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Your Ultimate Guide To Solo Raving

Hitting the rave solo? You’re not alone—well, technically you are, but solo raving by yourself can be an epic adventure. You get to dance to your own beat, discover new music, and meet awesome people without having to coordinate with a group. But flying solo means you need to be extra prepared to keep things fun and safe.
Here’s how to stay safe, have fun, and make memories that last forever.
1. Tell Someone Where You’re Going
Before you even leave the house, text a trusted friend your full plans—event name, address, time, and when to expect your check-in text. If something goes sideways, they’ll know exactly where you are and what steps to take. Solo raving doesn’t mean secret.
2. Pack Lightly
The goal is freedom, not fumbling through a heavy bag. Bring only what’s essential: ID, cash, hydration pack, portable charger, and earplugs. If you’re planning to partake in substances, pack drug test strips, like fentanyl test kits. A 10-second test could mean the difference between a great night and a dangerous one.
3. Bring Naloxone (Narcan)
This can be a life-saver for you or someone else. Narcan reverses overdoses in minutes and is legal to carry. You could be someone’s guardian angel. Be prepared, not paranoid.
4. Screenshot Important Info
You’re in a packed field, your phone has 3-percent battery, and suddenly there’s no service. What now? Having a screenshot of your Airbnb address, festival map, set times, or emergency contacts gives you peace of mind when tech fails. Never rely solely on apps, print or screenshot the things that matter.
5. Use the Micro-Crew Method
Make friends before the drop. Compliment someone’s fit, share a fan, or offer gum. That small connection can turn into someone watching your stuff while you hit the restroom or helping you find your footing if you’re overwhelmed. Finding micro-crews to vibe with can also help keep you safe in case anything unexpected happens.
6. Trust Your Gut
If someone gives you a weird vibe, don’t second-guess yourself—walk away. If a hallway or walking path feels sketchy, avoid it. Your intuition is your built-in alarm system. There’s always a good view, good people, and good energy somewhere else at the rave. Follow your frequency.
7. Stay Connected
Picture this: it’s 2AM, your phone is dead, and your ride home is nowhere in sight. Avoid the panic. Bring a portable charger, turn on low-power mode early, and screenshot what you can. Having your phone means staying connected to help, to home, and to safety.
8. Wear Comfortable Everything
Your outfit may be fire, but if by hour three your feet are bleeding and your glitter is melting, consider wearing breathable, comfy clothes and broken-in shoes you can dance in all night. You’ll move more, stress less, and still look good doing it. Pro tip: wear two pairs of socks for enhanced support!
9. Have An Emergency Contact
Set up an emergency contact in your phone. Someone who knows your medical history, allergies, and can make decisions if needed. Put this info on your lock screen, so first responders can reach them if you’re unable to communicate. It’s a small step that can make a big difference in critical situations. ​
10. Own It & Let Go
There’s a special kind of magic in doing what most people are too scared to try. When you’re solo, you’re fully in control—no chasing the group, no compromising your vibe. Let yourself dance freely, meet people organically, and leave with a story that was fully crafted from your own imagination.
You Got This
Solo raving isn’t just about music—it’s about self-trust, confidence, and freedom. Every time you step into that crowd alone, you’re proving you can show up for yourself. Be safe, have fun, and never stop dancing.
Featured image courtesy: Insomniac Events. Credit: Skyler Greene.
The post Your Ultimate Guide To Solo Raving appeared first on EDM Maniac.
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Your Ultimate Guide To Solo Raving

Hitting the rave solo? You’re not alone—well, technically you are, but solo raving by yourself can be an epic adventure. You get to dance to your own beat, discover new music, and meet awesome people without having to coordinate with a group. But flying solo means you need to be extra prepared to keep things fun and safe.
Here’s how to stay safe, have fun, and make memories that last forever.
1. Tell Someone Where You’re Going
Before you even leave the house, text a trusted friend your full plans—event name, address, time, and when to expect your check-in text. If something goes sideways, they’ll know exactly where you are and what steps to take. Solo raving doesn’t mean secret.
2. Pack Lightly
The goal is freedom, not fumbling through a heavy bag. Bring only what’s essential: ID, cash, hydration pack, portable charger, and earplugs. If you’re planning to partake in substances, pack drug test strips, like fentanyl test kits. A 10-second test could mean the difference between a great night and a dangerous one.
3. Bring Naloxone (Narcan)
This can be a life-saver for you or someone else. Narcan reverses overdoses in minutes and is legal to carry. You could be someone’s guardian angel. Be prepared, not paranoid.
4. Screenshot Important Info
You’re in a packed field, your phone has 3-percent battery, and suddenly there’s no service. What now? Having a screenshot of your Airbnb address, festival map, set times, or emergency contacts gives you peace of mind when tech fails. Never rely solely on apps, print or screenshot the things that matter.
5. Use the Micro-Crew Method
Make friends before the drop. Compliment someone’s fit, share a fan, or offer gum. That small connection can turn into someone watching your stuff while you hit the restroom or helping you find your footing if you’re overwhelmed. Finding micro-crews to vibe with can also help keep you safe in case anything unexpected happens.
6. Trust Your Gut
If someone gives you a weird vibe, don’t second-guess yourself—walk away. If a hallway or walking path feels sketchy, avoid it. Your intuition is your built-in alarm system. There’s always a good view, good people, and good energy somewhere else at the rave. Follow your frequency.
7. Stay Connected
Picture this: it’s 2AM, your phone is dead, and your ride home is nowhere in sight. Avoid the panic. Bring a portable charger, turn on low-power mode early, and screenshot what you can. Having your phone means staying connected to help, to home, and to safety.
8. Wear Comfortable Everything
Your outfit may be fire, but if by hour three your feet are bleeding and your glitter is melting, consider wearing breathable, comfy clothes and broken-in shoes you can dance in all night. You’ll move more, stress less, and still look good doing it. Pro tip: wear two pairs of socks for enhanced support!
9. Have An Emergency Contact
Set up an emergency contact in your phone. Someone who knows your medical history, allergies, and can make decisions if needed. Put this info on your lock screen, so first responders can reach them if you’re unable to communicate. It’s a small step that can make a big difference in critical situations. ​
10. Own It & Let Go
There’s a special kind of magic in doing what most people are too scared to try. When you’re solo, you’re fully in control—no chasing the group, no compromising your vibe. Let yourself dance freely, meet people organically, and leave with a story that was fully crafted from your own imagination.
You Got This
Solo raving isn’t just about music—it’s about self-trust, confidence, and freedom. Every time you step into that crowd alone, you’re proving you can show up for yourself. Be safe, have fun, and never stop dancing.
Featured image courtesy: Insomniac Events. Credit: Skyler Greene.
The post Your Ultimate Guide To Solo Raving appeared first on EDM Maniac.
View the full article
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Mariah Carey Infringement Suit Turns Ugly Amid Legal Fees Dispute: ‘One Artist Should Not Push Another Artist to the Brink of a Financial Collapse’

A live performance from Mariah Carey, who, along with fellow defendants including Sony Music, is pushing to receive legal fees in an ‘All I Want for Christmas Is You’ copyright lawsuit. Photo Credit: Raph_PH
All I want for Christmas is everything you own: A copyright infringement lawsuit over Mariah Carey’s perennial holiday hit is turning ugly amid a legal-fees sub-dispute.
We first broke down that high-stakes sub-dispute closer to April’s beginning, after the presiding judge opted to toss the complaint in March. Long story short, the country-singer plaintiff, Vince Vance (real name Andy Stone), accused Carey’s “All I Want for Christmas Is You” of lifting from his own effort of the same name.
But the ruling in favor of the defendants – among them Universal Music, Sony Music, and Carey herself – set the stage for a massive attorneys’ fees demand. All told, the parties are looking to make the plaintiff cough up an astonishing $185,602 and change.
Unsurprisingly, the request isn’t sitting right with Stone, who, when opposing the bill in a new filing, described himself as “an elderly man now without vast resources.”
Elsewhere in the legal document, the plaintiff emphasized in more words that he’d pursued relief not on a whim, but only after “two of the most esteemed musicologists in the country” had independently identified alleged overlap between the two Christmas songs.
Not stopping there, Stone also underscored the belief that musicologists and artists know more about the subject matter than the court or attorneys in general.
“This is a lawsuit between a successful artist from one generation against another successful artist from a later generation,” Stone and his counsel wrote. “These musicians know more than any lawyer or the Court what they hear in another song.”
Evidently attempting to cover every angle, Stone proceeded to call out the defendants’ allegedly “unreasonable” legal-fees billing.
Furthermore, the plaintiff reiterated his own litigation expenses (purportedly including a $40,000 bill just to oppose summary judgement motions) and claimed that “forcing him to sell parts of his catalogue of music will accomplish nothing.”
Against the backdrop of a volume-heavy infringement-litigation landscape, the defendants’ counsel would probably disagree with the latter remark.
With all that said, how much should the plaintiff pay? While the best answer (from Stone’s perspective) is undoubtedly “nothing at all,” if the court is inclined to award legal fees, giving “the entire group more than $70,000 would be reversible error,” per the filing.
Under the current schedule, we won’t have to wait too long to see whether the judge agrees with Stone here; the courtroom confrontation’s next hearing is set for May 12th.
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You Can Now Place an Offer to Purchase Fyre Festival

Once pitched as an elite escape of music and luxury, Fyre Festival's notorious collapse in 2017 became a case study in viral hype gone wrong. Now, the ill-fated event that launched two documentaries in its wake is officially up for sale.
Fyre Festival founder Billy McFarland, who served four years in prison for wire fraud related to the 2018 debacle on the Bahamian island of Great Exuma, has announced he intends to step away from the brand while inviting potential buyers to place bids on its full intellectual property package. 
The announcement follows McFarland's attempts to mount a comeback in the Caribbean. Originally scheduled to take place in May 2025, Fyre Festival 2 was postponed indefinitely after contentious disputes with Mexican government officials in two separate municipalities, Isla Mujeres and Playa del Carmen.
While he claims to have since secured a new Caribbean-based destination willing to host Fyre Festival 2, McFarland says he's unwilling to risk another collapse. "For FYRE Festival 2 to succeed, it’s clear that I need to step back and allow a new team to move forward independently, bringing the vision to life on this incredible island," he said.
McFarland has now issued a new call to action: buy the brand and take the reins.
"We have decided the best way to accomplish our goals is to sell the FYRE Festival brand, including its trademarks, IP, digital assets, media reach, and cultural capital—to an operator that can fully realize its vision," McFarland said in a statement. "There is a clear path for operators and entrepreneurs with strong domain expertise to build FYRE into a global force in entertainment, media, fashion, CPG, and more."
Since relaunching the brand in 2023 after his release from prison, McFarland states Fyre has already been leveraged for developments in theater, streaming platforms and television.
While the name still carries a seedy reputation, it has continued to dominate headlines, leading McFarland to call it "one of the most powerful attention engines in the world." For prospective buyers, that attention could be a valuable asset, provided they've got the initiative to rewrite the brand's tumultuous legacy.
At the moment, the brand's official site is hosting an intake form where interested parties can place offers to purchase the Fyre Festival brand. The sale package includes the festival’s trademarks, marketing materials, domains, media assets, artist support lists and even the rights to its extensive documentary coverage.
Meanwhile, a separate but related Fyre-branded project is already underway under the leadership of media entrepreneur Shawn Rech. Rech, who recently acquired select Fyre IP, is launching a music streaming platform under the name, aiming to recast the brand into a fan-driven discovery tool for emerging artists.
Still, the main event remains up for grabs. And as McFarland steps away, Fyre's future ahead will be in the hands of the next bidder.
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Spotify Stock (NYSE: SPOT) Once Again Crosses $600 — Bullish Forecasts Continue Ahead of April 29th Earnings Release

Spotify stock once again topped $600 per share during today’s trading, and some analysts remain optimistic that the rebound will continue. Photo Credit: Gizmodo
Spotify stock (NYSE: SPOT) rebounded past $600 per share during today’s trading. But with the company’s Q1 2025 earnings release just days away, will the momentum continue?
That question is front of mind for investors and analysts, who, ahead of the first-quarter report’s April 29th release, are continuing to put out relatively bullish forecasts. We covered some of those optimistic target prices (and a couple more measured positions) earlier this week.
Since then, Benchmark has decreased its SPOT target to a still-substantial $700, pointing to high hopes for Super-Premium, podcasting profitability, and advertising revenue. Wolfe Research is banking on shares’ cracking $660 apiece, with UBS having settled on a $690 target.
In other words, the aforementioned “relatively bullish” descriptor appears apt here. And while broader market trends are certainly affecting SPOT’s trajectory, logic suggests that the company’s post-earnings positioning will be determined by key metrics including reported subscribers and profitability.
Keeping the focus on what we already know, Spotify execs and directors are continuing to cash in on company stock, shares in which topped $600 each this morning and were hovering around the $590 mark at the time of writing.
Though the market is evidently unconcerned, these sales are now nearing a cumulative $2 billion – with a substantial portion of the sum having resulted from transactions in 2024 and 2025.
To be sure, DMN Pro broke down execs’ and directors’ $1.8 billion in total SPOT sales in mid-April. But CEO Daniel Ek added to the figure – and kept the selloff trend going – by cashing in on $28.2 million worth of Spotify stock one week ago.
Next, Spotify’s recent job posts can provide valuable insight into the company’s strategic direction. That might seem obvious, but the details are often overlooked despite having offered a glimpse of the platform’s video and IRL event plans months beforehand, to name one major example.
Admittedly, the streaming platform’s openings to this point in April haven’t unlocked any particularly groundbreaking insights. But amid a well-documented licensing showdown in the music publishing world, the service is looking to bring aboard a publishing-licensing manager, one post shows.
Meanwhile, with its largescale advertising revamp in full swing, Spotify is also making multiple related hires, different posts indicate. Most noteworthy here (especially given ad-supported listening’s modest revenue and rumblings of a stateside ban on TV pharmaceutical adverts) is a professional tasked with selling advert space to pharma companies in particular.
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Groove Cruise Miami 2026 Sets Sail for Nassau Featuring A Brand New Beach Club Opening

Get ready for Groove Cruise Miami 2026 set for the fantastic destination of Nassau! Join the virgins, veterans, and all you call family from January 22-26, 2026. What’s more, the world’s largest floating music festival sets sail on Royal Caribbean’s incredible Wonder of the Seas. Currently the biggest cruise ship when it comes to staterooms. GC always finds a way to top their previous year, and 2026 is shaping up to be absolutely historic. Get ready for a whole new level of amazing with top-notch luxury, thrilling adventures, and world-class entertainment.
Eat. Spa. Rave. Repeat. The motto of Groove Cruise and why it’s a memorable experience for newcomers and GCFAM alike. Across 5 days and 4 nights, experience non-stop partying unlike any other. From themed stage takeovers, exhilarating workouts, power naps, and the serenity of Whet Oasis, attendees come hungry for music and leave as family. Stepping aboard Groove Cruise feels like joining a massive family gathering. It brings together individuals from all corners of the globe, forging a special bond that has affectionately become known as the #GCFAM. United by common passions, a deep love for music, and a welcoming atmosphere, this tight-knit community cultivates a strong sense of belonging, where “captains” forge lasting friendships and meaningful connections.
Wonder of the Seas
Launched in 2022, the Wonder of the Seas is designed with eight distinct neighborhoods, each with its own unique atmosphere, and boasts over 40 places to grab a drink or a bite. A standout is the brand-new Suite Neighborhood – a first for Royal Caribbean – offering an exclusive and upscale retreat for those looking for extra luxury and privacy. Here you’ll find the Ultimate GCFAM Suite, a truly opulent space that redefines cruising in style. Perfect for groups of up to 10 Groove Cruise fans, this suite features a private plunge pool, a fully stocked bar, a fun slide, and a huge living area, all designed for ultimate comfort and privacy, with personalized butler service to take care of everything.
Craving some Southern comfort food? Head to The Mason Jar restaurant and bar for classic dishes and exciting new flavors. Need brunch, dinner, or late-night snacks? The plethora of restaurants has you covered. And for thrills? Race down The Ultimate Abyss, the tallest slide at sea. Or try out the FlowRider surf simulator, twin rock climbing walls, and The Perfect Storm’s trio of high-speed waterslides. In addition, thrillseekers can soar across a 10-story-high zip line. If you need to relax, the beautiful Central Park neighborhood filled with over 20,000 real plants awaits you.
Royal Beach Club Paradise Island
The sailing comes just in time for the grand opening of the Royal Beach Club Paradise Island this December. Each year, GC makes its way to a tropical destination where attendees can stretch their legs but continue the party rocking. A unique element of the festival is an island takeover. For 2026, it is the first Royal Beach Club on the western end of Paradise Island near Nassau. This 17-acre destination is a club that blends beautiful beaches with Royal Caribbean’s signature experiences. Private cabanas, pools, Bahamian architecture, food, activities, live music, and local artisans. All while emphasizing environmental responsibility and community involvement.
Lineup
Funkos are out and the lineup is in! A lineup of GC All-Stars with familiar faces and fan-favorites and John Summit as their main headliner! Get down with tech house leader Cloonee, or dnb step to drum and bass queen Blossom. Party with UK heavy house producer Chris Lorenzo, or the king of Hood Politics DJ Susan. The iconic Green Velvet returns alongside melodic bass expert Jason Ross and GC trance legend Markus Schulz. Look forward to UK celebrity DJ Joel Corry, dynamic house artist Max Styler, UK vocalist Sarah De Warren, the funky bassline duo The Sponges, and so much more.
Now, fans can even look forward to sensational acts like Amy Wiles, Airicca, Azzecca, Blossom, Girl Math, Jackie Hollander, Leanna Punks, Lilly Palmer, Linska, Luci, ME N Ü, DREYA V, Sam Blacky, Sarah De Waren, Alleykay, Bella Renee, Ms. Behave, Max Low, Tara Brooks, Tyler Graves, and more. We are here for the prioritization of female acts, which only furthers Groove Cruise’s passionate spirit and influence in the music festival realm.
Groove Cruise 2026 is already 97% sold out, with prices going up May 2nd at 11:50pm EST. Check out the remaining staterooms and pricing details here.
The post Groove Cruise Miami 2026 Sets Sail for Nassau Featuring A Brand New Beach Club Opening appeared first on EDMTunes.
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Above & Beyond Springboards Coachella into North American Tour

Photo Credit: Amelia Troubridge
Electronic trio Above & Beyond are returning to North America for a 13-date amphitheater tour in support of their latest studio album, Bigger Than All Of Us.
Presented by Live Nation and spanning three months, the tour marks the group’s first full album tour in North America since 2018. It kicks off on August 15 in Vancouver and concludes on October 4 at the Shoreline Amphitheatre in Mountain View. Other stops include major cities such as New York City, Chicago, Toronto, Boston, and Atlanta.
Bigger Than All Of Us explores themes of reconnection—a message that will come to life on this tour both musically and visually. Debuted to tens of thousands of fans across two weekends at Coachella, the new stage production elevates the band’s live show experience like never before. The production features a spaceship-inspired DJ booth designed to immerse the audience in a fluid, circular environment.
Born from a vision by the band and further developed by longtime collaborators Dylan Byrne and Neil Marsh, the concept aims to break away from the rigidity of traditional stage design. A dynamic LED ring interacts with the screen behind it, creating a sense of movement, warmth, and connection.
“Our music has always been about togetherness, connection, and the shared emotional experience,” the band says. “This tour—and this stage—is a celebration of that feeling, brought to life in a new way.”
Pre-sales for the new tour open on Wednesday, April 30 at 10 am local time, with general on-sale beginning on Friday, May 2 at 10 am. New music from the album is already rolling out. The single “Quicksand (Don’t Go)” with Zoë Johnston is now available on Anjunabeats.
Above & Beyond North American Tour Dates — Bigger Than All Of Us
August
15 | Deer Lake Park — Vancouver, BC 16 | Cascades Amphitheater — Ridgefield, WA 22 | Huntington Bank Pavilion at Northerly Island — Chicago, IL 29 | Budweiser Stage — Toronto, ON September
05 | Forest Hills Stadium — New York, NY 06 | Lader Bank Pavilion — Boston, MA 12 | Orlando Amphitheater — Orlando, FL 13 | Lakewood Amphitheatre — Atlanta, GA 19 | Germania Insurance Amphitheater — Austin, TX 20 | Dos Equis Pavilion — Dallas, TX 27 | Fiddler’s Green Amphitheatre — Denver, CO October
02 | The Rady Shell at Jacobs Park — San Diego, CA 04 | Shoreline Amphitheatre — Mountain View, CA View the full article
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FYRE Festival 2: The Sequel No One Asked For Is Now on the Market

In a plot twist nobody saw coming- Billy McFarland has announced that FYRE Festival is FOR SALE. Yes, that FYRE. The one with the cheese sandwiches, disaster tents, and more lawsuits than wristbands. Turns out the man behind the disaster 2017 meltdown wants someone else to take the reins of his “attention engine.”
After two years of promising “honesty, transparency, and creativity,” McFarland says FYRE has outgrown him. Which is bold from a guy whose last big idea involved repurposed hurricane tents and an influencer apology tour.
Apparently, FYRE is going Hollywood. As stated in their ‘special announcement’ on Instagram, “Entertainment executives have already licensed the brand to develop properties specifically in for theatre , music streaming and free ad-supported TV,” whatever that means. Meanwhile, McFarland is eyeing a new Caribbean location for FYRE 2, but with an unexpected plot twist… he won’t be leading it. That’s right: Billy is stepping back and letting someone else take the wheel of this trust-fund Titanic. Growth? Accountability? Or just pre-emptive damage control? Who is he.
If FYRE can’t deliver music, at least it delivers content. Just remember to pack a tent, a granola bar, and all your expectations— so they can be crushed again in style.
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Carlos Santana Postpones San Antonio Concert After Being Hospitalized

Photo Credit: Carlos Santana by Eddie Janssens / CC by 4.0
Carlos Santana postponed his San Antonio concert after a dehydration scare saw him hospitalized out of an abundance of caution.
Carlos Santana was scheduled to perform at the Majestic Theatre in San Antonio last night (April 22). But the event was cancelled after Santana suffered from dehydration and was taken to a local hospital for observation.
“It is with profound disappointment that I have to inform you all that tonight’s show in San Antonio has been postponed,” wrote Santana’s manager, Michael Vrionis.
“Mr. Santana was at the [Majestic Theatre] preparing for tonight’s show when he experienced an event that was determined to be dehydration,” Vrionis continued. “Out of an abundance of caution and the health of Mr. Santana, the decision to postpone the show was the most prudent course of action.”
“He is doing well and is looking forward to coming back to San Antonio soon, and continuing his US tour,” Vrionis added, assuring fans that the show “will be rescheduled soon.” He instructed concert attendees to hold on to their tickets, as a new date would be rescheduled in San Antonio “as soon as possible.”
The 77-year-old Santana is still scheduled to perform at the Smart Financial Centre in Sugar Land tonight, but it’s unknown if this show will end up postponed as well. Since he was reportedly doing well, it’s expected that he will still hit the stage in Sugar Land tonight.
Santana has been traveling across the United States for his Oneness Tour 2025, named for a 1979 solo live album consisting primarily of instrumental guitar ballads. In June, Carlos and his band head to Europe for the summer, before returning stateside to play a series of shows as part of a Las Vegas residency.
Carlos Santana was the lead guitarist and founder of the group that bears his name, Santana, before he broke out as a solo artist. He and his former bandmates have reunited for performances and press appearances throughout the years, but his current tour bills him as a solo act.
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Jay-Z Rape Accuser Moves to Dismiss Countersuit

Photo Credit: Jay-Z by Alex Johnson / CC by 2.0
The woman who accused Jay-Z of sexually assaulting her in 2000 is asking a judge to dismiss the rapper’s countersuit against her.
Identified only as Jane Doe, the woman alleged in court documents back in December that Shawn “Jay-Z” Carter and Sean “Diddy” Combs raped her at an MTV Video Music Awards afterparty when she was 13 years old.
Although her attorneys voluntarily dismissed the case in February, Jay-Z filed a countersuit against Jane Doe and her lawyers, Tony Buzbee and David Fortney, in March. Now, Doe has filed a motion to dismiss Jay-Z’s lawsuit.
In his lawsuit against her and her attorneys, Jay-Z alleged malicious prosecution, abuse of process, and civil conspiracy. Notably, he also sued Doe separately, alleging defamation. But in her motion filed on Tuesday, Doe and her legal team say Jay-Z “fails to state a claim upon which relief can be granted.”
“Carter has not alleged facts that would support an abuse of process claim,” the filing states, arguing that Jay-Z’s malicious prosecution claim falls short, as he alleges that the lawsuit was initiated and prosecuted for malicious reasons, “not that any process was wrongfully used after issuance.”
Moreover, the filing says the civil conspiracy claim should also be dismissed, given that Doe’s lawyers “have shown that, as attorneys, they are not liable for civil conspiracy under these allegations.” A conspiracy, they state, requires more than one party; “Doe cannot be liable for civil conspiracy.”
Doe further claims that, based on Jay-Z’s own allegations, he was not damaged by any potentially defamatory statements. He claimed that an NBC News piece “disproved” her claims against him, and that “no person of ordinary care and prudence” would have believed the allegations against him in the first place.
Jay-Z’s countersuit seeks assumed, actual, and punitive damages.
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The MLC Puts Feelers Out for New Board Members, Advisory Committee

Photo Credit: Bennie Bates
The MLC has announced it is accepting suggestions of Publisher candidates to join its Board of Directors, Dispute Resolution Committee, Operations Advisory Committee, and Unclaimed Royalties Oversight Committee.
Under the Music Modernization Act (MMA), certain governance positions within the MLC are reserved for representatives of Publishers. The terms of several Publisher seats on the Board and the organization’s advisory committees are slated to end later this year.
Elections to determine who will fill the open Board seats will be held this summer. Board and committee members sit for three-year terms and may be re-elected. Seats are filled according to the MLC’s Bylaws. Currently, there are two openings on the Board of Directors for two Publisher representatives. Under said Bylaws, a ‘Publisher’ means a music publisher to which songwriters have assigned exclusive rights of reproduction and distribution of musical works with respect to covered activities.
‘Covered Activities’ means the making of digital phonorecord deliveries of music works, including in the form of permanent downloads, limited downloads, or interactive streams. The openings for the MLC’s advisory committees are as follows:
One Publisher seat on the Dispute Resolution Committee | Recommends policies and procedures to the MLC’s board for the processing of royalties related to works that are subject to disputes of ownership. Two Publisher seats on the Operations Advisory Committee | Makes recommendations to the Board concerning the operations of the MLC, including the efficient investment in and deployment of information technology and data resources. Two Publisher seats on the Unclaimed Royalties Oversight Committee | Recommends policies and procedures to the MLC’s board related to the distribution of unclaimed accrued royalties. The MLC’s Board of Directors and advisory committees meet regularly, and all meetings allow for virtual participation such that travel is not generally required. Members are expected to devote sufficient time to prepare for and participate fully in all meetings. More information on the MLC’s Board of Directors and its advisory committees can be found here.
Suggestions for these seats should be made no later than May 22. To suggest a candidate for a Publisher representative seat, complete the suggestion form available here.
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IMS Business Report Highlights EDM's Rising Dominance in Global Festival Lineups

EDM artists now comprise 18% of lineups across the top 100 festivals worldwide, according to the 2025 IMS Business Report, the annual study of the electronic music industry by MIDiA Research.
That figure marks a steady upward trajectory with a two-point increase since 2023 and a five-point bump since 2021. Nearly 10% of the top 100 festivals are now exclusively dedicated to electronic music, per the report, a testament to its robust market demand and loyal fanbase.
EDM.com last week reported that dance and electronic artists took the lion's share of this year's Coachella lineup, underscoring the genre's ascendent cultural footprint and commercial viability. It commanded 39% of the legendary festival's 2025 billing, nearly doubling the festival's next most-represented genre grouping: 21% for indie, rock and alternative acts.
EDM is also erupting off the stage. In 2024, TikTok videos tagged with #ElectronicMusic globally garnered over 13 billion views, a 45% increase from the year prior, far eclipsing content with indie and alternative music tags.
Elsewhere in the 2025 IMS Business Report, the electronic music industry grew 6% year-over-year in 2024, reaching a global valuation of $12.9 billion. Mark Mulligan, MIDiA Research's Managing Director, credits a rise in genres like Afro house and drum & bass as well as major advancements in fan engagement, among other catalysts.
"Global music industry revenue grew again in 2024, though at a slower rate than in 2023 due to maturing streaming revenues and the post-Covid live resurgence lessening," Mulligan said, "Electronic music however, continued to increase its share of both revenues and culture... electronic music finds itself at the start of a brave new era of culture resonance."
You can download the full 2025 IMS Business Report here.
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Diplo Inks Global Admin Deal With Warner Chappell: ‘One of the Most Accomplished Artists and Music Pioneers’

Diplo (real name Thomas Pentz), who’s inked a worldwide admin deal with Warner Chappell Music. Photo Credit: Maria Jose Govea
Warner Chappell Music (WCM) has officially signed “visionary creative” Diplo to a global admin deal.  
Warner Music’s publishing unit and 46-year-old Diplo formally announced that high-profile pact this morning. In the appropriate release, Warner Chappell took the opportunity to emphasize the Major Lazer member’s commercially prominent catalog, with a particular focus on collaborations involving Morgan Wallen, Justin Bieber, and others.
(Most recently, Diplo wrote and produced Blackpink member Jennie’s “Like Jennie.” Fellow Blackpink member Rosé signed a worldwide deal with Warner Chappell in November 2024.)
Meanwhile, the Mad Decent and Higher Ground owner Diplo in a statement touted WCM’s “immensely skilled, forward thinking staff.”
“The Warner Chappell team is uniquely set up to address my many endeavors and projects whether it be producing for other artists, releasing my own music, or collaborating on records,” the three-time Grammy winner said.
“They have an immensely skilled, forward thinking staff that I feel can help complement how I approach making and placing music,” the LSD member concluded. “In addition, I am excited to bring it full circle with [WCM COO] Carianne Marshall who played such an integral role in my early success.”
And in remarks of his own, Warner Chappell SVP of A&R for North America David Goldsen praised the HonkyTonk curator “as one of the most accomplished artists.”
“Diplo has already cemented himself as one of the most accomplished artists and music pioneers on the planet,” the close to two-decade Warner Chappell exec communicated.
“His bold approach to art, culture, and songs is what we want to align with at Warner Chappell. There’s lots to continue to look forward to, and we’re thrilled to work together with him alongside his management team, Andrew McInnes and Renee Brodeur,” Goldsen finished.
Now with a Spotify direct deal in place, Warner Chappell has scored several other signings in and around the EDM space on the year. That includes agreements with Mau P (inked specifically via Warner Chappell Benelux) and Empire of the Sun’s Luke Steele, to name a couple.
And fresh off a Sphere residency, EDM vet Anyma closed out March by signing a publishing pact of his own, this time with Kobalt.
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60 Million People Used AI to "Create" Music in 2024: IMS Business Report

The line between "I made this" and "an algorithm made this while I watched TikTok" continues to blur as the latest IMS Business Report reveals a startling 10% of consumers used generative AI to create music in 2024.
AI-powered music apps attracted a combined total of 60 million users last year, according to the annual study of the electronic music industry by Mark Mulligan and MIDiA Research.
The data highlights an increase in the use of audio modification tools, with tempo adjustment emerging as the most requested feature. Others include creating songs sung in their voice and even swapping vocals from one artist to replace them with another.
This trend of democratization, which many argue bastardizes the art of music composition, builds upon a growing desire among music fans to participate in music creation rather than simply listen passively.
In spite of AI's doom and gloom, the electronic music industry grew 6% year-over-year in 2024, reaching a global valuation of $12.9 billion.
"Global music industry revenue grew again in 2024, though at a slower rate than in 2023 due to maturing streaming revenues and the post-Covid live resurgence lessening. Electronic music however, continued to increase its share of both revenues and culture," Mulligan said. "Driven by the rise of new genres like Afro house, a renaissance for genres like drum & bass and the rise of a new generation of fans, creators and scenes remaking electronic music in their own image, electronic music finds itself at the start of a brave new era of culture resonance."
You can download the full 2025 IMS Business Report here.
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Above & Beyond Announce Amphitheater Series, First North American Album Tour in Seven Years

After lighting up Coachella from a stunning spaceship stage, iconic trance trio Above & Beyond are preparing for liftoff again, this time for an expansive North American tour.
The beloved group will launch a 13-date summer tour in support of their long-awaited fifth studio album, Bigger Than All Of Us, due out July 18th on Anjunabeats. It will be Above & Beyond's first North American album tour in seven years, according to a press release shared with EDM.com.
They're bringing along their new custom stage, the production of which features a spaceship-inspired DJ booth. Designed to "immerse the audience in a fluid, circular environment," the structure features a dynamic LED ring that interacts with the screen behind it.
Brandon Densley/DNZ Media
If their Coachella performances were any indication, this won't be your average Above & Beyond show. The tour's spectacular production is aimed at turning their signature message of unity into an immersive visual experience.
"Our music has always been about togetherness, connection and the shared emotional experience," the trio said in a statement. "This tour—and this stage—is a celebration of that feeling, brought to life in a new way."
The tour is scheduled to kick off August 15th in Burnaby, British Columbia before sweeping through a slew of high-profile outdoor venues, including New York's Forest Hills Stadium, Toronto's Budweiser Stage and San Francisco's Shoreline Amphitheatre.
Pre-sale access for the tour opens Wednesday, April 30th at 10am local time, with general ticket sales beginning Friday, May 2nd at the same time. Fans can now pre-order vinyl of Bigger Than All Of Us here.
Follow Above & Beyond:
Instagram: instagram.com/aboveandbeyond
X: x.com/aboveandbeyond
TikTok: tiktok.com/@aboveandbeyondofficial
Facebook: facebook.com/aboveandbeyond
Spotify: spoti.fi/3fHhX1z
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Above & Beyond Announce North American Summer Amphitheater Tour For New Album, Bigger Than All Of Us

GRAMMY-nominated electronic trio Above & Beyond return to North America this summer for a 13-date amphitheater tour in support of their forthcoming studio album, Bigger Than All Of Us. Presented by Live Nation and spanning three months, the tour marks the group’s first full album tour in North America since 2018’s ‘Common Ground.’ It kicks off on August 15 in Vancouver and concludes on October 4 at the iconic Shoreline Amphitheatre in San Francisco. Other stops include major cities such as New York City, Chicago, Toronto, Boston and Atlanta, among others.

Bigger Than All Of Us explores the theme of reconnection—a message that will come to life on this tour, both musically and visually, through a bold new stage concept. Debuted to tens of thousands of fans across two weekends at Coachella, the brand-new stage production elevates the band’s live show experience like never before.

This striking production features a ‘spaceship’-inspired DJ booth, designed to immerse the audience in a fluid, circular environment. Born from a vision by the band and further developed by longtime collaborators Dylan Byrne and Neil Marsh, the concept aims to break away from the rigidity of traditional stage design. A dynamic LED ring interacts with the screen behind it, creating a sense of movement, warmth, and connection that mirrors the organic, nature-inspired qualities of Above & Beyond’s music.

The pre-sale opens on Wednesday, April 30, at 10 am local time, with the general sale beginning on Friday, May 2, at 10 am local time. Fans can sign up now for early access HERE.


Bigger Than All Of Us is available for pre-order on vinyl and CD, as well as on limited-edition colored vinyl and picture disc through the Anjuna Music Store. Pre-order the vinyl, CD, and limited merch bundles HERE.
New music from the album is already rolling out. The single ‘Quicksand (Don’t Go)‘ with Zoë Johnston is now available on Anjunabeats, with the follow-up track ‘Carry Me Home‘, also sung by her arriving this Friday, April 25. [Pre-save HERE].

Bigger Than All Of Us will be releasing on July 18 on Anjunabeats.
The post Above & Beyond Announce North American Summer Amphitheater Tour For New Album, Bigger Than All Of Us appeared first on EDMTunes.
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Day Trip Festival Returns to Long Beach Waterfront with Full 2025 Lineup Featuring Gorgon City, Tiësto, Duke Dumont, & More

Long Beach, California, is gearing up for the return of the highly anticipated Day Trip Festival, set to take place on June 21 and June 22 at the iconic Queen Mary Waterfront. With a stellar lineup featuring over 30 artists including Gorgon City, Tiësto, Duke Dumont, Eli Brown, Chris Lorenzo, Vintage Culture, and more, this year’s festival promises to be an unforgettable experience for music lovers and festival-goers alike.
As the festival marks its fifth edition, it continues to solidify its reputation as one of the premier house and techno events in the country, drawing in fans from far and wide to bask in the sunshine, sea breeze, and top-notch beats. Tickets for the two-day extravaganza are now on sale, with both General Admission and 21+ VIP options available for purchase on the official website.
Join us as we delve into the lineup, the venue, and the overall atmosphere that attendees can expect at this year’s Day Trip Festival. Get ready to dance, groove, and make memories that will last a lifetime at this must-attend event on the Long Beach waterfront.
2025 Lineup
Level Up Your Festival Experience
To ensure that the fun in the sun begins early, a special indoor-outdoor pre-party with a secret, hard-hitting lineup on Friday, June 20 will take place on the bow of the Queen Mary from 8:00 PM until 12:00 AM, exclusive and complimentary to hotel guests staying on the historic ocean liner. Rooms aboard the Queen Mary are still available for booking HERE. 
Keeping the party going all night long, after-parties will take place on Saturday, June 21 and Sunday, June 22 from 12:00 to 4:00 AM, with all-star lineups across three stages being announced soon. Tickets for after-parties on both days are available to purchase HERE. 
Two-day GA, 21+ VIP, and after-party tickets are now all available to purchase at DayTripFest.com. 
Stay tuned for more exciting updates and information regarding Day Trip Festival at DayTripFest.com. Follow Day Trip on Instagram, TikTok, Facebook, X, and YouTube. 
The Queen Mary 
The Queen Mary Waterfront provides the perfect backdrop for Day Trip Festival, with its stunning views of the ocean, palm trees swaying in the breeze, and ample space for stages, art installations, and food vendors. Attendees can expect to soak up the sun and enjoy the cool ocean breeze as they dance the day away to their favorite tunes.
With multiple stages set up throughout the festival grounds, there is always something happening at Day Trip Festival. Whether you’re catching a set from a headliner on the main stage or stumbling upon a hidden gem at a smaller stage, the festival offers a diverse range of experiences for attendees to enjoy.
In addition to the music, Day Trip Festival also features art installations, interactive experiences, and a variety of food and drink options to keep festival-goers fueled and entertained throughout the weekend. From colorful murals to immersive light displays, the festival grounds are transformed into a vibrant and captivating space that adds to the overall atmosphere of the event.
About Insomniac
Insomniac produces some of the most innovative, immersive music festivals and events in the world. Enhanced by state-of-the-art lighting, pyrotechnics and sound design, large-scale art installations, theatrical performers and next-generation special effects, these events captivate the senses and inspire a unique level of fan interaction. The quality of the experience is the company’s top priority.
Founded 30 years ago, Insomniac produces 10,000 concerts, club nights and festivals for seven million attendees annually across the globe. The company’s premier annual event, Electric Daisy Carnival Las Vegas, is the world’s largest dance music festival and attracts more than 525,000 fans over three days. 
The company was founded by Pasquale Rotella and has been based in Los Angeles since it was formed in 1993. In 2013, Insomniac entered into a partnership with global entertainment company Live Nation.
Keep up with Insomniac announcements and news on Insomniac.com, Facebook and Twitter.    
The post Day Trip Festival Returns to Long Beach Waterfront with Full 2025 Lineup Featuring Gorgon City, Tiësto, Duke Dumont, & More appeared first on EDMTunes.
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III Points 2025 Phase One Lineup Revealed: Darkside, Peggy Gou, and Sean Paul

Miami’s favorite forward-thinking festival, III Points, just dropped its Phase One lineup for the 2025 edition, setting the stage for another genre-defying celebration of sound, art, and culture. Returning to Mana Wynwood on October 17–18, the festival once again proves why it’s a cornerstone of Miami’s music scene and a standout on the global festival calendar.
Headlining this first wave are Darkside, the revered psych-dance project led by Nicolas Jaar and Dave Harrington, French disco dream team L’Impératrice, and global techno icon Peggy Gou. But the roster doesn’t stop there—Sean Paul, Denzel Curry, Nina Kraviz, and Turnstile add even more depth to the lineup’s wide sonic reach.
In true III Points style, the lineup blends underground favorites and mainstream disruptors across electronic, hip-hop, rock, and experimental genres. Standouts include fast-rising Miami local 2hollis, tech-house heavyweights ANOTR, groove maestro Barry Can’t Swim, and live performance wizard Mk.gee. Also announced: Michael Bibi, Indira Paganotto, and Argentina’s electrifying duo Ca7riel & Paco Amoroso.
Now in its 11th year, III Points continues to break the mold. Co-founder David Sinopoli emphasized the importance of staying rooted in Miami’s evolving music culture:
Tickets go on sale Thursday, April 24 at 1:11 PM ET via The Official III Points Website, with a special SMS presale at 11:11 AM ET. This year, III Points introduces a brand new ticketing concept: AFTER MIDNIGHT (AM) tickets — allowing entry from 12AM to 4AM for just $139.
General admission starts at $199, with VIP priced at $309 and packed with expanded amenities like on-stage access, elevated viewing decks, and access to the Players Club, complete with A/C lounges, billiards, and exclusive programming.
The full Phase One Lineup (A-Z):
2hollis, ANOTR, Barry Can’t Swim, Ca7riel & Paco Amoroso, Darkside, Denzel Curry, Indira Paganotto, L’Impératrice, Michael Bibi, Mk.gee, Nina Kraviz, Peggy Gou, Sean Paul, Turnstile

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From "BREAD" to "butter," SOFI TUKKER Reveal New Album

If BREAD was SOFI TUKKER's riskiest album yet, their next one, butter, is the slow melt that follows.
The duo today announced a new album, a breezy, jazz-inflected counterpart to 2024's steamy BREAD. Due out May 16th, butter reimagines SOFI TUKKER's signature sound through the lens of Brazilian bossa nova and samba, and incorporates worldly influences like bolero, bachata and reggae, according to a press release.
Where BREAD was vibrant, brash and burning hot, butter smooths things over with stringed flourishes and a softer glow. The pair revamped fan-favorites like “Throw Some Ass” and “Woof” into live sultry versions, and the first single, a rework of "Bread” featuring Seu Jorge, drops May 2nd.
In a year jam packed with festivals, a Wynn Las Vegas residency and a special butter set at Newport Jazz Fest this August, SOFI TUKKER’s 2025 is already shaping up to be massive. Fans can now pre-save the upcoming album on streaming platforms and pre-order vinyl here.
The duo also released the first episode of a behind-the-scenes docuseries shot in Brazil, which you can watch below.
Follow SOFI TUKKER:
Instagram: instagram.com/sofitukker
TikTok: tiktok.com/@sofitukker
X: x.com/sofitukker
Facebook: facebook.com/sofitukker
Spotify: spoti.fi/37qJdQd
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Experience Sonus Croatia 2025 On The Stunning Island Of Pag This August

As the sun dips below the horizon and bleeds gold across the Adriatic coast, the beach comes alive. Zrće’s open-air clubs glow with LED dreams. Sound systems rumble through the sand, and people—barefoot, sun-kissed, and free—move in sync with the beat. This is about Sonus Croatia, one of Europe’s looked-forward to summer festival circuit, celebrating its 12th anniversary on Pag Island from August 17–21, 2025.
Recap, Sonus is a collaboration between three electronic music powerhouses: Time Warp (Germany), Croatian tastemakers We Love Sound, and now, for the first time, Insomniac Events— the minds behind EDC. This trio brings both pedigree and vision, turning Sonus 2025 into its boldest edition yet.
2025 Lineup Deep Dive
Sonus Croatia 2025 line-up is like an electronic music ecosystem that comes alive for 5 days. With over 50 acts across the realms of electronic music, it’s a showcase of global sounds and underground excellence.
The headline? A b2b between Joseph Capriati and Seth Troxler, blending Capriati’s melodic techno with Troxler’s eclectic mischief. It’s a one-time-only energy bomb fans won’t want to miss.
Other heavyweight additions include Andrea Oliva, Chris Liebing, and Josh Baker, alongside rising favorites like Sweely and Tijana T. Berlin’s next-gen selectors DJ Gigola and Elli Acula represent the scene’s future, while a full FCKNG SERIOUS showcase sees Boris Brejcha, Deniz Bul, Moritz Hofbauer (live), and Julian Wassermann (live) deliver emotive techno with flair.
This phase two reveal builds on a phase one lineup already packed with legends: Adam Beyer, ARTBAT, Ben Klock, Ricardo Villalobos, Reinier Zonneveld (live). Also, Richie Hawtin, Miss Monique, Patrick Mason, Indira Paganotto, and Sven Väth—just to name a few.
Check out full line-up here:
The Sonus Setup – Stages, Boats, After-hours
The festival unfolds across four beachfront venues: Aquarius, Papaya, Kalypso, and the new Noa Beach Stage. These stages are open-air experiences, each with its own character. Special showcases from FUSE (London), Nordstern (Basel), Space Miami, and LA’s gritty Factory 93 ensures that each stage has its own identity and vibe.
Want more? Hit the boat parties—floating raves set against panoramic seascapes with curated DJ lineups and just the right amount of chaos. When the main stages pause, afterparties and pop-up sets keep the momentum going well past dawn.
The music runs around the clock, with transitions from sun-drenched house to moonlit techno. Then into the raw intensity of early-morning closers. Sonus isn’t just a five-day event—it’s an immersive world.
Island Life Beyond the Beat
Pag Island is the perfect host. Its rocky, Mars-like terrain contrasts with the turquoise waters that lap against the beach. When you’re not dancing, you can dive into kayaking, windsurfing, kite surfing, or quad biking through rugged trails.
Looking for thrills? Try bungee jumping, cliff diving, or rock climbing just minutes from the festival grounds. After a long night, a slow meal in the historic town of Novalja, with its rich cuisine and local wine, offers the ideal reset.
Accommodation fits every budget—from glamping tents and hostels to 5-star resorts and private villas. Packages can be added after ticket selection, with deposits starting at just €19 per person and payment plans running through June 2025.
How To Get There & Ticket Info
Sonus is remote—but accessible. Fly into Zadar (1.5 hrs), Split (2.5 hrs), or Zagreb (3.5 hrs), and hop on an official Sonus shuttle to Novalja. Once on-site, everything’s walkable—but in August heat, timing your club-hops wisely is key.
The festival uses a cashless wristband system, easily topped up through the Sonus app. Pro tip: buy boat party and afterparty tickets early—they tend to sell out before the main gates even open.
Tickets & accommodation options are available on Sonus Croatia Official website. For more information, you can also check out their Instagram page.
The post Experience Sonus Croatia 2025 On The Stunning Island Of Pag This August appeared first on EDMNOMAD.
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[WATCH] Above & Beyond’s Full Coachella 2025 Set Now Available

Fans of Above & Beyond can now relive one of the most anticipated performances from Coachella 2025, as the group has officially released their full set from the Outdoor Theatre on April 12th via YouTube.
The nearly hour-long performance blends brand-new IDs with timeless anthems like “Sun & Moon,” “We’re All We Need” and “Thing Called Love,” alongside collaborations with Zoë Johnston, Richard Bedford, and Justine Suissa. The set also features fresh reworks and standout remixes, including Oliver Smith’s take on “Gratitude” and ilan Bluestone’s remix of “We’re All We Need.”
Notably, the show includes several unreleased tracks, building anticipation for what’s next from the Anjunabeats mainstays. For fans who couldn’t be there in person—or those eager to experience the moment again—the full video is now available to stream:
📺 Watch Above & Beyond Live at Coachella 2025

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Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill

A new study has revealed that a large number of emerging producers and DJs feel that the electronic music industry is a “closed club”.
The study, which was carried out by the Pete Tong DJ Academy and shared during a talk from CEO Alex Tripi at the International Music Summit (IMS), collected responses from 15,000 DJs and producers who use the academy.
READ MORE: Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030 The results land as concerns continue to grow among budding artists surrounding accessibility to the industry, with many feeling that social media success, financial privilege, and industry connections make climbing to the top much easier.
As per Mixmag, the findings uncovered that 61 per cent of up and coming DJs and producers believe that “social media numbers matter more than musical skill” when it comes to progression, and 52 per cent also said they had experienced anxiety or burnout. 31 per cent revealed they had thought about quitting music entirely over the last year.
However, 35 per cent of respondents had a more positive outlook on their chances of breaking into the industry, believing that “if you persist and have resilience, it will happen”.

In other news on music education and accessibility, London’s pointblank Music School has opened a new 19,000 square-foot Shoreditch campus, hosting 13 studios catering to DJing, production, and engineering.
The school’s CEO and founder, Rob Cowan, says of the new space, “Our new Shoreditch campus is more than just a school, it’s a creative hub designed to inspire the next generation of music professionals. With cutting-edge technology, immersive learning spaces, and a strong focus on hands-on experience, our students are in the best possible environment to launch their careers in music.”
Find out more about the Pete Tong DJ Academy, or check out the full schedule for the 2025 International Music Summit.
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Bitwig Connect 4/12: Excellent for Bitwig users, still pretty good for everyone else

€499 / $549, bitwig.com
Bitwig Studio entered the DAW scene in 2014 and, since then, has gained countless new fans, thanks to combining some killer features of other DAWs with innovative features that are all its own (and that are now being copied by those same competing DAWs).
READ MORE: Audient’s iD48 goes all-out for channel count and routing flexibility It’s a big success story that the company is aiming to replicate with the launch of its very first hardware product, Bitwig Connect 4/12.
What is Connect 4/12?
Connect 4/12 is a desktop audio interface. Though its name makes it clear we’re looking at four inputs and 12 outputs, the combinations of ins and outs is somewhat different to what you’d typically find on an interface in this price range. The unit also has pretensions as a monitor controller and, more intriguingly, a DAW controller.
The hardware exudes quality from the off. It is satisfyingly weighty and solid, its buttons are firmly mounted without wobble and have just the right amount of resistance. The large, 360-degree potentiometer dial is simply exquisite, with perfect weight and inertia, and achingly smooth motion. The various buttons beneath the dial determine what it’s controlling – input gains, direct monitor mix, monitor levels etc – whilst the buttons to its side give quick access to switching between main and alternate monitors, monitor dimming, and switching to mono mode.
There’s also a button that switches the central dial into the so-called Bitwig mode, transforming it into a real-time controller for any parameter or control within Bitwig Studio – just hover your mouse over the on-screen parameter and then twiddle the dial. Double-tapping locks the dial to the currently-hovered parameter so that you can carry on working in the DAW whilst retaining hands-on control over the parameter. It’s not quite the same as a full DAW controller, but it’s exceptionally useful and functional nonetheless.
Unfortunately, this hands-on parameter control is only available in Bitwig Studio, but Connect 4/12 does have dedicated transport and navigation controls that will work with any DAW that supports the MCU (Mackie Control Universal) protocol. The navigation controls – scrolling the timeline and selecting tracks – are enhanced somewhat when using Bitwig Studio, giving greater precision, the ability to zoom as well as scroll the timeline, and real-time visual feedback is shown on the ring of LEDs surrounding the rotary dial.
What connectivity does the interface offer?
Connect 4/12 is a class compliant device, and so works out of the box with macOS, Linux and Windows, although the latter requires Bitwig’s ASIO driver to enable low latency operation. It will also work with iPads with USB-C.
Host connection and power come via a single USB-C socket (a suitable cable and USB-C to USB-A adapter are included), but I was surprised by the lack of a secondary power connector for those occasions when the host computer/port cannot provide sufficient juice – not an uncommon situation when working on a laptop. A powered USB hub offers an inexpensive workaround, and one that should make it possible to hook up to any iPad or iPhone via a suitable Lightning to USB adapter (although this is not officially supported).
The first pair of audio inputs are rear-mounted and can accept line (balanced or unbalanced) and instrument level signals although, in the case of the latter, the second channel is 6 dB less sensitive than the first to cater for high output humbucker and active guitar/bass pickups.
Input 1 provides the interface’s only mic input, with mic mode being auto-selected when an XLR cable is connected to the XLR/jack combo socket. This is convenient and also ensures phantom power can only be enabled when a mic lead is connected, a safety feature that’s especially important given that the phantom power button and the line/instrument selection buttons are tucked away on the back of the unit where it’s all-too-easy to press the wrong one.
Having just a single mic input is limiting for many, but the preamp powering the input is very capable, delivering a clean, unadulterated sound that has excellent clarity and tonal balance.
The first eight output channels are served via rear-mounted 6.35 mm jack sockets, with outs 1-6 having individual balanced sockets, and outs 7 and 8 combined into a single unbalanced stereo socket intended as a headphone output. This can also be used as a stereo line out if you keep the headphone amp’s volume low enough. Outputs 1 and 2 serve as main monitor outs, and you have the choice of assigning either outputs 3/4 or 7/8 as an alternate monitor feed; the latter is particularly handy if you want to mute the main monitors when listening on headphones.
The remaining two inputs and four outputs are all DC-coupled, and so are intended for sending and receiving CV and gate signals to and from modular and semi-modular analogue synths and drum machines. The connectors are all 3.5 mm jacks, and so can be hooked directly to modern modular gear without the need for jack adapters, and are positioned across the top of the interface where they’re easy to get at when patching. Each also has a handy status LED so that you can see when they’re active. These ports can be used as additional unbalanced audio in/outs if you wish, but where’s the fun in that!
If you have older-but-not-modular gear to connect to, the interface includes trusty-ol’ MIDI in and out via a pair of 3.5 mm TRS jacks. A pair of suitable breakout cables are included.
How well does Connect 4/12’s DAW integration work?
Most interface settings can be accessed directly from the Connect 4/12 itself, but there’s also a companion Bitwig Control Panel app that gives an alternative method for accessing these settings and a few more besides. The app is simple and straightforward, but what I find particularly pleasing is that, like Bitwig Studio itself, it is available for Ubuntu Linux (and derivatives thereof).
With the frustrations and expense of Apple’s relentless version update treadmill and artificial obsolescence, and Microsoft’s Windows 11 rollout forcing many PC users to ditch perfectly serviceable computers just because they lack an AI chip that few users actually care about, I have nothing but praise for Bitwig’s commitment to bringing mainstream music-making tools to the open and free Linux platform. Bravo, Bitwig!
As you would expect, Bitwig Connect 4/12 integrates extremely well with Bitwig Studio. I have already mentioned the rotary control’s Bitwig mode, used for hands-on control of parameters. In addition, any track that takes its input from Connect 4/12 gains an additional panel in its I/O section from where the hardware’s direct monitoring sends can be controlled. Bitwig Studio’s hardware CV devices and Grid modules, which are used when working with external modular synths, can also interact with Connect 4/12 to automatically calibrate and tune the CV signals.
All of this adds up to effortless integration of modular hardware into Bitwig Studio. I enjoyed enormously the ability to easily send modulators and automation directly to my modular synths, not to mention being able to capture and reproduce filter sweeps and such performed on the synths themselves.
How well all of this works with other platforms depends upon the DAW in question and the plugins you are working with. Connect 4/12’s transport and navigation controls work with any DAW that supports the MCU protocol, and the CV/gate in and out works perfectly with software that already has such capabilities – Ableton Live and VCV Rack, for instance. However DAWs that do not have native CV/gate support, such as Cubase and Logic Pro, have to rely on support provided via plugins and plugin instruments.
Is Bitwig Connect 4/12 the interface for me?
Producers who don’t focus on contemporary styles, or who need to record with multiple mics, may feel Connect 4/12’s features aren’t a suitable match to their workflow, and the lack of any digital I/O also means there’s no scope for expanding the interface’s connectivity.
But, just as Bitwig Studio is geared towards producing contemporary styles, Connect 4/12 is geared towards the needs of producers working with those styles. The company’s understanding of what such producers want, and how they work, is second to none, and is on full display here. And whilst – sure – the interface is at its most powerful and versatile when used in conjunction with Bitwig Studio, its features and connectivity will be of interest to anybody who routinely integrates analogue modular gear into their productions.
All-in-all, then, Connect 4/12 is a strong, confident, good-looking and perfectly executed first foray into the hardware world by Bitwig.

Key features
USB2 class compliant audio interface 192 kHz maximum sample rate Total of 4 audio inputs and 12 audio outputs 2 3.5 mm DC-coupled inputs 4 3.5 mm DC-coupled outputs Status LEDs on all DC-coupled in/out ports MIDI in and out MCU-compatible DAW transport and navigation controller DAW parameter controller when coupled with Bitwig Studio The post Bitwig Connect 4/12: Excellent for Bitwig users, still pretty good for everyone else appeared first on MusicTech.
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REZZ Releases ‘Contorted’ From The Vault

Canadian bass producer REZZ is gifting fans with a long sought-after ID, ‘Contorted’ out now via HypnoVizion. Along with this long awaited release, Rezz is reflecting on her artistic evolution over the last decade. Initially a SoundCloud-only release, ‘Contorted’ surges with the midtempo pulse that carved Rezz’s early signature and has since cultivated a cult-like fanbase. Widely recognized for its spiraling melodies, eerie textures and bone-rattling low-end, ‘Contorted’ has been reimagined with upgraded sound design that sharpens its original edge without losing its raw essence. Listen here.
Over the years, ‘Contorted’ has become a cornerstone of her live shows. The track was a centerpiece in her new audio-visual show PORTAL, which debuted to a sold-out crowd in the Bay Area last month. The show’s mesmerizing visuals synced in real-time with the track’s hypnotic rhythms, heightening its immersive atmosphere and reinforcing its legacy as a can’t-miss moment in her sets. 

‘Contorted’ arrives ahead of Rezz’s annual return to The Brooklyn Mirage and festival appearances at EDC Las Vegas, Shamhala, Elements and more. PORTAL will make its second stop at Washington’s Tacoma Dome this September ahead of REZZ ROCKS VII at Colorado’s Red Rocks Amphitheatre in October.
The post REZZ Releases ‘Contorted’ From The Vault appeared first on EDMTunes.
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Roy Thomas Baker, producer of Bohemian Rhapsody, dies at 78

Producer legend Roy Thomas Baker – perhaps best known for his work on Queen’s magnum opus Bohemian Rhapsody – has died at the age of 78. While no cause of death has been announced, a statement from his publicist has confirmed that Baker passed away on 12 April.
Baker’s work was pivotal throughout the 1970s and ‘80s, with Bohemian Rhapsody having gone down in history, and Rolling Stone ranking it among the best songs of all time and the Guinness Book of World Records naming it the most streamed song from the 20th century.
READ MORE: JKriv: “A finished track is better than a perfect track, every single time” Fifty years on from Bohemian Rhapsody’s 1975 release, it continues to inspire modern artists and rouse huge crowd sing-alongs. Yet, back in 2005, Baker told the New York Times that he was shocked by the track’s legacy. “I thought it was going to be a hit,” he said. “But we didn’t know it was going to be quite that big. I didn’t realise it was still going to be talked about 30 years later.”

Baker also had an illustrious career elsewhere, working with the likes of Alice Cooper, David Bowie, The Cars, Guns N’ Roses, Ozzy Osbourne, the Smashing Pumpkins and more. He also went on to serve as an Elektra A&R executive, helping sign such names as Metallica, Simply Red and 10,000 Maniacs.
Born in Hampstead in 1946, Baker kickstarted his venture into the music industry at the age of 14. His first job was at Decca Records, where he worked as a second engineer. Baker assisted on tracks from The Rolling Stones to Dusty Springfield, building up a strong portfolio of hits. His work also spanned from T. Rex, to Free’s All Right Now in 1970, before eventually moving up to Trident Studios.

Working as the Soho studio’s in-house engineer, Baker would soon meet Queen – and history would be made. Following his work on the band’s 1973 debut, he went on to produce Queen’s first four records – including 1975’s A Night At The Opera, which featured the track that made him a legend.
Baker reflected on Bohemian Rhapsody in conversation with Sound On Sound in 1995. “We were going out to dinner one night and I met Freddie [Mercury] at his apartment in Kensington,” he said. “He sat down at his piano and said, ‘I’d like to play you a song that I’m working on at the moment.’”
“He played the first part… [then] he played a bit further through the song and then stopped suddenly, saying, ‘This is where the opera section comes in,’” he remembered. “We both just burst out laughing. I had worked with the D’Oyly Carte Opera Company at Decca where I learned a lot about vocals and the way vocals are stressed, so I was probably one of the few people in the whole world who knew exactly what he was talking about.”
“[Bohemian Rhapsody] was the first time that an opera section had been incorporated into a pop record, let alone a Number One. It was obviously very unusual and we originally planned to have just a couple of ‘Galileos’. But things often have a habit of evolving differently once you’re inside the studio. It did get longer and bigger.”

While Mercury clearly knew that Baker had a dynamic skillset, The Cars’ Ric Ocasek also praised him back in 2016. “He was an electronics whizz,” he told Magnet Magazine. “A sound guy with a classical background for mic-ing the room’s sound. He got harmony. And he took things in stride – a very upbeat, elegant man. Spontaneous, too.”
Queen’s Roger Taylor has also noted his respect of Baker: “I think he brought a certain amount of discipline, a lot of cynicism and a passion for fattening desserts. He liked his food, Roy. He was very disciplined and very strict in the beginning . . . he would always get it right. The take had to be right.” [via Variety]

The post Roy Thomas Baker, producer of Bohemian Rhapsody, dies at 78 appeared first on MusicTech.
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