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Stay in the loop with the latest updates, event announcements, and everything happening in the world of dance music — brought to you by RaveLink. 🤖💜
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The excitement surrounding Joalin’s latest venture is palpable, as her record label is eager to highlight this remarkable talent. With impressive airplay on BBC Radio 1 and a notable performance at the Great Escape 2024, she’s on the verge of elevating her international solo career. In line with this momentum, Joalin is gearing up to release her highly anticipated mixtape, “CAMALEÓN,” on June 20th. To ignite the campaign, she’s unveiling “GUM” as the debut single, igniting anticipation for what’s to come!
With “GUM,” Joalin not only raises her solo music game but also takes a big step forward sonically, sharing her catchiest track yet. She really shines in this fusion-pop vibe, mixing English and Spanish so effortlessly that it’s up to us to appreciate this cool part of her musical identity. I think it’s a smart move for her record label to push this as Eurovision hype is ramping up. I mean, it can’t hurt, right? It seems like a clever strategy that might really pay off. Whether it’s the addictive groove or the fresh blend of styles, there’s no doubt this track will pull in listeners. Joalin covers a lot of ground and definitely keeps me wanting to hear more from her.
The video showcases Joalin in both male and female roles, brilliantly paying homage to the street dance style of popping that captivated her at just 9 years old. This striking representation highlights the profound inspirations and influences behind her artistry. With all her remarkable accomplishments to date, Joalin is undeniably poised as a popstar ready for the spotlight. With “GUM,” she firmly establishes herself at the very top of my list of must-watch newcomers in the pop scene.
Connect with Joalin
Facebook: https://www.facebook.com/joalinofficial
Instagram: https://www.instagram.com/_joalin/
The post EMERGING ARTIST: Joalin appeared first on EQ Music Blog.
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Headlining a special edition of the club's "Queen Wednesdays" series at the former Paris Theater, the duo commanded the room with unmistakable presence. Clad in their signature cordovan hats and noir outfits, they exuded a matador-meets-mystery vibe and practically possessed the place.
MËSTIZA's dramatic DJ set oozed with the sultry sounds of their Latin American heritage as Palmas handclaps and flamenco guitar strums slithered through sumptuous four-on-the-floor beats. It's a seductive sound entirely their own, and at this decadent South Beach staple, it felt like the soundtrack to some sort of futuristic bullfight in Andalusia.
Queen Miami Beach
mestiza
But the setting was just as decadent. As guests toggled between fine dining and full-body dancing, servers floated by with rare Wagyu cuts, sashimi bouquets and gilded Japanese-style cocktails. They also got in on the action, gyrating to MËSTIZA's music and pumping up clubbers like the most elegant pep rally we'd ever seen.
Queen itself defies easy categorization. Equal parts gourmet dining establishment and pulsating nightclub, its dual identity served as the perfect backdrop for MËSTIZA's own boundary-blurring sound. The duo's DJ set built methodically over the evening, allowing attendees to transition from appreciating Queen's culinary offerings to surrendering to the dancefloor's gravitational pull.
Miami Music Week is no stranger to over-the-top moments, but this was something rarer. It was worldly, fashion-forward and rooted in cultural pride, a reminder that sometimes the most compelling experiences are those that honor their roots.
You can find out more about Queen Miami Beach and reserve a spot here.
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Against the backdrop of ongoing AI debate — and adjacent legal battles concerning generative models’ training processes — Block CEO Jack Dorsey says it’s time to “delete all IP law.”
Dorsey provided that controversial take on X, where, unsurprisingly, many promptly criticized the position. Notwithstanding the pushback – more on this in a moment – the contentious stance did find a high-profile supporter in Elon Musk.
“I agree,” the xAI founder replied to Dorsey, who elaborated on his four-word post when replying to less enthusiastic responses.
These responses touched on not only the income fallout for creatives, but differences between various types of (and protections for) IP, the potential effect on medical research, and a whole lot else.
“creativity is what currently separates us,” Dorsey followed up in one response, “and the current system is limiting that, and putting the payments disbursement into the hands of gatekeepers who aren’t paying out fairly.”
(There may well be non-AI angles to the comment for Dorsey, whose current company in November 2024 scaled back its questionable Tidal investment. Regarding the “gatekeepers” word choice, we’ve been hearing quite a lot lately about artists, from Snoop Dogg to Kate Nash, receiving small major-label streaming payments for their much-played tracks.)
Meanwhile, another critic asked about the sweeping move’s possible impact on the motivation to create. “What motivation would there be to create if there were no way to monetize?” the individual inquired. “This is straight out of the CCP playbook.”
“execution and speed matters more,” followed up Dorsey, whose net worth is (per Forbes) $3.6 billion.
As initially mentioned, Dorsey’s remarks are especially interesting and relevant in light of far-reaching AI-training questions.
There’s still much to see here, in terms of lawsuits and legislation, in both the U.S. and internationally. And though it probably doesn’t need saying, lawmakers aren’t going to “delete” IP protections outright.
But like DMN Pro has broken down in detail, despite rightsholders’ continued pushback, it’s not outside the realm of possibility that stateside courts will deem training on protected materials fair use.
More concretely, it’s safe to say that gen AI giants based in several other nations around the globe are (and will almost certainly continue) freely disregarding IP concerns when training.
Of course, this broader disregard for IP isn’t exactly new. But it’s definitely taken on a heightened importance given the unprecedented content-output capabilities of the technology at hand.
Following the point to its logical conclusion, there’s a separate conversation to be had about a susceptibility to commercial fallout stemming from cheapening artistry and prioritizing near-term profits above all else.
In and well beyond the music world, today’s top-selling projects aren’t necessarily today’s best projects, and carefully tailored AI outputs may resonate with the undiscerning audiences in question.
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Coachella attendees went viral on social media after they showed off their pricey meals: tacos, nachos, and lemonades for two costing $102.
It may not come as a surprise to some that the prices of concessions at live events can get a little ridiculous. But in the post-pandemic economy, where concerts and music festivals are struggling to break even, Coachella attendees are stunned to see food and drink going for three times the normal cost. Just like the airport, but with better music.
In videos shared on social media, festival goers have been showing off what they ate and how much they paid for their meals or even individual items. One TikTok user, Ruth Viveros, shared a video on April 11 showing two plates of three tacos, an order of loaded nachos, and two lemonades (costing $17 a piece), running her $102 altogether.
“They’re not good, not good at all,” said Viveros of the tacos. “The tortillas are like freezing cold.”
Her post, and others like it, have led to a slew of commenters quick to criticize festival organizers for the price of concessions—especially considering the limited options available for attendees out in the California desert.
“These prices are diabolical,” wrote one commenter. “Coachella seems like a miserable money trap that everyone falls for,” commented another. Another video, posted by TikTok user @FrugalJimmy, showed off a slice of pepperoni pizza that cost $13, which he jokingly stated was “not too bad.”
“I honestly thought it would be a lot more for a big slice of pizza,” he noted. “So good.”
Meanwhile, those preparing for Coachella’s second weekend have taken to Reddit to ask those who camped out during Weekend 1 just how expensive the food has been.
“Expensive,” replied one Redditor. “Most items start at $15-20. ‘Meals’ are like $20-30.” Another added that a Nate’s Nashville hot chicken slider with fries cost $30.
However, despite the rampant posts and comments about prices, many attendees have defended Coachella, saying the experience was worth the spendy snacks.
“Does anyone have a genuinely good time at Coachella? All I see are horrendous prices and bad organization,” wrote one commenter on Ruth’s video. “Yes!” she responded. “Coachella is actually very fun and inspiring and like everything else, there’s some rough things.”
This year’s festival featured headliners Lady Gaga, Green Day, Post Malone, and Travis Scott, with performances from Megan Thee Stallion, Weezer, Missy Elliott, Charli XCX, The Original Misfits, and many more.
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Stevie Nicks announces a leg of tour dates this summer and fall, stopping in cities across North America, including Las Vegas, Toronto, and Boston.
Legendary singer, songwriter, and storyteller Stevie Nicks has announced a new leg of tour dates for summer and fall 2025, following a celebrated run of performances. General on-sale begins Friday, April 18 at 10 AM local. Tickets for previously announced dates with Billy Joel are on sale now.
Produced by Live Nation, the newly added shows will see the iconic artist travel across North America, with stops in Boston, Toronto, Tampa, Las Vegas, Phoenix, and more. As ever, Stevie Nicks will enchant audiences with her unmistakable voice, poetic lyrics, and unforgettable live performances.
Stevie Nicks 2025 Tour Dates
August
08 | East Rutherford, NJ — MetLife Stadium (with Billy Joel) 12 | Boston, MA — TD Garden 15 | Toronto, ON — Scotiabank Arena 19 | Saint Paul, MN — Xcel Energy Center 23 | Cincinnati, OH — Heritage Bank Center 27 | Columbia, SC — Colonial Life Arena 30 | Tampa, FL — Amalie Arena October
04 | Santa Clara, CA — Levi’s Stadium (with Billy Joel) 07 | Phoenix, AZ — PHX Arena 11 | Las Vegas, NV — T-Mobile Arena 15 | Oklahoma City, OK — Paycom Center 18 | New Orleans, LA — Caesars Superdome (with Billy Joel) November
15 | Detroit, MI — Ford Field (with Billy Joel) As a multi-platinum solo artist and member of Fleetwood Mac since 1974, Stevie Nicks is the first woman to have been inducted into the Rock & Roll Hall of Fame twice. She has collectively sold over 220 million albums.
With Fleetwood Mac, she was instrumental in the success of the band’s beloved album Rumours, one of the best-selling albums of all time. The record has connected with generations of fans worldwide for over 50 years.
In October 2020, Stevie’s 24 Karat Gold: The Concert was released at select cinemas, drive-ins, and exhibition spaces around the world for two nights only. The sold-out film offered audiences a virtual front-row seat to the magic Nicks brought on her sold-out 24-Karat Gold Tour.
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Sean ‘Diddy’ Combs’ sex-trafficking case gets underway in about a month, but his defense team has asked for an adjournment. Instead, they want to see the May 12 starting date pushed back by two weeks.
His lawyers argue the U.S. Attorney’s Office for the SDNY has not been fully sharing material such as emails from a former Combs employee. They allege that the prosecution’s witness ‘Victim-4’ seems to have “cherry picked messages” shared on WhatsApp. Outside of court, Combs’ team said they would no longer seek an adjournment if the feds “get their act together.”
Combs pleaded not guilty on Monday to an expanded federal indictment that charges him with five criminal counts—including charges for racketeering and sex trafficking. Combs entered his plea to the new charges at a hearing before U.S. District Judge Arun Subramanian in Manhattan.
“These are not new allegations or new accusers. These are the same individuals, former long-term girlfriends, who were involved in consensual relationships,” his lawyers said to the media after the hearing. Jury selection for the trial remains scheduled for May 5 with opening statements set to begin May 12 if the judge does not grant an adjournment.
Prosecutors allege that Combs used his business empire to sexually abuse women between 2004 and 2024. The allegations include having women take part in recorded sexual performances called ‘freak offs’ with male sex workers, who were sometimes transported across state lines to facilitate the action. Combs has been sitting in the Brooklyn Metropolitan Detention Center since September. He is also facing more than a dozen civil lawsuits filed by both men and women that accuse him of sexual abuse.
His lawyers have argued that Combs never forced anyone to engage in sexual acts against their will. He says the ‘freak offs’ reported by the media were consensual activity between consenting adults. A surveillance video from 2016 leaked in 2022, kicking off the intense interest. The video shows Combs kicking his former girlfriend, R&B singer Cassie Ventura.
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The Anjuna family of labels is a group that has been a pioneer of the genres they harvest for years on end. While Anjunabeats, the main division, rocked the charts during the 2000s, its little brother Anjunadeep became an absolute sensation towards the end of the 2010s, bringing talents such as Lane 8, Ben Böhmer, Tinlicker and Yotto to the public eye. You could argue they’re pretty good at discovering the legends of the succeeding 10 years.
And with their own Anjunadeep Open Air series debuting in a handful of destinations across the seven seas, we were all in when they announced they’d be bringing the experience to South America — Lima and Santiago. I just so happen to be based in the latter capital, so it was a no-brainer to attend. And here’s what I have to say. Beware, it’s a lot. A good lot, though!
Arriving
Let me begin this by saying, this was my first-ever official Anjuna-branded party. Ever. So the stakes were high, and I have to spoil it, it didn’t disappoint at all. I Ubered to the place and arrived bang on time thankfully, a few minutes before the first act walked into the booth — my buddy Paul Arcane. The venue took me by surprise. I knew the park pretty well up to that point, but I’d never been in that corner of it, and its beauty caught me off guard.
I was so lost in the high of the Anjuna atmosphere paired with the scenery that I even missed a lagoon in its perimeter. It was all great, they had stands for everything from spirits to electrolytes. I even clocked a stand for my favourite vermouth, though I’d never go on to buy me a cup, instead doing beer all afternoon.
Daytime Bliss
First up on the decks was Paul Arcane, and I must say, Anjuna’s choice as the warm-up act was spot on. Not because I’m a mate of his, I’m being 100%, full-on objective critique here. His set was a RIDE, going between Organic and Progressive, but in a nonlinear fashion, blending both at different times of the 2-hour set he played. The way he’d climb to a more chilled Progressive only to drop back down to a more punchy Organic, all the while keeping a proper coherence, he crushed it.
I shared the whole day with a bunch of Argentinians I’d met through Facebook. Seeing their flag waving amidst the crowd made me feel right at home. They had come early to see Ezequiel Arias, and I convinced them to arrive a tad earlier to root for Paul too, and so we all did. It was lovely, it was all Anjuna in the early hours of the party: youngsters, adults, even kids with their parents having a picnic. The atmosphere was lovely. Paul closed with a remix of that ‘Now We Are Free’ track, proper goosebumps, singalong moment.
The transition to Ezequiel Arias kept the energy ticking along nicely, while his dense and distinctive Progressive sound transported me to my favourite country, Argentina. His sound is so Argentinian Prog. You can hear it. Once you recognise their current, you can’t avoid spotting the sound, that four-on-the-floor Argentines do that just makes you want to move. Fittingly, as life would have it, I bumped into more Argentinians during this time. A good portion of them flew over to attend the Anjuna festival, which this time didn’t stop down in the Land of Tango.
As Arias’ set drew to a close, I wondered if Qrion was at the venue already, and like reading my mind, she popped from behind the booth while Eze was closing his set. I went for a quick water checkpoint to down the beer I’d had, and winged it back into the crowd, eager for my first Qrion set. She did phenomenally.
Momi kicked things off with a touch of Progressive, not as purist as proper Argentine Progressive, instead it was more of a hybrid with House influences. And then she went full-on House. Not your standard cheesy House from fashion runways though, Anjuna-tinted House with its own identity. She dropped a remix of ‘Bailando‘ that I STILL can’t get out of my head. I’ve attached it to your right so you too can help yourself. Q also dropped a remix of ‘Silence’, proper goosebump moment, alongside tracks from her latest album, We Are Always Under The Same Sky. I never imagined those laidback tracks would translate SO WELL into the dancefloor. They’re proper sleepers.
As the minutes went by, Momi had the pleasure of pairing that day’s sunset, and the timing was spot on, pure magic. The crowd at that point was lovely, a proper mix of families, respect, and plenty of Anjuna energy.
Nighttime
As night fell, more and more ravers started to arrive, a more mixed bunch and, I must say, less focused on the music. The dancefloor got packed to the point where moving became a proper mission. My mates and I were in the geographical middle of the dancefloor, and I couldn’t dance properly anymore. So I decided to retreat to the VIP area, enjoying the music from a slightly more distant vantage point. And I was lucky to do so, because I ran into Marsh back there.
I was chatting with Paul and his family who’d come to see him play, and then somehow Tom spawned. A distant nod turned into a friendly chat, apparently he recognised me from the times I saw him in Buenos Aires. Such a cool lad. We all enjoyed a longish chat backstage plus nonalcoholic beer and water, while Dosem was tearing up the dancefloor with his iconic Housy beats. It was a very interesting experience, it was very Anjuna to be surrounded by so much Anjuna at one time, surreal even, given the low frequency of label-related parties we often have in South America.
Finally, it was time for Tom to rock. Marsh’s set was, for me, the second-best of the night, only dethroned by Paul Arcane’s brilliance. Marsh never, ever disappoints, but Paul was such a great act that I have to hand him the medal this time. Tom… Tom played perfectly in his 90-minute bracket.
All the tracks I was hoping for were there, it truly felt like listening to my Spotify picks with perfect transitions in between. His selection was spot on, from his chilled House to ‘Rabbit Hole’, his remix of Bedrock’s ‘Heaven Scent’, his flip on ‘Sirens Of The Sea’, which he immediately followed with the impeccable Antrim remix of Yotto’s ‘Silhouette’. Do you ever get to a point at a show in which you shed tears? This was the point for me. Sirens to Silhouette was just too much. I was already feeling pretty jelly-hearted before because he’d played ‘Sun In Your Eyes’ a bit back. Anjuna, if you’re reading, please release that Antrim remix. I’m begging you. On my knees.
Final Words
The night could’ve gone on for hours, and no one would’ve complained. It was an incredible day, with incredible artists of the highest calibre, a beautiful place and lovely weather. My only but is the crowd, though you can’t do much about it, my purist self LOVED the daytime crowd, so the bar was high for the nighttime fellas. In my case, I was lucky enough to have an area to chill out and basically zone out listening to the music that has been marking my life for an entire decade, so I can’t complain.
Thank you to everyone who made this possible, and thank you so much to all the artists and their teams for showing up just after playing Lima, on little to no sleep, yet still putting on a smile and sharing the love only they know how to deliver. Thanks, Paul, Eze, Momi, Marc, and Tom. You all rock. Oh, and needless to say: we’re already counting down the days for your return.
*Cover image credit: Victor Norambuena
The post [Event Review] Anjunadeep Open Air Triumphed In South America Debut appeared first on EDMTunes.
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Inside a dimly lit gallery in Perth, metallic clangs echo through the room like Morse code, yet no musicians are present—just 20 golden brass plates, a network of wires and a small, pale mass of living brain tissue pulsing with electric activity.
It's not science fiction. It’s "Revivification," an ambitious collaboration that has literally brought a piece of a composer back from the dead.
Four years after his death, Lucier is, in a sense, still composing. His living remains, a cluster of brain matter grown from his own reprogrammed blood cells, are suspended inside a central plinth, feeding off the sounds of the room and generating haunting, improvised compositions in real time.
Foundation for Contemporary Arts
The installation is the brainchild of artists Nathan Thompson, Guy Ben-Ary, Matt Gingold and neuroscientist Stuart Hodgetts, who connected through a now-defunct science research laboratory, according to The Art Newspaper. They began collaborating with Lucier in 2018, captivated by his trailblazing use of brainwaves in 1965’s "Music for Solo Performer," which turned neurological activity into live sound.
That same fascination with internal impulse now fuels "Revivification," only this time, Lucier's mind is no longer metaphorically in the music. It is the music.
"The central question we want people to ask is: 'Could a filament of memory survive this transformation?'" the team said in a statement. "Can Lucier’s creative essence persist beyond death?"
The "in-vitro brain" was developed using Lucier’s white blood cells, which were donated before prior to hi 2021 death and ultimately transformed into stem cells at Harvard Medical School. The cells were then cultivated into neural clusters mimicking a developing brain and embedded on a mesh of electrodes. The setup captures the organism's spontaneous electrical impulses and converts them into signals that activate transducers and mallets behind the brass plates.
Each neural spark is rendered into sound, and those sounds bounce back into the brain via microphones, closing a feedback loop that allows Lucier’s synthetic brain to listen and react. As gallery visitors move and speak, their presence is woven into the performance like unknowing collaborators in a living score.
The team hopes their work continues to evolve. Future plans include adapting the installation for extreme environments like Antarctica, or even space. But for now, Lucier’s last concert plays on in a gallery in Perth, a strange and stirring performance from a musician whose mind refuses to go silent.
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Davis Darvish, 40, is being held on $1 million bail after allegedly threatening to bomb the iconic festival, according to the Cathedral City Police Department. The incident unfolded on the morning of April 12th, when Darvish approached security staff at the Agua Caliente Casino in Rancho Mirage. Authorities say he claimed he would be responsible for a bombing at the nearby ongoing Coachella festival.
The threat prompted immediate coordination between local agencies and festival security teams. Law enforcement used automated license plate recognition technology to track Darvish's vehicle through the Coachella Valley. Within about 90 minutes, Palm Springs police had located and detained him without incident.
Officials confirmed that no weapons, explosives or bomb-making materials were found in Darvish's possession or vehicle. Nonetheless, he was booked into Indio's John Benoit Detention Center on suspicion of making false bomb threats, pending further investigation.
Cathedral City detectives have since launched a broader inquiry into Darvish’s actions leading up to the threat, focusing particularly on his interaction with the Rancho Mirage casino. No formal charges had been filed as of Sunday evening, but authorities continue to encourage public tips related to the case.
In the meantime, authorities have stated that there is no ongoing threat to public safety. Coachella's second weekend is set to begin April 18th as scheduled.
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Self-described IP protection, monetization, and marketing specialist Vobile has officially acquired Pex.
Santa Clara-headquartered Vobile confirmed the buyout in a brief release today. Founded two decades back by Yangbin Wang (who doubles as CEO), the publicly traded business bills itself as “a worldwide leader in digital content protection and transaction services.”
As things stand, the purchaser is said to provide digital fingerprinting for a variety of video content. Vobile’s other products include a social-media rights-management offering and the AI-powered DreamMaker creative platform (which only rolled out last month), the appropriate website shows.
Now, the company (which already counts Sony Music and Warner Music as clients) is evidently leaning into audio. Against the backdrop of a well-documented gen-AI explosion, Wang touted the Pex deal as one piece of an effort to meet evolving rightsholder needs.
“Vobile has been at the forefront of helping global entertainment companies to protect and monetize their content in a rapidly evolving digital landscape,” said the Vobile chairman and CEO. “By integrating Pex’s advanced audio technologies, we are expanding our service capabilities to meet the growing needs of rightsholders, especially as generative AI reshapes the future of creativity.”
On the financials side, Vobile opted against publicly disclosing the hard numbers behind the Pex deal. But the entity (which reported HK$1.2 billion, currently $154.7 million, in H1 2024 revenue) did confirm that Pex’s “team has joined Vobile subsequent to the acquisition.”
However, Pex founder and now-former CEO Rasty Turek has stepped away from his company, the relevant LinkedIn profile shows. Others are in fact remaining aboard Vobile, their own profiles indicate; Pex framed the sale as the beginning of its “next chapter.”
“Joining Vobile marks an exciting new chapter,” echoed Pex COO (now Vobile’s EVP and head of music business) Amadea Choplin. “Together at Vobile, we can make an even greater impact for our clients.”
Vobile’s aforementioned H1 2024 revenue spiked 17.7% YoY, and about half the sum stemmed from operations in the Chinese mainland, the document specifies. The company achieved a relatively modest 8% YoY boost in China during the six-month stretch, compared to a 30.1% YoY hike for all other markets, per the report.
Last month, AI-focused cybersecurity firm GetReal Security scored a $17.5 million raise, and Sony Music led AI licensing startup Vermillio’s $16 million Series A.
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The EDM.com Class of 2024 artist has unveiled the full lineup for his first-ever curated event, Camp Alderwild, a two-day concert and camping experience set for August 22-23 in Telluride Town Park. The rare weekender marks the first large-scale electronic music event in the town in nearly a decade.
Headlining both nights, Of The Trees will be joined by a cadre of genre-defying artists. Friday’s bill includes the intricately textured bass of Jade Cicada, a live band performance from Thought Process, UK genre-blender Taiki Nulight and ambient trap producer Curra. Saturday will expand into cinematic territory with a set from Tycho along with Air Castles and the psychedelic dub soundscapes of Ott. Meanwhile, experimental electronic virtuoso EPROM is intriguingly billed as "underclock," debuting a new live show.
"My team and I are incredibly excited to bring a concert experience to a location where the natural beauty is perhaps an even bigger centerpiece to the experience than the show itself," Of The Trees said in a statement. "This is the beginning of realizing the dream I’ve always had of hosting events that bring people together to a place where nature and music are intertwined in a way such as this."
The event is being co-produced by Planet Bluegrass, whose reputation for sustainable festivals is unmatched in Colorado, alongside the live music powerhouse AEG Presents. A presale is scheduled to begin Thursday, April 17th at 10am MT before the general on-sale the next day at the same time.
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Besides fending off a Justice Department lawsuit — and regulatory obstacles across the pond — Live Nation is now grappling with a new round of bipartisan antitrust scrutiny.
That scrutiny pertains to the sports side of the Ticketmaster parent’s operations, but is certainly important from the perspective of Live Nation’s broader antitrust woes as well.
According to Sportico, the fresh pushback arrived in the form of a letter penned by Senators Amy Klobuchar and Mike Lee. Though on opposite sides of the aisle, the senators have long been critical of Live Nation; this isn’t even the first time the lawmakers jointly called out the promoter.
For a bit of quick background, Ticketmaster and the self-described “global digital sports platform” Fanatics unveiled a ticketing tie-up early last month. The companies have been partnered for a while, but the March agreement brought the official rollout of a standalone “Fanatics Ticket Marketplace.”
(In detailing the “two-way” tie-up, Sportico outlined a means of selling Ticketmaster passes via the Fanatics app, with the merch business then listing its own products on Ticketmaster.)
As reportedly described by the senators (who wrote to assistant AG Abigail Slater, the DOJ’s antitrust division head), however, the bolstered Live Nation-Fanatics union is the latest example of “‘anticompetitive behavior’” from the former entity.
Fanatics higher-ups, instead of opting to “‘innovate, disrupt and compete themselves as they have in numerous other sports-related markets,’” united “‘with an online ticketing monopolist,’” the senators reportedly said.
Driving home their point, the lawmakers asked the DOJ to identify and pursue remedies for possible antitrust-law violations. Here, those potential violations refer to the alleged use of Live Nation’s “‘monopoly power to prevent Fanatics from entering the online ticketing market, depriving consumers of the benefits of competition,’” per the mentioned report.
Unsurprisingly, a Ticketmaster representative refuted the letter’s claims in a statement shared with DMN.
“The agreement simply provides that Ticketmaster can sell secondary tickets to sporting events on Fanatics websites and mobile apps, giving fans additional ticket-buying opportunities,” this rep told us. “The secondary ticketing market is extremely competitive. Ticketmaster competes with StubHub, SeatGeek, Vivid Seats and numerous others and is in no way the leading secondary ticket seller, as the Senators’ letter suggests.”
Especially because the U.S. government’s initially mentioned Live Nation/Ticketmaster antitrust case remains active, it’ll be interesting to see whether the DOJ feels the same way. In any event, the bipartisan criticism appears to underscore the legislative mood when it comes to competition concerns.
Said mood could set the stage for the passage of not just the reintroduced TICKET Act (which Live Nation actually supports), but different ticketing-competition and -resale legislation yet.
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Starting today, April 14th through April 18th, people around the world can cast their vote for their favorite Tomorrowland Anthems using the app or on tomorrowland.com. Tomorrowland has always been about uniting the world together. People from different countries, different cultures, different languages, and so many different walks of life are able to come together. For three things will always transcend space and time; love, laughter, and music.
If you participate, your choices get you automatically entered for a chance to win two tickets to the Avicii Experience in Stockholm, along with an exclusive Avicii merchandise package. This unique opportunity will be an incredible experience for a lucky winner as we celebrate the legacy of a music legend.
Listeners can tune in for the results and highlights of electronic music history from Wednesday, April 30th, until Friday, May 9th. Covering the total rundown of the voting results. But it keeps getting better… this year, the final order is still up to the fans. The final order of the top 10 tracks will be voted upon by the People Of Tomorrow using the same channels as before. This second round of votes will end on May 9th, and those participating will be entered in a drawing to win 2 Full Maddess Passes to Tomorrowland Belgium 2025! The ultimate anthem taking the 2025 number 1 slot will be announced on May 9th.
People Of Tomorrow came together in 2024, voting for their top anthems last year. This resulted in an electric top 10 from artists like Avicii, Swedish House Mafia, David Guetta, Dimitri Vegas & Like Mike, and many more. These anthems have stolen the hearts of humans around the world for their happy and beautiful sounds, powerful mood-changing rhythms, and soul-stirring lyrics. You can vote here.
Here’s the 2024 top 10 list:
Avicii – Levels Dimitri Vegas & Like Mike, MOGUAI – Mammoth Martin Garrix ft. Bonn – High On life Swedish House Mafia ft. John Martin – Don’t You Worry Child Tim Berg, Avicii – Seek Bromance Sebastian Ingrosso & Alesso ft. Ryan Tedder – Calling (Lose My Mind) David Guetta ft. Sia – Titanium Alesso vs. OneRepublic – If I Lose Myself Sebastian Ingrosso, Tommy Trash, John Martin – Reload Armin van Buuren – Blah Blah Blah The post Tomorrowland Opens Voting For Top 1000 Anthems 2025 appeared first on EDMTunes.
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Molson Coors Beverage Co. is releasing a beer-filled vinyl called ‘Dive Bar Sounds.’ The vinyl record actually plays and is filled with Miller High Life beer.
The beer-filled vinyl record goes on pre-sale later this week for an $18 price point. Miller says each dive bar tells its story through sounds, from the creak of the door opening to the clink of glasses. “Now these iconic sounds are captured in this High Life-infused vinyl. Here’s a peek at what’s included:
Side A
“Welcome to the Dive” “Champagne Nights” “Happy Hour” “Rack ‘Em Up” Side B
“Regular’s Remix” “Another Round” “Last Call” The beer-filled vinyl is intended to celebrate musicians and the culture of neighborhood dive bars. The limited-edition launch album marks the launch of ‘The Soundtrack to the High Life’—a new platform focused on spotlighting musicians.
“Dive Bar Sounds comes to life through original tracks that blend the authentic sounds of your favorite dive bar with The Champagne of Beers to tell the story of a night at the dive,” says Molson Coors in a statement about the limited-edition release.
Pre-orders for the vinyl start on April 15 and April 16 at 11 am CT, with the vinyl expected to ship sometime in July 2025. The record goes for $18 bucks, but I’m not entirely sure why anyone would want to add the beer vinyl to their collection beyond displaying it. Any degradation of the vinyl is likely to result in the liquid seeping out—potentially ruining a vinyl collection if it’s stored improperly.
But hey, corporations love marketing gimmicks that get people talking. People are still complaining about the free U2 album that Apple gave away in 2014 because it was auto-added to any iTunes library that existed back then. KFC also got on board with a ‘Bucket Bangers’ Spotify playlist that released in 2019 in France, curating 46 hip-hop songs mentioning KFC.
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TikTok made nearly $39 billion from its US operations last year, drawing the question of the economic impact of a federal ban to the forefront.
Beijing-based TikTok parent ByteDance earned a quarter of its total revenue last year from its US TikTok operations, according to sources close to the matter. The company’s international revenue jumped 63% to a whopping $39 billion in 2024, a quarter of ByteDance’s total revenue of $155 billion for the year — its highest to date.
Moreover, growth in ByteDance’s Chinese operations, such as Douyin (China’s version of TikTok), has slowed significantly. That leaves the company more dependent than ever on what TikTok earns from American users.
ByteDance is now between a rock and a hard place. If it doesn’t divest TikTok in the US, it will completely lose that revenue. But if it does divest TikTok, and the platform is able to continue its US operations, ByteDance will only get a lump sum in the transaction, missing out on its future US earnings. Neither option is preferable for the company, which has already indicated it is reluctant to make a deal, especially when faced with Trump’s hard-hitting tariffs.
TikTok’s list of potential suitors grows ever larger, while some estimates have put the platform’s value at over $100 billion. In comparison, TikTok is earning more than YouTube, but less than Instagram, and likely not profiting as much as either.
YouTube earned over $36 billion in ad revenue last year, but its income from Premium subscriptions, YouTube Music, YouTube TV, and movie/television rentals pushes that number even higher. Instagram brought in around $71 billion, with its annual profit jumping up 59.5% year-over-year.
ByteDance, meanwhile, saw only a 6% increase in profit in 2024, for a total of $33 billion in profit out of $155 billion in revenue. That’s due in no small part to its significant investments in AI development and data infrastructure. The company also invested heavily in ecommerce, with its TikTok Shop accruing impressive sales during the Black Friday weekend.
However, given that TikTok just laid off a portion of its US-based ecommerce team, perhaps it isn’t reaping as many benefits from its success abroad as one might expect.
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Day 1: Zedd, GRYFFIN, and a Nonstop Party
Breakaway Dallas launched with a bang on Saturday as over 12,000 fans packed into Fair Park for a full day of music, energy, and community. Headliners Zedd and GRYFFIN lit up the night with their signature sounds—Zedd delivering crisp, high-octane production, and GRYFFIN bringing melodic, emotional highs that had the crowd in sync from start to finish.
The supporting acts brought just as much fire. TroyBoi delivered bass-heavy trap and hip-hop cuts, BUNT. blended genre-fluid, feel-good grooves, and Ship Wrek kept the energy bouncing with infectious house beats. KREAM and Daniel Allan closed out the day with immersive sets that sustained the momentum deep into the night.
CELSIUS® kept fans fueled throughout Fair Park, offering product samples and interactive brand experiences as part of their ESSENTIAL VIBES TOUR™—a nationwide activation that continues to elevate the festival experience across all Breakaway stops.
Day 2: Cold Front, Hot Lineup
Sunday brought colder temperatures, but the energy at Breakaway Dallas never wavered. With even more fans than the day before, over 20,000 attendees braved the chill for another round of world-class performances.
Headliners SLANDER, Louis The Child, and Afrojack delivered standout sets that defined the day. SLANDER brought their signature melodic bass and emotional drops, turning Fair Park into a wave of lights and feels. Louis The Child kept spirits high with vibrant, genre-mashing selections, while Afrojack closed out the night with a stadium-level set packed with high-energy anthems and relentless crowd engagement.
The undercard was just as stacked. Zomboy delivered a massive dubstep barrage that shook the stage, EVAN GIIA captivated with her vocal-driven hybrid sound, and ACRAZE kept the crowd moving with bass-heavy house heaters. Layz brought the heavy edge, rounding out a sonically diverse day.
Over at the Silent Disco, more than 30 regional DJs turned a side-stage into a standout experience, proving that Breakaway is just as much about discovery as it is about headliners. The vibe was intimate, sweaty, and electric—exactly what you want from an underground dance floor.
By the end of the weekend, Breakaway Dallas had left its mark. From big-stage blowouts to local DJ gems, it was clear: Dallas didn’t just welcome Breakaway—it claimed it.
The post [Event Review] Breakaway Music Festival Brings 20,000+ Fans to Fair Park for Dallas Debut appeared first on EDMTunes.
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The Global Citizen Festival will return to Central Park on September 27, this time with a search for a new hitmaker with Colossal and Live Nation.
The Global Citizen Festival, driving millions of actions from global citizens and billions of dollars in commitments to end extreme poverty, is back for another year. The 2025 edition of the Global Citizen Festival campaign once again supports and partners with a variety of nonprofit organizations aligned in mission and cause, serving communities across New York.
This year, for the first time, Global Citizen is partnering with Colossal to find America’s Next Top Hitmaker. Musicians, bands, and groups from across the US will compete in the months leading up to this year’s festival for the chance to perform on the Global Citizen Festival stage on September 27.
The free, ticketed event, hosted in New York City with Production Partner Live Nation and produced by Diversified Production Services (DPS), will bring together the world’s biggest artists, grassroots advocates, government leaders, philanthropists, and music fans. Together, they will call on world leaders to drive action on the most urgent issues facing humanity and our planet, including protecting the Amazon rainforest, ensuring children everywhere have access to education, and upscaling renewables across Africa.
“As our world faces rising temperatures, growing inequality, and deepening uncertainty, this year’s Global Citizen Festival is an opportunity to push for real, lasting change,” said Katie Hill, Chief Music and Entertainment Officer, Global Citizen. “We’re excited to unite 60,000 global citizens on the Great Lawn of Central Park, together with some of the world’s biggest artists and advocates, to demand action. See you on September 27!”
This year’s full festival lineup will be announced in the coming months. Tickets will be free and can be earned by taking action on the Global Citizen app or their website.
Over the past decade, $41 billion in commitments announced on Global Citizen platforms has been deployed, impacting over 1.15 billion lives. Established in Australia in 2008, Global Citizen’s team operates from New York, London, Paris, Berlin, Melbourne, Toronto, Johannesburg, Lagos, and beyond.
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The United Arab Emirates (UAE) have established the first collective management society—the Emirates Music Rights Association (EMRA).
Recent legislative and regulatory action on the UAE grants a collective management license to EMRA, authorizing it to oversee the collection and distribution of music creators’ rights across the country. The move aims to strengthen the creative economy by ensuring compliance with copyright laws across broadcasting and content platforms.
The license was granted in accordance with Federal Decree Law No. 38 of 2021 on Copyrights and Related Rights. The International Federation of the Phonographic Industry (IFPI) has applauded the move. Both the IFPI and the International Confederation of Societies and Composers (CISAC) were on hand to congratulate EMRA.
“The establishment of an effective, transparent and accountable rights management organization for public performance and broadcast rights is a further step that will cement UAE as one of the most dynamic and exciting music markets in the world,” adds Victoria Oakley, CEO, IFPI. “Not least because according to the IFPI Global Music Report just published, in 2024, [the UAE] was the fastest growing recorded music market in the world. IFPI is proud to support this work and I congratulate you all on a successful launch.”
According to the IFPI’s Global Music Report 2024, the MENA region was the fastest-growing recorded music market worldwide—expanding by 22.8% in 2024 alone. Meanwhile, the global music industry grew by 4.8% in the same period.
Abdulla bin Touq Al Marri, Minister of Economy for the UAE says the country has successfully developed a legislative framework aligned with global best practices to support intellectual property rights and drive the creative and cultural sectors as key pillars of the national economy. “Granting his license to EMRA is a significant step in advancing the UAE’s creative economy in line with the We the UAE 2031 vision,” he adds.
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This new album titled ‘Avicii Forever’ will feature a series of his greatest tracks from all across his illustrious career. With 21 songs including ‘Wake Me Up’, ‘Levels’, ‘Lonely Together’ and many more of his classics, ‘Avicii Forever’ will be a display of the legendary Swedish DJ at his very best. But there’s one song which is particularly exciting as the unreleased ‘Let’s Ride Away’ with vocals provided by Elle King is in the track list. It’s one of the many songs that fans have been crying out to hear for years and now ‘Let’s Ride Away’ will finally see the light of day. While most of the album is familiar to long time fans, the release of ‘Forever Yours’ could be the start of the younger generation’s discovery of Avicii.
An official release date is yet to be revealed however it is rumoured to be coming out in May 2025. The question as to whether Avicii’s music should continue being released still lingers, but having the opportunity to hear more of his magical melodies is exciting none the less.
Full ‘Avicii Forever’ Track List
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For a milestone weekend that would celebrate the quarter-century mark of its flagship festival, Ultra crafted what many — including me — believed to be its strongest artist offering of the past decade or so, at least on paper. And while that lengthy collection of unmissable acts — 15 of which I wanted to specifically acknowledge ahead of time — would inevitably lead to more than a few stressful conflict decisions for myself as well as the 50,000 daily attendees, it translated into a fully fledged reality of unrelenting Ultra superiority across March 28, 29, and 30.
First and foremost, this cannot continue without a section of appreciation for Richard Milstein, the mind responsible for Ultra’s annual stage designs. There were reasonable expectations that Milstein and his REDNOIR creative team would architect a mainstage design that we would be able to stack up against some of Ultra’s most iconic designs since 2013. And he did just that, engineering what I wholeheartedly consider to be Ultra’s most impressive mainstage structure since 2016’s magnum opus as well as first-class production arrangements at both the MegaStructure and Worldwide stages.
Let’s dive into the weekend itself. I could understandably convert this article into a thesis-length explanation about each and every standout moment of the weekend (there are individual set recaps on the Dancing Astronaut Instagram that can help with that) but I’ll spare everyone from any further incoherent rambling. The seconds, minutes, and hours spent throughout another three-day run at Bayfront Park — from opening with Miss Monique at the MegaStructure to seeing Alesso reunite Ultra with the greatest song known to mankind all the way down to wrapping up the weekend with Martin Garrix’s grand finale on Sunday evening — comprised of some of the most unforgettable memories that I have built up in nearly a decade of annual March trips to Miami. At the very least, I have to specifically nod towards the three-and-a-half-hour sequence that decisively etched day two into Ultra’s hall of fame. The progression of Axwell — who appeared unaccompanied for the first time at Ultra — into Skrillex — who returned to Bayfront Park for the first time in a decade — into Hardwell — who finalized Saturday’s mainstage run with one of his all-time sets — was an outright masterclass of an evening. When prompted with the question of which singular artist was responsible for my go-to slot of the weekend, my reply is that I simply cannot separate the perfection that was the second half of March 29 at Bayfront Park.
While there’s an overwhelming consensus that 2025 prevailed as an edition that holds its own against cherished Ultra installments like 2013 or 2016, there’s always room for improvement as we now look towards the 26th anniversary. The first point of feedback has to be that Ultra should address its bottleneck entry issue for general admission, with extensive lines beginning to form at certain points throughout the weekend. Once attendees made it to the second step of entry, some had attested to the fact that security seemed a bit too nonchalant, leading to a sea of tall flag poles — which are explicitly named in Ultra’s prohibited items list — from people that conveniently chose to stand front and center. Instead of the annual battle against fan clackers, it was the flag poles in 2025 that would consistently clog up the view at mainstage from any angle on the dance floor.
For a second year in a row, we were unable to remain in Mother Nature’s good graces for the weekend’s entirety, with a thunderstorm leading to a temporary shutdown of the festival on early Sunday afternoon. And after Ultra had broadcast an evacuation message on its mainstage screen, some confusion quickly stemmed surrounding the status of festival entry as well as stage closures. It wouldn’t be until a few hours later that Ultra would share the news that the evening would be extended by an hour as well as an updated timetable, despite a couple of real-time scheduling changes — like Kaskade and Steve Aoki having swapped slots — having already come and gone.
But in the grand scheme of things, the above comments are truly just minor blips encountered during an otherwise seamless anniversary celebration in the heart of downtown Miami.
Even after a quarter century of operations, the 25th anniversary reminded myself of one thing for sure: Ultra remains my favorite place on Earth.
Between furthering its lengthly record of all-time performances, designing another slate of world-class stage production, continuously maximizing the sublime setting that is Bayfront Park, and combining every other little thing that comes together makes Ultra what it is, the weekend gave the dance music world a front-row seat of Ultra Music Festival at its highest form.
Thank you so much to Ultra, all of the production team, all of the staff, all of the crew, and everyone else that comes together to make this festival happen each and every March.
Featured image: Alive Coverage
The post Ultra’s milestone 25th anniversary was a decisive reminder of its greatness [Review] appeared first on Dancing Astronaut.
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Andrey handcrafts each unit in Yekaterinburg as part of a limited series. Pre-orders are open until the end of the year with a price of 1400 euros + shipping (50% prepayment required).
Specs
Tape Mechanism:
Speed: Nominal 4.76 cm/s (adjustable ±50%)
Wow and Flutter: 0.7 – 1%
Frequency Response:
Type I (Normal): 40 Hz – 14,000 Hz
Type II (High): 40 Hz – 17,000 Hz
Type IV (Metal): 30 Hz – 21,000 Hz
Stereo Tracks: 2 (Stereo)
Mixer Panel:
Channels: 2, with independent pitch control for each deck
Equalizer: 3-band EQ per channel (Bass, Mid, Treble with boost/cut)
Pre-listening: Available in headphones with smooth switching between channels and preview/master modes
Master Volume Control: Rotary knob
Inputs and Outputs:
Inputs:
2 Line Inputs (Stereo RCA)
2 Phono Inputs (Stereo RCA)
Outputs:
1 Master Output (Stereo RCA)
1 Recording Output (Stereo RCA)
1 Headphone Output (6.3 mm Jack)
Indicators:
Type: Stereo VU meters with calibration capability
Function: Displays summed stereo signal (Deck 1 + Deck 2)
Note: Master volume control does not affect indicator levels or recording output
Power and Dimensions:
Power Supply: 200-230V AC, 50/60 Hz
Dimensions: 492 mm x 386 mm x 123 mm
Weight: 6 kg
Operating Environment:
Temperature Range: -5°C to +45°C
Humidity: Up to 80%
The post Forget Turntables, go back to DJing with cassettes appeared first on Decoded Magazine.
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