybrid Awards Show. These events will provide a platform for attendees to connect with industry professionals and peers.
Tickets
You can find more info and a link to tickets on the WMC website.

The post WMC Announces Initial Programming for 2025 Return appeared first on EDMTunes.
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[EDM House Network] Crosshair Drops Melodic Techno Track ‘Salvation’ On Lohit Deep

Melodic techno has become one of the most captivating and most listened to sounds in electronic dance music. Pioneers like Anyma, Argy, ARTBAT, and Kevin De Vries have carved a path for the next generation, inspiring a wave of rising talent. Among them is Crosshair, who makes an impressive debut with his first single, ‘Salvation’, released on Lohit Deep.
Clocking in at over six minutes, ‘Salvation’ is a masterclass in production, showcasing Crosshair’s artistry and potential to become a standout name in the genre. Built on driving basslines and thumping kicks, the track is a powerhouse of energy, while atmospheric stabs, haunting synths, ethereal vocals, and immersive melodies weave together to create a hypnotic dance floor anthem.
As his name suggests, Crosshair is one to keep firmly in your sights—because if ‘Salvation’ is any indication, this is just the beginning of something special.
Stream this single below.
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[EDMTunes] Skrillex Sends Out Preview of New Music via Email

Another wild ride in the Skrillex world this afternoon. Almost a month after hinting at being added to Ultra Music Festival‘s lineup for 2025, it was confirmed this morning by the festival as it announced Phase 3. Additionally, Sonny Moore took to his Twitter page to also confirm the news but also to follow up on the mystery that we were all left with when he pointed us to his new website. Take a look here to recap the information.
However, he tweeted this afternoon a quick update. He explained that he was busy since the last tweets but now is ready to prepare for Ultra and to update us with his music. He went on a bit of a tweetstorm hitting a few topics but ended with a preview of new music!
Some then received an email:
Here is the snippet that went out in the emails in case you did not receive. CLICK HERE. It is titled, “Bibi’s Tower“.
It begins with a very beautiful and angelic melody which is then accompanied by some quick familiar Skrillex’s sounds that we’ve heard in the past. Hopefully we won’t have to wait another month for an additional update. If anything, we have Ultra to look forward to!
The post Skrillex Sends Out Preview of New Music via Email appeared first on EDMTunes.
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[Decoded] Winter Music Conference announces first wave of programming for 35th Anniversary Edition

Winter Music Conference (WMC) — The US  electronic music industry gathering—has unveiled the first wave of programming for its highly anticipated return to Miami Beach. Celebrating its historic 35th anniversary, WMC 2025 will once again unite the most influential voices in dance music for a dynamic three-day event from Wednesday, March 26 – Friday, March 28, 2025, at Eden Roc Miami Beach Resort.
As the longest-running electronic music conference of its kind, WMC has played an instrumental role in shaping the dance music landscape for decades—fostering industry-defining conversations, launching iconic records, and catalyzing legendary careers. The 2025 edition will continue this legacy with a forward-thinking program featuring insightful panels, educational workshops, exclusive events, and unparalleled networking opportunities.
With a commitment to fostering education, innovation, and culture, WMC 2025 will explore the evolving electronic music landscape through dynamic conversations and engaging sessions. Featuring an array of esteemed artists and industry leaders who are shaping the global electronic music ecosystem, WMC 2025 will provide invaluable insights and actionable guidance on the future of electronic music.
A host of renowned artists are set to take the stage at WMC 2025, including LP Giobbi, Shimza, HAYLA, Aluna, and Sydney Blu, who will share their perspectives on artistry, creativity, and the evolving landscape of dance music. They will be joined by some of the industry’s most influential leaders, including David Waxman (President, Ultra Records), Cristiana Votta (Manager, Black Coffee), Chris Johnson (Head of A&R, SoundCloud), Andy Daniell (Director of Music, Defected Records), Sam Mobarek (Head of Major Records, Warner Records), Watse de Jong (Manager, Martin Garrix), Ollie Zhang (Head of Artist Development, 88rising), Taryn Haight (VP, Strategy – Electronic Music, Wasserman), and Blake Coppelson (Founder & CEO, Proximity / Co-Founder, Kompass Music Group). These key figures will engage in critical discussions about the challenges and opportunities shaping the future of the electronic music industry.
Panels will be moderated by some of the most respected voices in dance music, ensuring insightful and thought-provoking conversations. Confirmed moderators include Megan Venzin (DJ Mag), Danny Klein (SPIN Magazine), Connie Chow (FUGA), Jaye Hamel (1of1 Custom), Chuck Fishman (Soul Clap Records), Lorne Padman (Dim Mak Records), Deron Delgado (EMPIRE Dance // Dirtybird), Shannon Herber (Wise River Consulting), Katie Bain (Billboard), Kat Bein (Dance Music Historian), and Katie Knight (Radio & TV Presenter), and Kyle Jones (EDM.com).
WMC 2025 will also host a special workshop conducted by EDM Tips-founder Will Darling – a GRAMMY-shortlisted producer and mixing & masters engineer, called “Workflow Techniques to Become a Music-Making Machine.” In this workshop, Darling will share his powerful techniques for maximizing productivity and creativity in music production.
Alongside these educational sessions, WMC 2025 attendees will have the opportunity to connect with industry professionals at a series of exclusive events, including the WMC Kickoff Networking Mixer, the Official WMC Pool Party, and the inaugural EDMAs/IDMAs Hybrid Awards Show.
Be on the lookout in the coming weeks for more exciting WMC announcements including the reveal of panels, keynote speakers, and much more.
Artist Speakers
LP Giobbi
Shimza
HAYLA
Aluna
Sydney Blu
Industry Leaders
Alex Greenberg – Falcon PR
Alex Jukes – Jukebox PR/The Tribes
Andy Daniell – Defected Records
Anna Horowitz – WME
Bina Fronda – Ultra Records
Blake Coppelson – Proximity II Kompass Music Group
Cameron Sunkel – EDM.com
Candace Silva-Torres (p/k/a SiLVA) – KCRW
Carly Peterson – Circa
Celena Fields – EVEN
Chris Johnson – SoundCloud
Chuck Fishman – Soul Clap Records
Connie Chow – FUGA II shesaid.so AMS
Cristiana Votta – Alegria Agency
Dani Chavez – Good Girl Management
Dani Deahl – BandLab
Danny Klein – SPIN Magazine II Robot Sunrise
David Waxman – Ultra Records
Deron Delgado – EMPIRE Dance/Dirtybird
Dilini Weerasooriya – Merrill Wealth Management (Bank of America)
Dorothy Caccavale – FM Artists/Three Six Zero
Eddie Sears – Republic Records
Elyn Kazarian – Women In Visuals/dublab
Emma Hoser – Liaison Artists
Eric Silver – Red Light Management
Eryk Puczek – FriendsOfFriends.Agency
Gavin Ryan – Big Beat Records/Atlantic Records
George Hess – G5 Entertainment
Gina Tucci – 146 Records
Hallie Halpern – SeriouslyHallie Studios
Harmony Soleil – c895 Seattle
Hilary Gleason – Backline
Jason Adamchak – Calculated Creative Agency
Jaye Hamel – 1of1 Custom
Jeroen te Rehorst – BEAT Music Fund/Armada
Jess Page – Rareform
Jordyn Reese – Do Better For Artists
Kat Bein – Super Kat World
Katie Bain – Billboard
Katie Knight – Can U Put Me On Guestlist Podcast
Kyle Jones – EDM.com
Lauren Anderson – LabelWorx
Lewis Kunstler – 2 + 2 Management II Young Art Records
Lorne Padman – Dim Mak Records
Matt Sherman – Sherm In The Booth Podcast II Hood Politics Records
Megan Venzin – DJ Mag
Nicholas Saady – Pryor Cashman LLP
Olivia Mancuso – Elevated Frequencies Podcast
Ollie Zhang – 88rising
Paula Quijano – Little Empire Music
Pete Anderson – ETP Agency
Peter Slayton – Slayton Creative
Sam Mobarek – Major Recordings (Warner Records)
Seth Shapiro – Shapiro Legal, PLLC
Shannon Herber – Wise River Consulting
Silvia Montello – Voicebox Consulting
Simon Scott – Cirkay LTD
Sonya Okon – Helix Records/Ultra Publishing
Steph Conlon – Easier Said
Taryn Haight – Wasserman
Tom Williams – L’Affaire Musicale
Vivian Belzaguy Hunter – Ultra Music Festival II Ascendance Sustainable Events
Watse de Jong – Manager, Martin Garrix
Will Scott – Helix Records / Ultra Publishing
WMC 2025 tickets are on sale now WinterMusicConference.com

The post Winter Music Conference announces first wave of programming for 35th Anniversary Edition appeared first on Decoded Magazine.
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[EDM House Network] Ultra Music Festival Reveals Phase 3 Lineup For 25th Anniversary Edition

With just over a month until Ultra Music Festival celebrates its 25th anniversary at Bayfront Park in Downtown Miami, the festival has unveiled its Phase 3 lineup for 2025. Showcasing more than 170 artists from across the global electronic music spectrum, Ultra’s milestone edition will take place from Friday, March 28 to Sunday, March 30, 2025.
Ahead of this milestone event, Ultra has already unveiled a bevy of world-class headliners, further solidifying its legacy as the World’s Premier Electronic Music Festival, including Above & Beyond, Afrojack, Alesso, Armin van Buuren, Axwell, deadmau5 ‘retro5pective set,’ Gesaffelstein, Gryffin, Hardwell, Knife Party, KSHMR (Live), LSZEE (CloZee and LSDREAM), Martin Garrix, Nero, Pendulum (live), Subtronics, Steve Aoki, Tiësto, Timmy Trumpet, Zedd, and Zeds Dead (AV SET).
As the preeminent curator of electronic music’s rare, ‘you-had-to-be-there’ moments, Ultra 2025 will also present history-making performances including; the world-exclusive Anyma B2B Solomun set, the global debut of Carl Cox’s ‘Evolution’ live show, the first-ever deadmau5 b2b Pendulum DJ set, the Miami debut of Dom Dolla and John Summit’s Everything Always superduo, the world debut NGHTMRE b2b Sullivan King set, and the U.S. debut of Chase & Status’ new live show.
Now, Ultra unveils the next round of artists headed to Bayfront Park in the Phase 3 lineup announcement led by nine-time GRAMMY winner Skrillex and versatile Dutch superstar Oliver Heldens. The Phase 3 lineup also boasts additional performances from NYC-based house music producer Jev, English DJ/producer and TV personality Joel Corry, Dutch progressive house/trance virtuoso Ruben de Ronde, Australian house icon Sonny Fodera, UNCAGE label boss Marco Faraone, and Ibiza legend Mar-T. British drum & bass legend LTJ Bukem also joins the Phase 3 lineup, making a full circle moment by returning to Ultra Music Festival after playing the first edition in 1999.
Heralded as the most international house and techno festival brand, RESISTANCE will once again present a bevy of house and techno’s most in-demand acts across two stages: The RESISTANCE MegaStructure and The Cove. Previously-announced RESISTANCE headliners include; 999999999, Adam Beyer, ARTBAT, Boris Brejcha, Charlotte de Witte, Dubfire ‘EVOLV’, Eli Brown, Four Tet, I Hate Models, Joris Voorn (Live), Mau P, Miss Monique, Nico Moreno, Richie Hawtin (DEX EFX X0X) (Live), Solomun (solo set), and Stephan Bodzin (Live).
Ahead of RESISTANCE Ibiza’s forthcoming club residency at Amnesia this summer, the legendary venue will host a stage takeover at Ultra Music Festival. Transporting the unique energy of the Ibiza experience to Miami, the Amnesia stage takeover will give fans a glimpse into the upcoming club residency slated to take place every Wednesday from July 23 – September 17, 2025, with with weekly headlining performances from Season Residents Adam Beyer and ARTBAT.
The 2025 Ibiza residency brings the story full circle as RESISTANCE debuts at Amnesia—the venue that hosted ULTRA Worldwide‘s first Ibiza event in 2007. A momentous reunion nearly 20 years in the making, RESISTANCE Ibiza 2025 will transform Amnesia’s hallowed architecture into multisensory spectacles all season long, showcasing the large-scale productions, top-of-the-line visual design, and transcendent soundscapes that have come to define the RESISTANCE brand globally.
The Amnesia stage takeover will join the previously-announced RESISTANCE takeovers including Solomun’s Diynamic and Carl Cox Invites. With Solomun at the helm, the Diynamic stage takeover will feature Four Tet, Mau P, Chloé Caillet, and Rafael Cerato. Making its Ultra debut, Carl Cox Invites will host Adam Beyer, Richie Hawtin DEF EFX X0X, Stephan Bodzin (live), Joris Voorn (live), Dubfire EVOLV, Marc Romboy (live), and a special b2b performance from Carl Cox and Christopher Coe.
Ultra Music Festival will also feature previously-announced stage takeovers like the first-ever psytrance takeover led by Vini Vici’s Alteza Records, the fourth consecutive year of Coone’s Dirty Workz stage takeover, the debut of Partiboi69’s Area 69 takeover, and the return of Armin van Buuren’s iconic A State of Trance.
Featuring an extensive array of world-class performers, with nods to the past, present, and future of electronic music, Ultra’s expertly-curated 2025 lineup is a tour-de-force of genre-crossing talent. From trailblazing global debuts to the celebrated homecomings of festival favorites, the lineup aptly sets the tone for Ultra’s milestone event.
Ahead of the festival’s forthcoming 25th anniversary celebration, fans can relive the magic of Ultra Music Festival through the 25-episode docuseries titled “All Eyes On Us.” The series highlights Ultra’s global impact as pioneering industry leaders and the festival’s role in defining dance music culture over the past quarter century. Ultra has released a new episode every Monday in a 25-week countdown to the monumental occasion.
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