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Ibiza Seeks to Boost Tourism: Direct Flights on the Horizon?

The big party island may soon become even more accessible to American travelers. Juan Miguel Costa, the island’s Director of Tourism, is leading a bold initiative to establish direct flights from the United States—a move set to reshape the island’s tourism landscape.
As Ibiza continues to grow in global popularity, the demand for easier travel options has surged, especially from the U.S. Currently any American travelers must make at least one layover, usually in London, before reaching the island. These multi-city journeys are often expensive and inconvenient, discouraging many would-be visitors.
“We’re seeing a clear trend—more Americans want to experience the magic of Ibiza,” said Costa.
Tourism officials are actively working with airlines and government entities to explore non-stop routes from major U.S. cities like Atlanta, Miami, and New York. If successful, the new connections could significantly increase visitor numbers during peak seasons, investing fresh energy and revenue into the island’s hospitality sector.
In anticipation, some major travel platforms like Expedia and Booking.com are already developing curated vacation packages tailored to American travelers. These packages include luxury resorts, nightlife experiences, and wellness retreats that showcase the full spectrum of what Ibiza has to offer.
For an island that thrives on the occasional tourists, the addition of direct U.S. flights could mark a major milestone. With rising demand and growing momentum, Ibiza might soon be just one effortless flight away.

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NRK and Nikki Belle drop summer house track – Bodies Movin’ on Love to Be Recordings

UK dance floor mainstays NRK and Nikki Belle return with a slice of future-retro fire in Bodies Movin’, out now on Love To Be Recordings. Known for igniting legendary club nights from Space Ibiza to Hed Kandi, NRK’s deep nu-disco grooves meet Nikki Belle’s powerhouse vocals—already iconic from global hits like “Horny!”—to create a hypnotic new anthem for the underground. The track arrives with a dynamic video teaser that echoes the sweat and swagger of late-night dancefloors, offering a first taste of what this powerhouse duo has in store.
Bodies Movin’ is a celebration of liberation through rhythm—a late-night mantra pulsing with filtered synths, fat basslines, and vocal hooks that demand movement. NRK draws from decades behind the decks and a passion for club culture, while Nikki’s vocal performance channels pure heat and attitude. Together, they conjure the raw magnetism of warehouse parties and the polish of Ibiza terraces, building a sonic bridge between dance music’s golden past and its evolving future.
The single marks a fresh chapter for both artists as they gear up for a series of collaborative releases under their new joint venture. After reigniting creative sparks in the studio and on stage, NRK and Nikki Belle are proving that club music doesn’t just live in the moment—it moves with it. With support already growing from DJs such as Sam Divine (Defected), Tenacious (Select UK), Nick Fiorucci, Trimtone, Syke ‘n’ Sugarstarr, Bodies Movin’ is more than a track—it’s a mission statement. Out now across: Spotify, Amazon, Beatport, and Traxsource, 
The post NRK and Nikki Belle drop summer house track – Bodies Movin’ on Love to Be Recordings appeared first on Decoded Magazine.
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Spotify Pushing Ahead with More Price Increases This Summer—But Not in the US, Says Latest Intel

Photo Credit: Thibault Penin
Spotify is planning to raise subscription prices in dozens of countries outside the US this summer, according to sources close to the matter.
In the face of slowing subscriber gains for streaming services in the US, Spotify plans to raise its subscription prices in countries across Europe and Latin America as early as June. The news comes from the Financial Times, citing people familiar with the situation.
Since increasing its monthly price in the US just last July, Spotify lost a bit of ground against Apple Music in 2024. Indeed, music distributor Believe noted that major streaming platforms overall had shelved plans for further price increases, particularly in the US, based on slowing subscriber growth.
Spotify has already started raising prices again in some regions, including the Netherlands and Luxembourg. But the broader push will intensify this summer, according to those familiar with the matter. The move comes as the recent period of rapid expansion in the music industry begins to wane, with global revenue growth halving in the sector last year, according to IFPI.
Meanwhile, streaming platforms including Spotify have considered charging extra money for early access to music, as executives seek new avenues to cash in on the biggest artists’ most passionate fans.
Streamers have also considered offering early access to concert tickets for those who pay for an extra-super-premium subscription tier, according to sources. Other companies besides Spotify that have been eyeing an advanced subscription tier include Apple Music, Amazon Music, and YouTube Music.
Some of the buzz around new subscription tiers stems from Universal Music Group CEO Lucian Grainge introducing the term “Streaming 2.0” at a capital markets day back in September. “We believe that the value will grow enormously,” Grainge told investors. Streaming companies view this “Streaming 2.0” as the next phase of their services, in which pricier premium tiers contain (niche) content focused predominantly on “superfans.”
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Cassie Assault Footage Admissible in Diddy’s Trial, Federal Judge Rules

Photo Credit: Sean “Diddy” Combs for Cannes Lions Learnings / CC by 3.0
Footage of Diddy physically assaulting Cassie Ventura will be shown to the jury in his criminal sex trafficking trial, a federal judge has ruled. The trial is scheduled to begin next month.
Sean “Diddy” Combs and his legal team pushed to have the 2016 hotel footage of him brutally assaulting then-girlfriend Cassie Ventura excluded from the evidence in his upcoming trial. But a federal judge has denied those requests, allowing the footage to be shown to the jury.
Despite his repeated efforts to exclude the footage, Combs admitted in May 2024—just after the footage was aired by CNN—to physically assaulting Ventura. He posted an apology video on his Instagram account, calling his behavior in the footage “inexcusable,” and taking “full responsibility” for his actions.
However, Combs and his attorneys have since claimed the footage was inaccurate. But Judge Arun Subramanian said many of the defense’s concerns can be alleviated “through technology.” Prosecutors said they had a video expert going through the footage and further verifying its authenticity.
CNN has also doubled down on their assertion that they did not alter the footage. “CNN never altered the video and did not destroy the original copy of the footage, which was retained by the source,” said a spokesperson for CNN. “[We] aired the story about the video several months before Combs was arrested.”
Combs has pleaded not guilty to federal charges of sex trafficking, transportation to engage in prostitution, and racketeering conspiracy. He has been held without bail at a federal detention center in New York City since his arrest while he awaits trial. Jury selection begins on May 5, while opening statements are expected to begin on May 12.
Marc Agnifilo, Combs’ lead attorney, suggested in a court hearing on Friday that Combs is simply a “swinger,” rather than a sexual predator. This offers some insight into the defense’s strategy, claiming all Combs’ sexual encounters were consensual. However, assertions that some encounters involved minors would undoubtedly throw that theory out the window, even without the footage of his vicious assault on Cassie.
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Sydney Radio Station Used an AI DJ for Six Months Without Anyone Knowing

Photo Credit: CADA
A Sydney radio station has been using an AI DJ for its morning show for six months without anyone noticing. Doing so was completely legal, as AI use is not a requirement in Australia—yet.
The Australian Radio Network (ARN) Sydney station CADA broadcasts across Sydney and is also available to listen online through iHeart Radio. CADA created an AI host for its ‘Workdays with Thy’ slot, which runs from 11 am to 3 pm. She presents four hours of hip-hop for those listening, but neither CADA nor ARN disclosed that listeners were listening to a AI-generated DJ.
The Carpet newsletter uncovered the tool ARN used to create Thy is called ElevenLabs. Thy’s voice and likeness are borrowed from a real employee who works in the ARN finance team. That’s not so different than Spotify’s attempt at an AI DJ, which borrows its voice from Xavier ‘X’ Jernigan, Spotify’s Head of Cultural Partnerships.
“We’ve been trialing AI audio tools on CADA, using the voice of Thy, an ARN team member,” shares an ARN spokesperson. “This is a space being explored by broadcasters globally and the trial has offered valuable insights.” The spokesperson adds that the experiment has “reinforced the power of real personalities in driving compelling content” for listeners of radio.
Currently there are no specific restrictions on the use of AI in broadcast content, with no obligation to disclose its use at all. Teresa Lim, Vice President of the Australian Association of Voice Actors, says this is an example of why disclosure legislation is needed.
“AI can be such a powerful and positive tool in broadcasting if there are correct safeguards in place,” Lim says. “Authenticity and truth are so important for broadcast media. The public deserves to know what the source is of what’s being broadcast. We need to have these discussions now before AI becomes so advanced that it’s too difficult to regulate.”
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Only 17% of Music Creator College Students Are Familiar With The MLC, Survey Finds

Photo Credit: Panagiotis Falcos
MusicAnswers has spent two years conducting a survey of college student music creators to better understand their experience with song registration agencies—specifically the Mechanical Licensing Collective (MLC). The results are pretty grim, with a majority of college students being unaware of their purpose or what they do in the industry.
A survey of 150 music creator college students from across the United States reveals that 93% of respondents have never seen any information from The Mechanical Licensing Collective (MLC). Just 17% were able to correctly identify the function of the Collective among several multiple choice options.
The MLC is the body currently authorized by the federal government to collect and distribute streaming royalties to songwriters and composers through their music publishers. MusicAnswers shared this data exclusively with Digital Music News to highlight how few students realize there is a regulatory body for their mechanical royalties.
Digging deeper, only 15% of respondents have received information about The MLC from American performing rights organizations (PROs), The Recording Academy, the U.S. Copyright Office, the Music Business Association, and the Harry Fox Agency combined, the survey revealed.
The diverse survey sample included songwriters and composers from Berklee College of Music (Boston), Columbia College (Chicago), New York University (New York), Tiffin University (Ohio), the University of Southern California (Los Angeles), Vanderbilt University (Nashville), Wayne State University (Detroit), and Western Michigan University (Kalamazoo).
At a top level, just 17% of survey respondents were able to correctly identify the MLC as ‘an agency that collects U.S. royalties for the reproduction and distribution of musical works.’ Citing the measly result, MusicAnswers — an advocacy group led by industry vets Phil Galdston, David Wolfert, Doug Wood, Derek Fawcett, and Matthew Dylan Rose — says the time has come to have a serious conversation within the community about how to better serve the needs of these up-and-coming independent music creators.
But how many of these creators are actively releasing (and monetizing) their music?
That seems like an important distinction, particularly given that artists who haven’t released any music are understandably unaware of royalty collection details. On that point, however, MusicAnswers told DMN that roughly 50% in the survey have previously released music, though their awareness of the MLC wasn’t noticeably different than those that haven’t yet released music.
Of those who have released music, 84% of respondents had not registered with the MLC—leaving their streaming mechanical royalties unclaimed in the ‘black box’. Depending on the estimate, the current black box total of unclaimed royalties has now spilled into the billions.
The 2018 Music Modernization Act (MMA) officially established the MLC as the collector and distributor of U.S.-based mechanical royalties derived from interactive streaming services like Spotify, Apple Music, and Amazon Music. The intended recipients are songwriters, composers, and music publishers across all sizes and stripes, including independent and unsigned creators.
The MMA provides that ‘black box’ royalties unclaimed by a date stipulated in the legislation will be paid to publishers registered with the MLC, prorated by market share. That stipulation serves to distribute royalties to rights owners instead of leaving money sitting in a bank account forever, though the criticism is that major publishers are positioned to soak up most of the black box money—although virtually none of it will have been generated by works they own or administer.
These numbers are certainly discouraging. But just how much of this awareness gap can be pinned on the MLC?
After all, songwriters, composers and publishers need to figure things out — and plenty of resources exist, including DMN — though MusicAnswers noted that the MMA also requires the MLC to actively inform the music creator community of the existence and role of the collective. That includes details on the processes required to secure any royalties due them—including the obligation to register their works with the MLC.
And what about awareness involving other royalty collection groups? On the performance royalty side, only 60% of respondents had registered their music with PROs ASCAP, BMI, or SESAC—a requirement to receive royalties from public performances.
Others, including SoundExchange, also had extremely low awareness and registrations from the survey group. A sampling of the survey results can be found below.
MusicAnswers College Music Creators — By Genre
What type of music do you write or perform? Concert/Classical Music 23% Country 17% Electronic 20% Film and TV 17% Hip-Hop/Rap 15% Jazz 28% Latin 8% Musical Theatre 20% Pop 72% Rhythm and Blues 34% Rock 44% World Music 7% Americana 11% Folk 43% Asian Pop 10% Other 9% MusicAnswers College Music Creators — Industry Support
Have You Released Your Music? I have a contract with a record company or label 3% I release my music myself without industry support 20% I release my music through a distributor, aggregator, or administrator 37% I have a contract with a music publisher 2% I have a manager 2% I have an entertainment attorney 2% I have not yet released music 50% MusicAnswers PRO Knowledge
Do you have a PRO? Yes — ASCAP 19% Yes — BMI 12% No 58% I Don’t Know 6% Other 5%  
Have you registered music with your PRO? Yes 27% No 39% I have not registered with a PRO 34%  
Have you registered music with the MLC? Yes 5% No 91% Unsure 4%  
Have you registered music with SoundExchange? Yes 7% No 87% Unsure 6% Music Industry Knowledge Questions
How knowledgeable are you about copyright protections? Expert or very familiar from direct experience 4% Familiar with it, but no direct experience 50% Know it exists, but nothing more 35% No experience 11%  
How would you rate your knowledge of the music business? Beginner 56% Intermediate 33% Advanced 10% Expert 1%  
Have you seen advertisements for the MLC? No 93% Yes, YouTube 2% Yes, Facebook 1% Yes, LinkedIn 2% Yes, Instagram 2% Other 1%  
Have you received information about the MLC from any of the following? ASCAP 4% BMI 4% The Recording Academy 2% The U.S. Copyright Office 2% The Music Business Association 2% The Harry Fox Agency 1% MusicAnswers 2% Nashville Songwriters Association International 1% My University 17% A friend, mentor, or personal connection 7% None of the Above 69% Other 5% View the full article
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Sammy Virji and Issey Cross Create Dancefloor Catharsis With New Single, "Nostalgia"

Sammy Virji is back with his newest single, "Nostalgia," featuring the effortlessly cool vocals of Issey Cross.
The London-born DJ continues to impress with each release, reinforcing his standing as one the dance music scene biggest breakouts. Virji's new single arrives fresh off a pair of massive performances at Coachella, where he performed on the festival's storied Sahara stage.
He kicks things off with a thick, driving bassline that immediately sets a moody and magnetic tone. All the while, Cross' smooth vocals deliver an addictive melody as the lyrics reflect on the ache of wanting to turn back time to a past love. The arrangement builds with emotional tension before bursting into a euphoric drop.
Akin to pure dancefloor catharsis, the drop unleashes a groovy house beat with shimmering synths that pulse in perfect rhythm and add a cinematic depth. Enhancing the track's nostalgic, bittersweet undertones, it’s the kind of production that makes your body move almost involuntarily. 
You can stream "Nostalgia" now on all platforms, and catch Virji on tour this year. 
Follow Sammy Virji:
Instagram: instagram.com/sammyvirji
X: x.com/sammy_virji
TikTok: tiktok.com/@sammyvirji
Facebook: facebook.com/sammyvirjiuk
Spotify: bit.ly/42W7b3d
Follow Issey Cross
Instagram: instagram.com/isseycross
X: x.com/isseycross
Facebook: facebook.com/isseycross
Spotify: bit.ly/44FrItM
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Flume and JPEGMAFIA Reunite for Animated Music Video Ahead of New EP, "We Live In A Society"

Flume and JPEGMAFIA are gleefully unhinged in their latest collaboration, "Track 1," a seven-minute animated video featuring new music.

In a music industry where collaborations are often predictable publicity stunts, these longtime friends tossed convention into the shredder for "Track 1." As the first glimpse into their new EP, We Live In A Society, it suggests something genuinely innovative in the works.
Neither Flume nor JPEGMAFIA have announced the EP's release date but the former revealed in an Instagram Story that the project will feature four tracks. They first joined forces back in 2019 for "How to Build a Relationship," which appeared on Flume's scintillating mixtape Hi This Is Flume. The duo then reunited for "New Black History" from JPEGMAFIA's 2024 album I LAY DOWN MY LIFE FOR YOU.
The experimental "Track 1," Flume's first release in over two years, arrives as a perfect blend of both artists' most distinctive traits. Flume's meticulous, texture-obsessed production pairs with JPEGMAFIA's raw, confrontational energy to deliver an experimental masterstroke at the intersection of hip-hop and electronic music.
The seven-minute animated video by James Blagden serves as both companion piece and origin story, capturing a studio session where the boundaries between collaboration and friendly antagonism blur. JPEGMAFIA's merciless roasting of Flume's production skills—including a playful threat to replace him with Fred again.. in the studio—unfolds against a hallucinatory backdrop of morphing cartoonized bodies and psychedelic color fields. Blagden at one point outfits Peggy with a phallic nose.
As far as the music goes, it's fresh and inventive, true to form these boundary-pushing artists. Glitched-out beats create a framework for Peggy's abrasive vocal stylings before giving way to what can only be described as peak Flume at the 4:25 mark, when a honeyed bass drop wraps around the hypnotic vocal refrain, "How it's supposed to feel."
You can watch the animated video for "Track 1" below.
Follow Flume:
X: x.com/flumemusic
Instagram: instagram.com/flumemusic
TikTok: tiktok.com/@flume
Facebook: facebook.com/flumemusic
Spotify: spoti.fi/2VJhtRc
Follow JPEGMAFIA:
X: x.com/jpegmafia
Instagram: instagram.com/jpegmafia
Facebook: facebook.com/jpegmafia
Spotify: spoti.fi/3XXXbBi
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How Do You Look on Your Video Calls? | A Review of the OSBOT Meet 2

You probably already know what a webcam is. But if you have a Macbook that is one of the most recent models (2022 and later), your built-in webcam is probably leaving much to be desired in terms of image fidelity. 
Even with the better built-in webcam, you may want to be clearer or have more control over how you look with settings like color temperature, sharpness, contrast, zoom, and field-of-view. Having an external camera achieves that, and it also gives you more natural-looking motion (likely due to capturing at higher frame rates). 
Disclosure: 
I was sent a free OSBOT Meet 2 for review purposes, but I was not compensated for writing this. As a result, I don’t care if you buy one or not, allowing me to be truly objective. My opinions are my own, and no one from the brand was allowed to see this review or provide input on the content. If you’d like your product reviewed, send an email to [email protected]. If it’s something I find interesting, I’ll review it. 
I recently was sent the OBSBOT Meet 2 webcam and ran it through some side-by-side tests against the built-in camera on the latest MacBook Pro 16″, as well as the Logitech Brio 4K. Both are solid comparison points. The results? Overall, the OBSBOT Meet 2 outperformed expectations and left a strong impression.
Image Quality
Let’s start with the obvious: it looks really good. Visually, the OBSBOT offers a more natural, lifelike color profile compared to the Logitech Brio, which tends to skew cooler and flatten out skin tones. Against the MacBook’s built-in camera, it’s not even close. The OBSBOT delivers better color, depth, exposure, and sharpness.
That said, there are trade-offs.
What are the differences, really? 
While the OBSBOT has more pleasing colors, the Brio produces a slightly sharper image with a wider field of view (which can be adjusted). If you’re trying to capture more of your environment or want ultra-high clarity across the entire frame, the Brio still has an advantage. I also have to give credit to Logitech on the mounting hardware. The clip on the Brio is far more solid and adaptable than the one that ships with the OBSBOT. The same goes for the privacy cover. The Brio’s design is better executed and feels more reliable.
But where the OBSBOT really wins is where it matters most: how you look on camera. In my tests on Zoom and other video calls, the OBSBOT delivered a noticeably more flattering image of the subject — me. It added warmth and richness to my skin tone without oversaturating, and I looked less pale and washed-out than I did with the Brio. That’s a big deal for anyone spending hours a day on video calls.
The OBSBOT also includes some smart gesture features, like using hand signals to zoom or switch focus. I can see that being helpful in certain setups, but I disabled it. It didn’t fit my workflow and occasionally triggered when I didn’t intend it to.
Comparisons:
Osbot: 

Logitech:

Built in:

Bottom line: the OBSBOT Meet 2 is a strong webcam with a lot to like. If your priority is looking good in meetings rather than showcasing your background in ultra-sharp detail, it’s a wise investment. While Logitech still leads in mechanical design, the OBSBOT is the better choice for presence over pixels.
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Kapital Festival, the newest project launched by UNTOLD Universe in Bucharest, Romania’s Capital, this July

creators of UNTOLD (Europe and Dubai) and Neversea launch a new project this summer in Bucharest, the Capital of Romania. The first edition of Neversea Kapital will take place from July 4-6 at the National Arena in Bucharest. It will host top artists and multiple musical genres, with the main stage in the stadium and other stages in the surrounding areas for 3 days and 3 nights. The first lineup will come up soon.
Neversea Kapital is a pilot edition, born from the spirit of the beach festival Neversea and reimagined for the city. It is where music meets culture, street art, style and fashion, a food festival, creative energy and connection, all fused into one unforgettable urban playground.
Bucharest’s festival will evolve into its own identity starting in 2026. Kapital Festival aims to become a new mega-festival alongside UNTOLD, while Neversea Festival will return to the beach in Constanța next year.
“Kapital is the project we’ve dreamed about and worked hard to bring to life this summer, between July 4–6, in Bucharest, at the National Arena. The core concept we started from, Neversea Festival, is a special one, and over time, it has become Europe’s biggest and most spectacular beach festival. As a team, we’ve poured passion, effort, energy, and significant resources into bringing it to this point. With the unique elements that the Capital brings to the table, we truly believe Kapital Festival will be a source of pride for Bucharest and will grow into a new world-renowned mega-festival alongside UNTOLD,” said Bogdan Buta, Founder & Group CEO of UNTOLD UNIVERSE.
Neversea Kapital invites everyone who wants exclusive early access to tickets to register now at neversea.com. Those who register will automatically receive a 150 RON (30 euros) voucher to purchase a festival pass.
Neversea Kapital marks the first large-scale event organised by UNTOLD Universe in Romania’s Capital, Bucharest. At the same time, the group prepares for the 10th anniversary edition of the iconic UNTOLD Festival in Cluj-Napoca, from August 7-10, and the second edition of the biggest festival ever held in the United Arab Emirates, UNTOLD DUBAI, from November 6-9.
The post Kapital Festival, the newest project launched by UNTOLD Universe in Bucharest, Romania’s Capital, this July appeared first on EDMNOMAD.
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Tencent Music Reportedly Prepares to Acquire Podcast Platform Ximalaya in $2.4 Billion Deal

Tencent Music is reportedly in talks to purchase podcast platform Ximalaya. Photo Credit: Austin Distel
Tencent Music (NYSE: TME) is reportedly in “advanced” talks to purchase Chinese podcast platform Ximalaya in a multibillion-dollar deal.
Word of the possible buyout entered the media spotlight in a detail-light report from Bloomberg. As described by the outlet, which cited anonymous and purportedly well-informed sources, the acquisition could bring with it a $2.4 billion price tag.
According to the same source, Tencent Music would put up a combination of cash and stock under the transaction, which could wrap in “the coming weeks.” At the time of writing, neither Tencent Music nor Ximalaya looked to have commented publicly on the matter.
But from a strategic perspective – and despite the gigantic price tag – the play would seemingly make sense for Tencent Music. The profitability-minded business is continuing to focus aggressively on adding subscribers, and a bolstered podcast offering would presumably prove useful on this front.
Furthermore, it’s now been four years and change since the company dropped a reported $415 million on Lazy Audio, which specializes in podcasts and audiobooks. Regarding audience size, various reports have identified strong podcast-listenership growth in China – though the numbers behind the trend appear to be all over the place.
Bigger picture, the maneuver may then help Tencent Music (which operates QQ, Kugou, and Kuwo) to expand its lead over domestic rivals including NetEase Cloud Music.
Scheduled to post its Q1 2025 earnings in mid-May, Tencent Music closed out 2024 by reporting north of 120 million paid users. And for last year’s final quarter, the company disclosed an 18% YoY spike in subscription revenue.
Moreover, Tencent Music shares, worth $13.36 apiece when trading concluded today, have seen their value climb by about 18% since 2025’s beginning.
Separately, should a Ximalaya deal actually come to fruition, Sony Music Entertainment might be poised to secure a nice piece of the $2.4 billion in question.
Per regulatory filings, Ximalaya issued 4.61 million shares to the major label for a cool $50 million back in September 2020. Incidentally, reports have further pointed to a sizable Tencent Music holding for Sony Music, which also took a $100 million stake in Cloud Music when it IPO’d in 2021.
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Jason Ross & TELYKAST Share New Single ‘Destiny’

Uniting two of the dancefloor’s most thrilling upstarts on one anthem, talented DJ and producer Jason Ross teams up with acclaimed Los Angeles electronic music group TELYKAST for a brand new joint single entitled ‘Destiny‘ out now via Casablanca Records.
Tailormade for summer festivals and beach parties alike, it has all the ingredients of a progressive house banger. A pulsating beat sets the tempo for the track, while the bass thumps and neon keys glimmer and glow. Ethereal vocals practically hover above this vibrant and vital soundscape, swelling towards a skyscraping refrain, “No escaping who we are, it’s destiny.”
About the track, TELYKAST commented,“We’ve been fans of Jason for a while and are happy to finally work together on a record we all love and fits our styles. Ekko is a phenomenal vocalist and takes the song to a new level.” Jason Ross added :
TELYKAST have quietly emerged as one of electronic music’s most infectious and inventive collectives. The last time we heard from them was on the fan favorite Feel Again EP earlier this year. So far, it has amassed millions of streams fueled by ‘No Matter What’ [with Oaks] and ‘Free‘ [with x.o.anne]. Meanwhile, Jason served up the Divergence EP last year. Beyond tallying streams in the millions, Beatportal hailed it as “a journey through sounds that’s both uplifting and emotionally raw.”
Next up, TELYKAST will hit the stage at Hotel EDC Las Vegas, pool party with Audien, MORTEN, and more on May 16. They will be revealing more tour dates soon. You can listen to the new collaboration below and on all available streaming platforms.
Stay tuned for more news!
The post Jason Ross & TELYKAST Share New Single ‘Destiny’ appeared first on EDMTunes.
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StrataSonic founder discusses label origins in honor of new Everything Liquid single, ‘No Signal’ [Q&A]

Nestled in a private enclave in Los Angeles, CA, StrataSonic’s home is a state-of-the-art recording studio helmed by the label’s in-house producers. Established in 2024 by platinum selling producer Jesse Rogg, the electronic music collective has officially formalized its sixth master recording. Now streaming via Rogg’s artist-first imprint, “No Signal” materializes a soulful, jungle-inspired lead single from electronic duo Everything Liquid’s forthcoming self-titled EP, due May 2nd. The track highlights vocals from Chicago-born, GRAMMY-nominated R&B singer, Jesse Boykins III. Boykins wrote the song’s intimate lyrics while watching the party scene from Baz Luhrmann’s Romeo + Juliet on mute, noting,
To honor the official release of “No Signal,” Dancing Astronaut sat down with StrataSonic label founder Jesse Rogg to discuss the track, the innovative label’s origins, and more. Read the exclusive Q&A below.
How does StrataSonic differ from a traditional record label?
What is the intention behind StrataSonic’s sound so far?
You’ve had renowned visual artists RUFFMERCY and YZA Voku work on recent videos for ANiML. How important is the visual side of a music release?
What’s next for StrataSonic?
The post StrataSonic founder discusses label origins in honor of new Everything Liquid single, ‘No Signal’ [Q&A] appeared first on Dancing Astronaut.
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Flying Lotus Was Writing Music for Marvel's "Blade" Reboot Before Indefinite Delay

Influential electronic music producer and filmmaker Flying Lotus today revealed he had been tapped to write music for Marvel's long-awaited Blade reboot before the project was indefinitely delayed.
FlyLo took to social media to confirm he was signed on to score the film.
"I guess we are so far from it even being a possibility now but. Yeah I was signed on to write music for the new BLADE movie before it fell thru," he wrote on X. "Maybe it’ll come around again but I doubt it. Would have been fun tho."
The revelation adds another chapter to the troubled production history of the movie, which was announced with considerable fanfare at 2019's San Diego Comic-Con. Academy Award-winning Green Book actor Mahershala Ali was cast to fill the vampire hunter's leather coat previously worn by the iconic Wesley Snipes.
Since then, the project has hemorrhaged talent, reportedly cycling through a slew of screenwriters without successfully transitioning to production. The project also lost a pair of directors, Bassam Tariq and Yann Demange.
Snipes, who originated the role in the 1998 cult classic, made a brief return to the character in a cameo appearance in Deadpool & Wolverine earlier this year, offering fans a bittersweet reminder of the daywalker's cinematic legacy while the reboot remains trapped in development hell.
Follow Flying Lotus:
X: x.com/flyinglotus
TikTok: tiktok.com/@flyinglotus
Instagram: instagram.com/flyinglotus
Facebook: facebook.com/flyinglotus
Spotify: spoti.fi/2MpLC2J
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Ari Lennox Out At J. Cole’s Dreamville After Lengthy Rant Against Label

Photo Credit: Ari Lennox by Justin LaMotte / CC by 4.0
Ari Lennox parts ways with J. Cole’s Dreamville Records months after ranting about the label on social media.
Back in October, R&B singer Ari Lennox aired her various grievances with Dreamville on social media, demanding her release from the label. Now, she has officially (and quietly) parted ways with the company, and will now be releasing music solely through Interscope Records.
“I’m so tired. Where do I f—ing start? My heart’s beating so fast,” Lennox began her post in October. “I don’t know what else to do. I try to do things the right way and no one takes me seriously. And so we’re here on social media. Again. I’m trying to be respectful, but I feel played right now.”
She continued: “I told management I didn’t want the ‘Smoke’ video to come out because I’m tired of people treating me like I’m the face of mental health. I’m tired of people treating me like they’re so sorry for me. I’m a human being who has been very transparent about my life and it’s just weird how everyone gets really agitated.”
“The whole point of the ‘Smoke’ video was to take back every fucking negative thing people have said about me and to try to own that shit and be like, ‘Fuck y’all,’” she added. “People are hellbent on portraying me as an insecure person who is just the face of mental health.”
At the time, Lennox asserted that Interscope and Dreamville refused to comply with her request to remove the music video for “Smoke.” She also called out a lack of promotion for the song and described the whole incident as “the last straw.”
“I changed my mind about releasing this video and I told management and I told the label and they told me they would take it down,” she said. “Apparently, the people in charge of the video were unresponsive but thy’re like, ‘Everyone loves the video so we’re gonna keep it up.’ No, you are not going to manipulate me. Y’all are gonna be accountable for that, Interscope. I told you I wasn’t comfortable with it and I wish I had a label that cared and wanted to protect me. I just wanna be released. It’s that simple.”
Earlier this month, Ari Lennox performed at J. Cole’s final Dreamville Festival, thanking him and the label for helping make her dreams a reality back in 2015 when she was first signed. This week, she released the video for her latest single, “Soft Girl Era,” on which Interscope is listed as the sole label credit. According to TMZ, the split was amicable.
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Vevo Focuses on Targeted Advertising with ‘Vevo Evolve’

Photo Credit: Vevo
the world’s largest music video network Vevo is focusing on a new suite of data-driven products for advanced targeting, optimization, and measurement of ads called ‘Vevo Evolve.’
Vevo Evolve will allow marketers to seamlessly plan, measure, and activate advertising campaigns on all Vevo inventory, including mobile, desktop and connected TVs. The product encompasses YouTube and Vevo’s free, ad-supported streaming TV (FAST) footprint. The move comes as free, ad-supported streaming growth has flatlined in the music industry. Spotify has doubled down on its ad-supported push with new advertising features, now it’s Vevo’s turn to follow.
“The launch of Vevo Evolve answers the industry-wide call for effective advertising and real-time optimization tools that truly drive impact for brands and media buyers,” says Rob Christensen, EVP, Global Sales, Vevo. “The continued growth of a converged digital video and TV media market shows no signs of stopping. In time for this 2025-2026 Upfront season, we’re making it easier for our advertisers to manage their spend across our premium music video inventory at scale.”
Powered by Vevo’s contextual insights and creative intelligence, advertisers can now activate an AI-built library of 700+ contextual targets and hundreds of privacy-compliant, intent-based behavior audience segments across all of Vevo’s inventory.
Vevo Evolve includes new planning and optimization reach tools—allowing advertisers to incorporate reach curves across planning, media buying, and measurement. With comprehensive dashboards, advertisers gain access to real-time campaign data to inform optimization strategies and maximize results. For top advertisers, Vevo Evolve also offers advanced attention tracking, optimization, and guarantees.
“Today’s brands need advertising partners with an intimate understanding of the campaign process in its entirety—from creative and targeting to platforms and channels—and how the execution of these components impact overarching business outcomes like brand trust,” continues Christensen. “With Vevo’s vast library of premium music videos and the launch of Vevo Evolve, marketers have a brand-safe environment to drive connections and results.”
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Napster Buyer Infinite Reality Reveals $3 Billion Investor’s Identity Amid Acquisition Frenzy

Napster buyer Infinite Reality has revealed the identity of the investor behind the over $3 billion round it announced in January 2025. Photo Credit: Ben Sweet
Now claiming a north of $15 billion valuation, Napster buyer Infinite Reality has officially revealed the identity of the mysterious investor behind its $3 billion January raise.
Despite its size, that raise didn’t make too big a splash in the music world, where Infinite Reality is best known for its Napster acquisition. But in January, the Norwalk-headquartered “innovation company” said it’d scored $3 billion in capital “from a private investor whose portfolio focuses on global technology and real estate investments.”
(On LinkedIn, Infinite Reality is still pointing to a Connecticut headquarters. Yesterday, though, the company unveiled plans to turn a “60-acre site in Fort Lauderdale into a next-generation technology and entertainment campus” housing its main offices.)
Unsurprisingly, the massive round, the huge valuation, and the lack of concrete investor details raised questions. And the speculation certainly didn’t let up when Infinite Reality announced its $207 million Napster buyout one month ago; the disclosure of a $500 million play for AI business Touchcast followed last week.
Enter a roughly 3,500-word deep dive, published by Forbes yesterday, into Infinite Reality’s history, funding, presence in the metaverse space, and more.
(Another pertinent parenthetical: Infinite Reality CEO John Acunto is said to be “writing a book with Forbes Books, a licensed partner of Forbes,” the appropriate outlet acknowledged.)
Dialing in on brass-tacks takeaways, the “Magic Money” piece describes steadily rising valuations for Infinite Reality thanks to a variety of all-stock acquisitions. Among the latter are purchases of Drone Racing League, tech company Landvault, and a whole lot else.
Long story short, Infinite Reality was worth $1 billion in January 2022 and, following the previously highlighted Touchcast play, claimed an astonishing $15.5 billion valuation, per Forbes.
As the deals and the rising valuations were made possible by major raises, the focus rather quickly turned to the identity of the purported multibillion-dollar investor.
It’s against this backdrop that Infinite Reality took the opportunity to shed additional light on the situation.
“We have decided to publicly share that Sterling Select, a venture development firm associated with Sterling Equities and the Katz family, represents the significant $3 billion investor that the company announced earlier this year,” Sterling Select managing partner Christopher Steele communicated.
Owing again to the many moving parts in play, we’ll have to settle for a top-level view here. First, Sterling Equities’ website bills former Mets owner Fred Wilpon as a co-founder, with his brother-in-law Saul Katz (and several different Katz family members) described as a partner.
Next, not stopping with the statement, Steele put out a follow-up LinkedIn post – including a clarification about exactly how the Sterling businesses fit into the picture.
“For further clarity,” he wrote, “Infinite Reality is a Sterling Select investment. Sterling Equities is not part of the $3B investment into Infinite Reality.”
Per LinkedIn, Select is a “venture development and investment platform affiliated with Sterling Equities.”
(Not tackled by Forbes or mentioned by Steele are the far-from-subtle Infinite Reality blog posts about tech innovations in Saudi Arabia and the United Arab Emirates.)
Lastly, Steele also addressed the Forbes report’s breakdown of purported cash-flow problems at and vendor lawsuits against Infinite Reality, which one anonymous exec said has access only to a portion of the $3 billion tranche at present.
“It is not uncommon with many fast-growing companies,” Steele weighed in, “especially ones with a voracious M&A appetite, that there are differences of opinions and approaches and also with disruption to cash flow and operations. In fact, we ourselves were part of that group. In the end, however, we became ardent supporters.”
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Seven Lions and Wooli Drop Radiant New Collaboration, "Sunshine"

Seven Lions and Wooli have reunited for "Sunshine," a radiant new collaboration out now via the former's Ophelia Records. 
Featuring VARGEN, the track is the sixth entry in a collaborative discography that has delivered fan-favorites tracks like "Another Me" and "Island." But this one strikes a different chord.
Instead of detonating into bedlam, "Sunshine" blooms. The new single lands just as spring turns to festival season, and it’s hard not to imagine it echoing across sunset-drenched stages or blaring from car stereos on coastal highways.
The track opens with a warm piano riff and bright, hopeful lyrics that feel primed for breezy daytime listening. While longtime fans might brace in anticipation of a signature gut-punch drop, what they get instead is restraint—a shimmering, polished release of energy that eschews brute force in favor of subtle finesse.
For two producers long known for pushing genre boundaries, "Sunshine" is a reminder of the power in versatility. Following this blissed-out release, you can bet their next inevitable collaboration will come crashing in with the same distaste for convention.
You can listen to "Sunshine" below and find the new single on streaming platforms here.
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Ibiza Director of Tourism Hoping For Direct Flights from US

Ibiza has surged in popularity in recent years. Thanks to its stunning scenery and renowned lineup of world-class clubs, it is one of Europe’s most popular summer destinations. Now, the island’s Director of Tourism is working to make travel to the region easier for American visitors.
Juan Miguel Costa, who has overseen Ibiza’s recent tourism boom, believes it’s time for travelers from the United States to have a more direct route to the island. Currently, Americans must make a stopover in Europe before reaching Ibiza. But with record-breaking tourist numbers and soaring sales figures, officials see a direct connection as a strategic move to expand the island’s reach.
Preliminary plans are focused on major U.S. hubs like New York, Atlanta, and Miami as potential departure points for nonstop flights. While the initiative will take time to develop, Costa points to strong support from leading hotel brands as a sign of momentum. In addition, Ibiza is partnering with major travel platforms like Expedia and Booking.com to build attractive travel packages and secure broader support for the project.
Hï Ibiza continues to be voted the best club in the world. Black Coffee will open the season this year on May 17th. Next door to them, Ushuaïa Ibiza has brought in world-class DJs for years, hosting huge residencies including Martin Garrix, Calvin Harris, Armin van Buuren, Kygo, David Guetta, and many more!
The post Ibiza Director of Tourism Hoping For Direct Flights from US appeared first on EDMTunes.
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StubHub Inks Hand-in-Glove Secondary Ticketing Deal with Theater Partner ATG

Photo Credit: Apollo Victoria Theatre in London by The Lud
StubHub announces a partnership with ATG Entertainment, making StubHub the official resale ticket partner for 16 ATG venues across the United States.
Fans will be able to purchase ATG Entertainment tickets directly through StubHub, enjoying a seamless, secure experience backed by StubHub’s FanProtect Guarantee. The partnership is powered by StubHub’s proprietary technology, 25 years of fan behavior insights, and performance marketing that drives fan discovery and conversion.
Under the arrangement, ATG will set its first-run tickets, before StubHub takes over for the secondary sales. This enables fans looking to buy tickets on the secondary market to get them directly from StubHub instead of searching for the best price across secondary sites.
“This partnership is about opening doors for fans and for the theater industry,” said Adam Budelli, Head of Partnerships at StubHub. “ATG Entertainment understands that meeting audiences where they are at requires innovation and reach. StubHub brings both, and we’re excited to support the growth of live theater with a platform built for today’s fans.”
The partnership covers ATG’s six Broadway theaters: the Hudson Theatre, St. James Theatre, Al Hirschfeld Theatre, Eugene O’Neill Theatre, August Wilson Theatre, and Walter Kerr Theatre. The first show available will be The Last Five Years, starring Nick Jonas and Adrienne Warren, at the Hudson Theatre.
Other theaters included in the partnership are the King Theater in Brooklyn, Fisher Theatre in Detroit, Emerson Colonial in Boston, Majestic Theatre in San Antonio, Charline McCombs Empire Theatre in San Antonio, Saenger Theatre in New Orleans, Mahalia Jackson Theatre in New Orleans, Detroit Music Hall, The Espee Pavilion in San Antonio, and Smart Financial Centre in Houston.
ATG Entertainment owns, operates, or programs 72 venues globally, including iconic theaters across the US and Europe, and serves over 18 million people worldwide. Tickets for select ATGE events will be available through StubHub in a few weeks.
“This partnership reflects a shared belief in the future of live entertainment,” said Lori Hotz, US CEO of ATG Entertainment. “StubHub’s innovative platform and expansive reach offer new ways to connect with audiences across genres. Together, we’re reimagining how fans discover and engage with live experiences across the country.”
ATG Entertainment is the latest to join StubHub’s expanding network of partners. The company’s partner momentum is part of a larger evolution, transforming StubHub from a resale-only marketplace into a fan-first, all-access destination for live experiences.
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Sebastian Ingrosso and Steve Angello Ignite a Fearless New Chapter With "No Enemies": Listen

When two-thirds of Swedish House Mafia step into the studio, the result is rarely just another track.
With their latest collaboration, "No Enemies," Steve Angello and Sebastian Ingrosso deliver not only a forward-thinking standalone release, but the first major strike in a new creative chapter powered by their alliance with SUPERHUMAN. The new single finds its voice with Swedish singer-songwriter Namasenda, whose ethereal yet commanding vocals float above a relentless tide of industrial synths and war-drum percussion.
From its opening moments, the track surges with raw, unfiltered energy, blending the cinematic grandeur synonymous with Swedish House Mafia's anthems with a razor-edged sense of grit that feels tailor-made for the ascendant generation of ravers. The production feels like a dystopian cityscape being built and torn down in real-time, with layers of distorted bass carving through shimmering pads, all erupting into a chorus that highlights the duo's unmistakable chemistry. 
The release of "No Enemies" follows the recent major announcement that Swedish House Mafia, comprising Ingrosso, Angello and Axwell, have officially partnered with SUPERHUMAN for global label and creative services. After years of working with industry heavyweights like EMI and Virgin, the group is returning to its Swedish roots by entrusting the Stockholm-based label with their ambitious creative vision moving forward.
You can listen to "No Enemies" below and find the new single on streaming platforms here.
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Inside Bonnaroo's Ambitious New Stage With the Festival's Director: "Infinity Is to Audio What the Sphere Is to Video"

What if a stage wasn't just a place to watch live music, but a portal that pulled you right into the heart of it? That's the promise of Bonnaroo's new Infinity Stage, which will transform the festival's Centeroo atmosphere in 2025.
The innovative stage, which Bonnaroo claims is "the world's largest 360° spatial audio experience," will tower over the other six preexisting structures in the festival's central hub. However, Brad Parker, Festival Director at Bonnaroo's organizer C3 Presents, describes Infinity is a "perfect additive" that will amplify the energy without altering the event's course.
Parker paints a picture of the open-air stage as more like fuel poured on an already roaring fire, with electronic dance music as the gasoline. He says the genre is the largest growing subculture within Bonnaroo's storied grounds at Great Stage Park, underscoring its rising dominance in today's festival landscape.
"The EDM scene of now is very reminiscent of the jam band scene of the early 2000s, a quiet but powerful underground culture making waves across the entire scene," Parker tells EDM.com. "Bonnaroo has always been about offering the best in the streets. It’s quite literally the origin of our namesake. EDM is the most popular it’s ever been, and The Infinity will be the most advanced production for soundscape we have ever had."
The inaugural Infinity lineup boasts a stacked lineup of electronic acts, including a rare collaborative DJ set from Of The Trees and Tape B, who were named to EDM.com's Class of 2024 and Class of 2025, respectively. It will also feature a highly anticipated takeover by Experts Only, the brand launched by dance music superstar John Summit, which was recently honored as 2024's best record label in our list of the year's top industry leaders.
The next-gen stage comes from Polygon Live, a renowned music tech firm out of the UK. It will incorporate spatial audio and a fully synchronized, state-of-the-art lighting system to create a multi-sensory live audio environment the likes of which has never been experienced by festival-goers, Parker said, citing Polygon.
"When Polygon Live said they could present audio to us at scale in a way that music festival fans had never heard, of course we were intrigued," he recalls. "The real creative process comes through the programming itself and the artists we are putting onstage. You will hear some once-in-a-lifetime performances from these artists on Infinity because you have never heard their music presented quite like this before."
View the original article to see embedded media.
The phrase "immersive" has been beaten into oblivion by the music industry, but it seems Infinity has earned the title. Polygon's ambitions are becoming reality as they develop the stage's production, which will disperse bleeding-edge spatial audio across three massive hemispherical domes.
"What we are attempting to do with Infinity is to audio what the Sphere is to video," Parker says. 
He realized the remarkable potential of Infinity when he experienced a smaller version of its production at Thailand's Wonderfruit Festival back in December 2024. While it felt like dancing inside a state-of-the-art club, Parker says he was actually partying in the middle of a field, completely swept away by spatial audio that "really makes you feel like you are in the experience, and not at it."
Polygon Productions
Infinity could serve as a harbinger of where Bonnaroo is headed in the future. The festival's team, Parker says, will continue to learn, adapt and push the envelope as they embrace new technologies and opportunities to improve the fan experience. 
He cautions, however, that evolving Bonnaroo's onsite experience must strike a careful balance between experimentation and reverence for the festival's storied legacy.
"Bonnaroo is one of the few festivals that has had the privilege now to serve multiple generations of fans," Parker explains. "Our biggest task is honoring and thanking those fans that got us through the first 20 years, while also looking forward to curating for the community of fans who will get us through our next 20."
"This is accomplished by paying modern day homage to our jam band roots," he continues, "with recent bookings like Goose, JRAD, Eggy and more while also focusing on what the younger generation is interested in, such as Olivia Rodrigo and elevating our EDM programming. Life is all about balance."
As spatial audio technology rapidly transforms music as we know it, with even the inventor of the MP3 racing to revolutionize, Bonnaroo is finding the sweet spot between innovation and authenticity. True to form, the festival is embracing the future of live music while staying true to its roots: vast azure skies, camping camaraderie and the kind of communal energy you can only find on The Farm.
"Festivals will always be special sacred places and testing grounds for new experiences," Parker says. "There is something about a festival that can’t quite be replicated in an arena or amphitheater, and it’s our jobs to tap into exactly what this is to stay fresh and keep evolving. There will always be a demand for live music, and we hope to be at the center of that craving."
"At the end of the day, we build worlds and create communities. If we can do that, we win big."
You can view the full lineup for the inaugural Infinity Stage below and purchase tickets to Bonnaroo 2025 here.
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Doja Cat Avatars Now Available for Purchase On Meta Horizon Worlds’ Music Valley

Photo Credit: Meta
Meta introduces three Doja Cat avatars for purchase and use in its VR Horizon Worlds.
These are the latest “Fantastical Avatars”—equippable avatars in Meta’s Horizon Worlds—and users can purchase each of the three Doja Cat looks for 750 Meta Credits each, or about $7.50. The avatars can be found in Horizon Worlds’ Music Valley.
They’re the first Fantastical Avatars inspired by a musical artist, as Meta looks to hone in on some of what Fortnite is doing. The Doja Cat avatars coincide with the “re-premiere” of Doja Cat: The Scarlet Tour in VR, running now through May 5 in Music Valley using Meta Quest. With a 180-degree field of view experience, Meta Quest is offering fans a front-row ticket to free immersive music concerts like Doja Cat’s.
“Expressing myself through style, fashion, and art is incredibly important to me,” said Doja Cat. “My goal has always been to create a deeper connection with my fans, and this new avatar for Meta Horizon Worlds allows me to do just that. I couldn’t be more excited to share it with them.”
In addition to the avatars, the Music Valley merch shop features four Doja Cat t-shirts for your avatar to wear. Users who tune into the VR concert for at least 10 minutes will also receive a Doja Cat-themed emote. Afterward, fans can check out virtual performances from other artists, such as Charli XCX, Troye Sivan, Raye, and Blackpink.
While the idea of celebrities as purchasable avatars is far from new, Doja Cat is the first music celebrity available from Meta. Previously, the company released a Captain America avatar back in February based on Sam Wilson’s portrayal of the character. Meanwhile, Epic Games’ Fortnite has released tons of musician-themed avatars in the past, with the latest being Sabrina Carpenter.
It’s worth mentioning that Meta’s Fantastical Avatars only exist in Horizon Worlds—they won’t appear in other apps that use the Meta Avatars functionality, such as GOLF+ and Eleven Table Tennis.
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Framework In The Desert Breaks Attendance Records, Emerges as Premier Coachella Afterparty Series

Deep in the eastern Coachella Valley, where the suburban landscape dissolves into the arid, sand-covered grounds, thumping basslines echo through the night sky as glowing lasers emerge in the distance.
This vignette may sound like a description from a renegade Southern California desert party in the late 90s, but it's actually a portrayal of a current post-Coachella event series, Framework in the Desert.
Daniela Becerra
Already in its fourth iteration, Framework in the Desert harkens back to the free-spirited nature of raves past while applying contemporary productions all within a unique desert locale.
Curated by revered LA promoter Framework, the trio of after-hours events centers around the first weekend of Coachella. Held inside an airport hangar, the venue is mere minutes from the storied Empire Polo Fields, attracting festival attendees and acting as a final hoorah for those looking to extend their evening deep into the morning.
Having already gained notoriety for producing events in uncommon spaces, this year's event welcomed over 14,000 guests throughout the weekend, eclipsing previous attendance records. In doing so, Framework in the Desert has emerged as the premier Coachella afterparty series.
Daniela Becerra
For 2025, Framework introduced a new stage, the Long Feng Art Car. As part of a recent addition within Burning Man, the art installation was the centerpiece of the three-night run, featuring moving dragon heads, aerial dancers, lasers, fog machines and LED panels. The art car, paired alongside the high-caliber talent that performed within it, created a unique "you-had-to-be-there" musical experience.
Speaking of talent, the walls within the airport hangar consistently reverberated for three consecutive nights as the thumping sounds of house and techno escaped from the speakers. 
Daniela Becerra
EDM.com class of 2025 stars Layton Giordiani and Max Styler, alongside Francis Mercier, deadmau5, Mau P and Interplanetary Criminal, all took turns performing atop the Long Feng Art Car.
Standout performances include Alesso's BODY HI project and house music superstar Chris Lake, who brought out his Anti-Up duo collaborator Chris Lorenzo for a surprise b2b performance.
Daniela Becerra
The performances were able to be enjoyed by fans in both indoor and outdoor settings, where aircraft from the attached airport were on display. Additionally, VIP experiences were hosted by Wynn Nightlife and featured exclusive seating, dedicated bottle service, prime artist sightlines, and the elevated guest service the brand is known for. 
As they approach their fifth year in the desert, Framework has proven they can deliver top-tier productions in stand-out settings. With record-breaking crowds in 2025, we're thinking it's time for a second weekend in 2026.
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OpenAI Sued By Ziff Davis for Copyright Infringement

Photo Credit: Ashley King
Media conglomerate Ziff Davis is suing OpenAI for copyright infringement. The suit alleges that OpenAI “intentionally and relentlessly” exploited Ziff Davis’s copyrighted content to train its AI models without authorization or compensation.
Ziff Davis is one of the largest digital publishers in the U.S., overseeing more than 45 media brands and employing 3,800 people. The brand’s gaming portfolio includes some of the biggest sites in the gaming ecosystem, including IGN, GameSpot, GameFAQs, Humble Bundle, and Eurogamer. The conglomerate is also responsible for brands like PCMag, Mashable, Lifehacker, CNET, RetailMeNot, and others.
According to the complaint, OpenAI allegedly ignored explicit instructions to keep its web crawlers off Ziff Davis sites and even stripped copyright notices from the content it aggregated. Ziff Davis claims that OpenAI’s use of its content in training datasets resulted in ChatGPT generating ‘identical reproductions’ and derivative works, undermining the publisher’s ability to monetize its articles while harming the brands’ reputations.
The Ziff Davis lawsuit is part of a growing wave of legal actions taken by media companies, authors, and artists challenging AI companies over the use of copyrighted materials in training data. In the music industry, publishers and artists alike have raised alarms about AI models ingesting and reproducing copyrighted lyrics, melodies, and recordings.
Recent court decisions, such as a federal judge denying music publishers’ requests to block Anthropic from using copyrighted lyrics, highlight the unsettled nature of this legal frontier. If Ziff Davis prevails in this lawsuit, it could set a precedent requiring AI companies to obtain licenses or compensate rights-holders—potentially reshaping how AI interacts with news, music, and other creative industries.
The case mirrors one against Meta where court documents show that Meta researchers downloaded over 81.7 terabytes of books and research papers from online shadow libraries like LibGen and Anna’s Archive. Internal communications revealed that Meta executives were aware of the legal and ethical risks associated with obtaining licensed content from pirate sources. They attempted to conceal their piracy by avoiding the use of Facebook servers for downloads and minimized the digital footprint of their actions. CEO Mark Zuckerberg reportedly approved the use of these illicit datasets.
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