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Jax Jones is responsible for some of the most iconic house hits of the past 10 years with amazing tracks like ‘I Got U’, ‘House Work’, and ‘Where Did You Go.’ But this year he’s broadening his horizons with the beginning of his new Y2J! project which sees him taking on a whole new style. The British DJs latest release ‘Bad Boys’ was the first introduction to this new style which he has now given more context to in a recent video on social media. He explained that “I’ve not been feeling inspired as an artist and a fan of music”, “For me what’s important is exploration.” Y2J! is the start of that exploration with a bunch of upcoming tracks being released under this project that are going to be harder and faster. He’s described the Y2J! musical direction as “Techno, but a bit more Polly Pocket” and a sort of 2025 version of Eurodance. The previews of his upcoming releases certainly live up to the hype with them definitely giving off that Vengaboys energy everyone loves. Along with this change in sound he’s stated that there’s also going to be collaborations with industry legends and people around the world. Though born and raised in England, Jax Jones is half Chinese, half Turkish and he’s said he wants to explore that identity with music. ‘Bad Boys’ is already a display of his promise of international collaborations with American singer Rebecca Black and Korean DJ sooyeon featuring on the track. For those that love Jax Jones’ usual style there’s no need to worry as he has said he will bring back that sound, but right now it’s Y2J! time. The enthusiasm he has for Y2J! is evident and having Jax Jones feeling inspired again is huge for the dance music scene.

Canada-born drum & bass visionary René LaVice has garnered global recognition for his profound influence on the genre, from his groundbreaking original productions and remix work to his expertly curated track selections. A prominent figure at BBC Radio 1 for nearly five years, LaVice’s impact has left an indelible mark on the international music landscape. As his label, DeVice, celebrates five years of chart-topping releases and the incredible milestone of over one million streams on Spotify, René’s momentum shows no signs of slowing down. In this conversation, René reflects on the journey that has brought him to this milestone, sharing the story behind The Calling and how it unexpectedly resonated with so many listeners. He also offers a glimpse into his latest projects, from major collaborations to the organic rise of Demons. With DeVice continuing to push boundaries, René reveals the exciting future of the label, from the launch of DeVice Radio to the highly anticipated five-year anniversary event. This interview provides a rare insight into his creative process, the evolution of DeVice, and what’s next in his ever-expanding musical journey. Hey, what’s up? Can you hear me? Hey, I can hear you now, so sorry. Typical music producer. It’s just, yeah, hilarious. Every time we’re on one of these things, it’s like trying to reroute everything and it’s hilarious. It’s a joke that never gets old. How are you doing? I can’t believe that your RAM release The Calling with Ivy Mairi is celebrating its 10-year anniversary this year! I had no idea you started writing music back in high school. So when I saw your post about the single and noticed the vocalist, I thought, “Wow, they must have been high school friends!” Yeah, we were high school friends, and we were both really into music. We had a lot of overlapping friends, and we’d hang out every now and then—at school and around town. We’d go to each other’s gigs, and she’d be performing folk music, which was really different from what I was doing or what I was involved in. I was in bands playing different genres, like rock, and I was all over the place. Since I was always in two or three bands, trying to figure out what would take off, I’d go to her gigs, which were quite different from mine. But we were both passionate about making music. Then, when I got really into electronic music, I was always working and looking for people to collaborate with, and I’d end up working with just about anyone. So you started pretty early on… I was doing hip-hop and other stuff, so I had different rappers and singers, R&B artists, that I was working with. She was just someone I knew who sang, and I thought, “Well, let’s just try something.” I’d try things with anyone, really. I figured it would just add something new to the mix. Being friends like we are… I don’t know. Ivy’s always been very well-spoken and opinionated, which makes her great to work with in the studio. You could say something, and she wouldn’t just say, “Yeah, okay.” She’d have her own opinion on it, or say, “No, I think you should do this.” And then you can bounce ideas back and forth, you know what I mean? Yeah, I totally get what you mean. That kind of back-and-forth is really important, especially when you’re creating something. It pushes you to think differently and try new things, which can lead to something even better in the end. I remember we wrote that track after high school, but I think we were probably experimenting with ideas during high school, too. I feel like it was at least a year or two later, though—maybe I was still in university at the time, I’m not exactly sure. But I wrote the intro, and I remember the reason it came out the way it did was because I was writing music for myself, just to feed my soul. Some of the stuff I make is word-oriented, specific drum and bass tracks, and it feels right because there’s a clear place for it. But sometimes, I’ll create things that don’t really have a purpose other than just making me feel good. It’s kind of therapy in a way. One night, I wrote that intro and left it at that, not thinking much of it—it was just a musical theme I felt like writing. A day or two later, I knew Ivy was coming over, and we were going to try making music together. So, I pulled together a few ideas, thinking it might be helpful to have some stuff ready to go. I added a drop to that intro once I realized it was at 174 BPM. When Ivy heard it, she thought it was really cool, and I told her, “Well, I’m going through this big transition right now. I’m about to leave Canada and move to the UK, and it’s such an emotional thing for me—leaving behind relationships, not so much friendships since I’ve kept those, but I was physically leaving people behind. I had to separate from my immediate family, and it was all so unknown. There were so many things I didn’t understand about it.” It was exciting, but also really scary, and I had all these emotions swirling. When I listen to that track, I imagine someone standing at the edge of the water, watching the waves, thinking about the future—feeling a mix of excitement and a bittersweet sense of leaving things behind. It’s this blend of positive and negative emotions happening all at once. It captures a snapshot of a moment in time… It’s not really happy or sad—it’s just this weird entanglement of emotions. Then she started coming up with these poetic, introverted lines, and it all really worked. I thought, “Right, this needs a chorus to really punch through.” So, I sort of sang it to her, and she sang it back. Grammatically, it didn’t even really make sense, but I was like, “It just makes sense to me.” Back then, I was never concerned with making things perfect, I just thought, “This is art, it’s poetic.” Andy C started testing it out at shows, and it just went off. They were like, “Wait, this actually is a single. We should go with this.” And it just took off, leading to a lot of other amazing things happening as well. For us, it’s such an emotional record, in the best way possible. We’d made a lot of music before—house tracks, pop songs, R&B, just experimenting with all kinds of styles. But when we made this one, we were like, “I don’t know what’s going to happen, but let’s just make it and express ourselves.” It felt really raw and real, a genuine expression of where we were at. There’s this sentiment in the industry sometimes that if you create something from the heart, it might not be successful because you’re not fitting the mold. You have to follow the trends, do what’s hot on TikTok, or whatever’s in the charts, and that’s what leads to success—this highly planned, money-driven process. But we didn’t do any of that. We just expressed how we were feeling at the time. What ended up happening was mind-blowing—it became an anthem for an entire generation of university students. What I didn’t realize was that what I was going through, and what I wrote about, was the exact same experience that every teenager going into adulthood faces when they leave home. It was incredible to see how it resonated with so many people. Even folks in their thirties and forties were like, “Holy shit.” The subject matter is relatable.. It just makes me reflect on all these things in my life, and it really resonates with me on so many levels. Everyone interprets it in their own way and attaches their own meaning to it. It truly became their song, you know? Fans felt like it was about their lives. I think every time it’s played, it really brings people together. And it’s incredibly special. We feel so lucky to have been a part of whatever magic happened in the universe when that record was made. It’s incredibly special because it resonates with so many people in such a meaningful way. You know? And it’s just amazing to celebrate it with everyone. We didn’t really know what to do, so we thought, “Let’s just post and get it out there, saying, ‘Hey, this was fun. Thanks, everyone.'” It’s incredible to see how far you’ve come—from a decade ago to now, with Demons featuring Genetics and Elle Exxe hitting a million plays. That’s a huge milestone, especially for a drum & bass track, and it happened pretty quickly! Yeah, that was great. The really funny thing about that—well, maybe “funny” isn’t the right word when written out—but the fun part of that whole experience was when we were finishing Demons. We were doing the final mixdown, and it took a lot of effort to get that record over the line. We kept toying with it, working on it, and then it would kind of go… Anyway, to cut to the chase, we finally finished it. Then we thought, “Alright, we need to get this out there.” I looked at Harry Genetics and said, “Let’s try to get this one over a million plays, man. It’s been a minute.” The funny part is, I hadn’t checked the numbers on anything for around four years or more. I literally just didn’t pay attention. I was so focused on the music itself. But then, I realized, shit, a lot of these records are just club tracks—like Are You Ready and others. When I looked at the stream count for Demons, I was like, “Fucking hell, it’s at 400,000.” I didn’t expect it to be that high, honestly, because usually, club music isn’t made to go viral on streams. It’ll sell well on Beatport, DJs will play it, and fans know it, but it’s not the kind of track you’d expect to hear in cafes or gyms. I don’t know, for whatever reason. But I was like, shit. Yeah, it had been a minute since something went over a million, especially a club record. I was kind of just thinking, you know, “Wouldn’t it be cool if we got this one over a million?” Then, a few months later—well, actually, back up—since the release, it went straight onto massive drum and bass platforms and all these big outlets. I was like, “This is great.” Then it just started taking off streaming-wise, and we were like, shit. This is really going! So we threw up a few more TikToks and things, but I don’t think any of them had that much impact. A lot of it was just people finding out about the record, saving it, and listening to it over and over. And yeah, suddenly we realized it was going to hit a million. Elle, Genetics, and I were all messaging each other, like, “This is great.” I can’t believe it’s happening because, not to get all airy-fairy with the whole self-manifestation thing, but it was a really quirky thing to happen. We had said, “What if we got this one over a million?” and then it happened. But, you know, I think it’s just people connecting with the record. It’s a really versatile track because it has elements you can vibe with on headphones and lyrically, and it also has things that really go down well in the club. We’re really proud of how it sounds sonically, and overall, I’m just really proud of that record. I think it’s really great. One thing we’ve noticed with a lot of releases on DeVice is that many labels have something that does well, but then it balloons quickly and drops off just as fast. Then they’re left wondering what to do next, and that’s pretty much it. But with DeVice, the retention doesn’t seem to drop off. The fans who find out about the tracks just keep listening over the course of years. It’s interesting because the stream counts just keep ticking over, and we’ve noticed that the fan base is really engaged with the music. It doesn’t feel like it’s here today, gone tomorrow. I’m really proud of that because it’s a club music label, and I love releasing bangers. Club bangers aren’t always the kind of tracks that stand the test of time, but for some reason, we’ve captured this sweet spot where they’re not only club bangers, but there’s that little bit extra in them that makes them retain interest. Speaking of it being a banger, can you tell us about how you linked the Gino Remix? That’s wicked. Yeah, that’s really cool. I think that was a really great result with that remix as well. The Gino remix was something special. I think we were basically on the same page. I saw a window in the schedule where I thought, “I’ve always really loved remixes.” If anyone’s noticed, I’ve done a ton of remixes over the years, and I’ve always really liked them. I don’t think it’s about making it better or worse; I think it’s fun to reinterpret them. I was talking with Liam Howllet about this about a year ago, and we were discussing fans’ expectations when it came to remixing—maybe it was “Mindfields” or something. We were talking about whether fans would think it was faithful enough to the original or not. We both agreed it should be really different. The way he put it was this: It’s not about saying that this remix version or the new version is better or the ultimate version, or that it takes it up a notch. It’s just a different version. And it sounds really oversimplified, but let it sink in—it’s a different version of the record. You’ve got these different versions, and it’s like flicking through different dimensions in the universe and saying, “This is a different take on it. This is a different way of looking at it.” It’s a remix. It’s like taking a painting, flipping it upside down, adding a bunch of new colors to it, or taking away colors, and just seeing what happens to the record. It’s part of the culture, really. It’s a big part of dance music because dance music is all about taking ideas and flipping them on their head, trying them a different way. I knew Gino would have a different spin on the record, and that’s what I wanted. I didn’t want someone who would basically make a very similar record with a few tweaks—that’s more of a VIP in my opinion. I’d love to ask about your track with Felix Samuel, “Count on You.” It’s such an incredible and emotive piece. Is there any interesting backstory behind it? Yeah, to be honest, that one is probably one of the fastest records I’ve ever made. Felix hit me up about writing a track together, and it just came together extremely quickly. It was really cool, and I’m really happy with the result. I mean, I know what you mean—many of the records have a lot of melody and lyrics. I guess I just can’t help gravitating toward that kind of stuff; I really like it. But a lot of my music is quite instrumental too. I like both, really. I kind of bounce back and forth depending on how I’m feeling. So, is there more in that style on the way? There’s more… there’s definitely more to come as well. The record that just dropped with Spor is primarily, I would say, instrumental. It was just in my original sketch of the tune, and I just thought it was kind of funny and a bit cheeky. It almost felt like, sometimes, the harder and more clubby sides of the scene can be a bit too self-serious. ‘Freak Out’ does have a fun vibe to it… It’s funny to put something in that’s just sort of like this… I don’t know, it just sounds like a Valley girl, kind of almost sarcastically saying, “Let the freaks come out and play,” and then having a really massively heavy drop right after that—it’s just kind of funny to me. It got me amped up! And then that sort of spurred on the whole thing. I mean, sometimes it’s just something really small that becomes the centerpiece for the whole track, or something to base the entire theme around. But I think as long as the track has a theme, that’s kind of what I’m after most. Do you typically prefer to record the vocals in-house? With “Vibe Check,” we actually worked remotely on that one, because sometimes it’s just about time constraints. I really like being in the studio with people. When I did “Fall From The Dark” with RAIGN, there were a lot of Zoom calls, and it was almost like going through every single bar, every phrase of that track—just churning through it and working through it. Whereas with “Vibe Check”… I mean, it’s so hard to be in the same spot sometimes because we all have so much going on, we have to travel, and there are all these different constraints. But RAIGN is in LA, and I’m in London. What about ‘Vibe Check” with Jasmine Knight? I know for a fact that I wanted to end with, “I think you need a vibe check” or “a vibe check” at the end, and then slam into the drop. Jasmine’s just so switched on that the first things she sent me back just knocked it out of the park. We did work back and forth on a few elements, but it’s funny how certain tracks can just come together so quickly. I would definitely put that in the category of things that happened extremely fast. So we did it remotely, didn’t actually meet up in person to do anything for the record until we linked up for some content but initially we were just talking over DMs on Instagram. To be honest, that’s a really great way of connecting with other artists. I mean, in Jasmine’s case we knew of each other for a while, and I wanted to work with her for a long time, then finally had this moment where I was like, yeah, this could be the one. It worked out great. I just had a really good gut feeling about it. It was almost like it was such a perfect fit that I couldn’t believe it. But you know, with a lot of people, I think it’s really fun trying to connect with people who don’t even have a clue who you are. Some people DM me when they’re vocalists, just kind of fishing for people to work with. And then sometimes it’s the other way around. I’ll think someone’s really cool, and I’ll be like, “Hey, I’m really into what you do. Do you want to chat about working on something or whatever?” I think that whole collaborative process is really great. I’m really into collaborating these days. I’ve spent so much of my career working completely isolated and alone. And I think, while I’m very hands-on, there’s something magical that happens when you’re sharing ideas and collaborating with other people. It can enhance the fun side of things too, because you have someone else to share the joy with. It’s just fun, you know? I totally get that. Collaborating with others can bring a whole new energy to the creative process, and it’s awesome when you find that perfect fit, like you did with Jasmine. It really makes the whole experience more enjoyable, and you get to share the excitement of creating something new together. I really like that team kind of element of things. I agree, there’s something really special about sharing your successes with others—it makes the achievement even more meaningful. Yeah, it’s great. I mean, it’s just a different perspective on things, you know? I’m really into it these days, so I want to do a lot more of it. And yeah, there’s a lot more to come as well. I’ve got another collaboration with Eskei83 & UCee, which will be coming up soon, and it’s going to be really interesting. Again, two artists with slightly different styles, but that’s what makes it exciting. UCee style is a bit different from mine, which already makes it pretty interesting. I guess you’d have to ask him how he’d describe his sound, but I’d put it more in the live music category. Last time I checked, anyway, it seemed more on the dancehall side. I was going to say dancehall and reggae, but I don’t want to get it wrong, as it might be a slightly different style of that kind of music. But yeah, it’s definitely a very different style. I think blending that kind of sound is really exciting to me. I’ve always loved that. Yeah, that’s definitely going to add some extra character to the record. Yeah, musically, just blend it all and just see what happens, you know? What is your ultimate goal for the DeVice Records? I think “open-ended” is a good way of putting it. DeVice, started out as just a really great way to release music and connect with the audience and fans. It’s grown into this incredible platform—it’s developed its own community and roster of artists, becoming a fantastic space for artists to release music and grow. And that’s why I have a really special announcement, which is a bit of a surprise. You’re actually the first person to hear about this: we’re starting a DeVice podcast, hosted by me, and it’s launching today. How exciting, it’s going to be a whole new chapter… Which is really exciting. It’s essentially another way to add to the label’s platform, giving us a chance to showcase the music and celebrate what everyone’s doing, as well as highlight other music from the scene. It’s a way of creating a little hub around everything happening in the world of DeVice, because there’s always so much going on, it can be tough to keep track. I think it’s a great way to encapsulate all of that. I really believe it’s going to be enjoyable and a great thing for people to follow. So, stay tuned and locked into the podcast—it’s called DeVice Radio. You won’t want to miss it; it’s going to be a wild ride. It’s good to hear you’re hosting again, back in your element.. Yeah, it’s going to be really fun. I’ve been quite quiet lately because I personally wanted a bit of a break from presenting things and doing it intensely. I’ve been a bit quiet in terms of that for a few months now, but then this concept came to me, and I suddenly got really excited about it. I thought, “Yeah, you know what? I think it’s time to bring something like this back and offer it to everyone.” It should be really enjoyable and a great opportunity to provide more of a platform to the artists around me and those affiliated with the label. It’s also a chance to celebrate other people in the scene. We want to give our own spin on things. It’s not there to represent the be-all and end-all of drum and bass; it’s just drum and bass through the DeVice perspective, in a fun way. We’ll mix things up and celebrate what’s currently going on at the label. Another thing going on with the record label is we’ve had quite a lot of interest surrounding live events, and I keep getting asked a lot about it. It’s something that, whenever I do it, I get really excited about and very obsessive. So, I knew that if I was going to do it, I wanted to do it right. We’re actually going to have our first DeVice Club event on the 23rd of May. We were asked to do a Rampage showcase at the Sports Palace in Belgium, which was incredible. There have been a few showcases here and there done by other promoters, but this is the first time it’s going to be a solo DeVice event. I’m not announcing the lineup yet, but basically, it’s celebrating five years of DeVice. The birthday of DeVice just passed on the 6th of March, and I can’t believe it. It feels like a blink of an eye. But yeah, so much has happened in five years, and we decided it was a good time to throw a celebration. So a DeVice Records event is on the horizon? Yes, a five-year celebration event. So this will be the big five-year anniversary bash. We’ve basically got this really incredible club in Soho, London, and yeah, the sound system’s going to be amazing. It’s going to be really clear, and I’m really happy with so many elements of this event. I truly feel like it’s going to be one that people will remember, and they’re really going to thoroughly enjoy. And it’s something that people have been asking for a long time, so it’s exciting to finally just do it—to rip the band-aid off and make it happen.

Sioux Falls, South Dakota. Photo Credit: Maxpower2727 TikTok could operate out of South Dakota if its U.S. sale closes – at least according to numerous reports coming from the Mount Rushmore State. Local outlets covered the interesting possibility on the heels of a related Facebook post from South Dakota Governor Larry Rhoden. While it probably goes without saying, the outcome hinges on (among other things – more on this in a moment) TikTok actually selling its stateside operations. At present, a divestment deal (though reportedly near wrapping for a time) appears far from guaranteed, we broke down in detail. But should TikTok U.S. find a particular buyer and finalize an agreement, its domestic headquarters may end up in South Dakota, population 925,000. “We are working with a potential buyer for TikTok to explore bringing the company to South Dakota,” Governor Rhoden indicated in the aforementioned Facebook post. “The Noem-Rhoden Administration led the movement to ban TikTok for state government, so we are the perfect spot for a new and improved TikTok,” he continued. The same message linked to a formal release from Rasner Media, which belongs to the namesake Wyoming entrepreneur Reid Rasner and made a $47.45 billion offer for TikTok’s U.S. operations in late February. In the corresponding release, Rasner touched on a “vision to base TikTok in Wyoming—powered by the state’s low-cost, clean energy like LNG, coal, and nuclear.” Evidently, things subsequently changed. On this front, Rasner (the businessman, that is) in the above-highlighted release elaborated that “South Dakota has stepped up as a strategic partner.” Running with the point, the entrepreneur’s bid has received endorsements from not just the governor, but the South Dakota Retailers Association and the South Dakota State Chamber of Commerce, Rasner Media noted. To state the obvious, Rasner Media isn’t alone in vying for TikTok U.S., which multiple investor groups are looking to purchase. Thus, the app’s setting up shop in South Dakota depends both on a deal going through and on Rasner Media’s having the winning bid. Nevertheless, South Dakota’s support for the Rasner Media bid is significant on several levels. Keeping the focus on the big picture in the interest of brevity, should TikTok sell in the U.S., the transaction will necessitate a largescale reorganization, to put it mildly. That includes not just establishing the revamped app’s headquarters (and replacing at least some departed execs), but opening different offices, striking fresh third-party deals, and a whole lot else. In other words, South Dakota could fit into the TikTok U.S. picture in some form regardless of the (possible) buyer. View the full article

The Baroeg, a Rotterdam venue and Stager client. Photo Credit: Emvee On the heels of a partnership announcement involving Amsterdam-headquartered Eventix (now Weeztix) and Spotify, Rotterdam’s Stager has scored an integration deal of its own. 13-year-old Stager, which bills itself as an “all-in-one tool for event organizers,” took to LinkedIn to disclose its Spotify tie-up. Besides dealing in ticketing, the former business develops event-planning software, marketing tools, and more, according to its website. Under the pact, “all” Stager’s venue and festival clients – most of which look to operate in the Netherlands – will have the option of plugging passes directly on Spotify artist pages, the events company emphasized. “Last year,” Mike van Gaasbeek-founded Stager disclosed, “over 21,000 artists played a show at a venue, club or festival using Stager. This integration now unlocks huge potential for event organisers to reach engaged audiences on Spotify and sell more tickets through Stager.” At the time of writing, Spotify didn’t appear to have put out a formal release regarding its newest integration. But aside from unveiling the aforementioned Weeztix/Eventix union, the service in February hosted an exclusive Pantera presale. March then brought the rollout of a personalized “Concerts Near You” playlist. In other words, 2025’s initial four months have seen Spotify, currently organizing branded concert events to boot, expand aggressively on the live side. Normally, this wouldn’t be too noteworthy; Spotify has been testing the live/ticketing waters for a while and certainly isn’t a stranger to music-streaming-adjacent buildouts. However, the moves are particularly interesting in light of the forthcoming Super-Premium tier. Aside from a heightened monthly cost, we don’t know exactly what the superfan-geared plan will bring to the table. That said, reports have identified remixing features, a long-awaited audio-quality upgrade, and exclusive concert presales (and/or access to desirable seats) as possible Super-Premium perks. Late February saw Live Nation head Michael Rapino confirm Super-Premium ticketing talks with Spotify – on top of similar discussions with different DSPs yet. Simultaneously, the exec indicated in more words that exclusive presales wouldn’t come cheap for Spotify or its competitors. Following all these points to their logical conclusion, it might not be too long before some tickets are available exclusively through Spotify. Running with this point, superfans would then be compelled to cough up extra cash in order to secure passes. Of course, we can’t tell for sure how consumers would respond to the development – though in general, fans seem far from attached to today’s leading ticket platforms. Similarly, many acts (especially Europe-based professionals who are mostly or entirely playing non-Live Nation venues) might not be too concerned about shifting a portion of their ticketing to Spotify. View the full article

Instagram has started testing a new feature dubbed as “Lockable Posts.” Not just a gimmick, this feature will allow creators to hide a post behind a secret code, which could become a real tool for creators, brands, and marketers. Imagine teasing a product launch, hiding bonus content behind a puzzle, or sharing something only select followers will see. Check out how it works on a sample post from the company below: This post shared by Instagram requires you to enter a secret code in order to unlock the post and view its contents. This secret code can be guessed using hints, which the company has provided on the lock screen and the caption of the post. In this case, the secret code is “threads.” Entering this code on the post’s lock screen unlocks a reel that says “coming soon.” The post on Instagram’s official Design account indicates that the company is planning to roll out this feature in the near future. However, the exact timeline remains a mystery. There is also no clarity on whether the company will opt for a phased roll out or a large global launch. It is also worth mentioning that the test post features a reel and it remains unclear if the company would enable users to hide other posts, such as long videos and image posts. The post Instagram Teases New Feature: “Lockable Posts” appeared first on EDMTunes.

In an exciting collaboration, Grammy-nominated producer Dom Dolla has teamed up with music legend Kid Cudi for the release of their track ‘Forever‘. Evoking feelings of youthful romance and nostalgia, ‘Forever’ blends Dom’s signature house with Kid Cudi’s iconic vocals, that speak to the heart. In summary, ‘Forever’ captures the essence of young love and unforgettable memories. A Young Love Anthem with a Kid Cudi Nostalgic Twist Opening with a dreamy melody and Kid Cudi’s soothing audibles, ‘Forever’ immediately brings a relaxed vibe, setting the tone for a nostalgic journey. Cudi’s vocals enter with a heartfelt verse before transitioning into the catchy chorus: “I want to stay forever.” This leads up to a playful, fun drop that presents a new side of Dom Dolla’s sound. Surprisingly, Dom moves away from his usual groovy style. In ‘Forever’, Dom keeps the mood mellow, ensuring the track embodies the vibe of a young love emotion. The second drop heightens the energy, before a phone call interlude with Kid Cudi ties it all together, adding depth to this nostalgic love story. "When I'm in my dreams, you know? I go from one thing to the other, you know? Just thinkin' about my future Where I wanna be What I wanna do with my life, you know what I'm sayin'? I'm guided by God And I follow my heart, no matter what You know, even Even when it may seem that, you know, people don't understand Fuck 'em Ain't no time to think, I wanna stay forever (I wanna stay forever)" The Premiere at Ultra Miami 2025 ‘Forever’ was first heard live during Dom Dolla’s b2b set with John Summit at Ultra Miami 2025 in front of some of Dom’s biggest fans. The live performance captured the magic of the track, adding to the excitement as fans experienced the nostalgia-filled vibes firsthand. For those who couldn’t make it, the full set was available for streaming on YouTube, offering fans around the world a glimpse into the unforgettable moment and showcasing the emotional depth of Forever. Dom Dolla Dom Dolla’s journey to fame is nothing short of inspiring. His rise as a globally recognized producer began when his mother handed him a copy of Basement Jaxx’s Rooty. This permanently sparked his love for house music. From his early days to his hit ‘Miracle Maker in 2022, Dom has earned world fame and a Grammy nomination. His discography has over 1 billion streams and features collaborations with major artists like Nelly Furtado, Tove Lo, and Daya. Together, Dom is leading the industry alongside heavyweights, John Summit, Skrillex, Solomun, and more. Kid Cudi Kid Cudi, one of the most influential voices in hip-hop, brings his signature style to ‘Forever.’ Known for his introspective lyrics and genre-blending sound, Cudi has been an integral part of the music landscape for over a decade. From his hit ‘Day ‘N’ Nite‘ to his iconic albums “Man on the Moon” and “Passion, Pain & Demon Slayin’.” Cudi’s ability to connect with listeners on an emotional level has made him a beloved figure in music. His collaboration with Dom Dolla adds another layer to his diverse musical portfolio. It bridges the worlds of house music and hip-hop in a way only he can. Dom Dolla’s Upcoming 2025 Tour Dates and Future Plans As summer 2025 unfolds, Dom Dolla’s ‘Forever’ track is only the beginning. Fans can look forward to more live shows and new releases from the Australian producer. Dom’s upcoming performances will include headlining major events across the globe, including EDC, Breakaway, and more. One of his biggest highlights this year is his residency at the world-famous Las Vegas club, LIV, and premier club, Hi’Ibiza. (That’s insane!) His 2025 tour will feature ‘Forever’ ensuring that the nostalgia and youthful romance embodied in the track will be felt live on stages worldwide. Dom Dolla Tour & Tickets The post Dom Dolla – Forever (with Kid Cudi) appeared first on EDMTunes.

Acclaimed electronic powerhouse Ben Nicky and rising star Hix unveiled their collaborative and euphoric hit, ‘Sober’, featuring the outstanding vocalist Tori Smith, on April 11th under the renowned Armada record label, which has the illustrious legend himself, Armin van Buuren, as its founder. ‘Sober’ definitely captivates listeners with its blend of trance and dance-pop, combined with high-tempo production and a memorable vocal hook. The track thoughtfully explores the emotional complexities of intimacy and heartbreak, examining the protective mechanisms we create in response to vulnerability. By delving into themes of connection and detachment, it captures the contrast between fleeting encounters and sobering realities, symbolized through evocative imagery of dawn departures. Click ‘Play’ on the Spotify link below to stream ‘Sober’ from Ben Nicky, Hix, and Tori Smith, a track that hooks in listeners instantly to vibrant tempos that enhance dream-like emotions that occur through moments that anyone has encountered in their unique lives. Ben Nicky follows up on success from his most latest bangers Following the impressive success of ‘Dirty Rave’ and an official remix of Armin van Buuren’s iconic anthem, ‘Destination’, released earlier this year, Ben Nicky has solidified his brands, “Xtreme” and “Emotional Havoc”, as standout names in the dance music scene. “Xtreme” represent his hardstyle side while “Emotional Havoc” shows off his unique trance musical style. These brands consistently attract large audiences at iconic venues worldwide. Currently touring for 2025, Ben is on track to headline major festivals, including EDC Las Vegas, Creamfields, and Mysteryland, further establishing his status as one of the most sought-after DJs in the industry. Ben Nicky’s innovative approach has made him a genre-defining pioneer within electronic music. He has garnered praise from industry leaders like Diplo and Armin van Buuren while amassing over 100 million streams across hits such as ‘Heater’ and ‘Where Would We Be’. His groundbreaking performances have transformed the landscape of electronic music, including his remarkable achievement of being the first DJ to sell out Wembley Arena as a solo act in 2023. Notably, he is the only artist who presents multi-genre sets on major festival stages like Tomorrowland and Ultra Miami. Through his dynamic brands, “Xtreme” and “Emotional Havoc”, along with a strong social media presence, Ben fosters a global community that celebrates his innovative approach to electronic music. Hix continues to move upward in his already-illuminating career Belfast-based DJ and producer Hix has also made a significant impact in the electronic music scene. The rising star has received recognition as one of the most in-demand DJs on the island of Ireland, particularly for his exhilarating club sets. Following his record deal with Warner Records, he launched his career with the debut single, ‘Hold You’, in March 2022, receiving praise from both critics and fans. This was followed by his second single, ‘Oh No You Didn’t’, a collaboration with the respected Kelli-Leigh. With two Grammy nominations, two UK number-one singles, and three UK top 10 singles to her credit, Kelli-Leigh’s partnership with Hix underscores the upward trajectory of his burgeoning career. As Hix continues to release new music, his work is increasingly recognized on prominent radio stations across the UK and Ireland, including BBC Radio, Capital, Capital Dance, KISS, Hits Radio, Cool FM, RTÉ 2FM, Today FM, iRadio, Spin 1038, and others. This broad radio support solidifies his influence and growing reputation within the electronic music landscape. Hix describes the production process of ‘Sober’ alongside Ben Nicky and Tori Smith and how it brought out so much joy ‘Sober’ is the definition of an emotional banger for me. The euphoric production paired with Tori’s stunning vocal gives me goosebumps every time. I’ve been a fan and supporter of Ben’s music for years, so getting to finally work together on this track has been an absolute joy.” The post Ben Nicky, Hix, and Tori Smith Unleashed Euphoria in ‘Sober’ appeared first on EDMTunes.

Surf Mesa, the innovative artist from Seattle who currently is based in Los Angeles, teams up with DJ and producer John Alto to drop their new emotional ballad, ‘Holding On’. This collaboration has arrived today on Friday, April 18, 2025, through Breakaway Projects. Click ‘Play’ on the Spotify link below to stream ‘Holding On’ from Surf Mesa and John Alto, a track that perfectly merges the mellow musical style of the former with the upbeat bass-influenced production process of the latter. Feeling the stimulating energy of the sounds coming from Surf Mesa and John Alto in ‘Holding On’ The song kicks off with some amazing vocals before diving into John Alto’s heavy beats, perfectly mixed with Surf Mesa’s enchanting synths. The dreamy sound from Surf Mesa can pull the listeners in, while the solid bassline of John Alto keeps the energy flowing. ‘Holding On’ dives deep into the feelings of hopeless devotion, all while staying super catchy and groovy. One can really feel the duo’s creative vibe throughout the track as Alto ties together their unique styles, combining his strong basslines with Surf Mesa’s airy “aloe vera house” vibes. The song takes listeners to another world with its siren-like sounds, where soft vocals fade into echoes, then come alive with a mix of dark tones and cool synths. Furthermore, it captures raw emotion and energy, ready to light up dance floors from clubs to festivals. R O B I N B Ø E@robinboee Surf Mesa prepares for more exciting tour stops and attracting new fans with his musical style Surf Mesa has been riding high after a series of sold-out shows and is close to hitting 1 billion streams with his breakout hit, ‘ILY (I Love You Baby)’. He’s really making a name for himself in the dance music scene with his catchy melodic house sound. In fact, ‘Holding On’ is dropping at an exciting time for him, as he’s gearing up for a festival run at Breakaway Tampa, Breakaway Minnesota, and Lost In Dreams. This track is sure to be a go-to on dance floors everywhere during the festival season and beyond, marking a fresh chapter for both him and Breakaway Projects. John Alto is going on a roll after releasing top-charting tracks and touring prominent cities John Alto, who is 25 and has American, Italian, and Danish roots, grew up in Copenhagen and London, where he kicked off his music journey as a teenager, trying out different sounds. He made his debut on Martin Garrix’s famed imprint, STMPD RCRDS, by collaborating with the German duo TwoWorldsApart on their 2020 single, ‘Body Talk’. Now, he’s shaping his own space in the music world by blending dark atmospheric elements with heavy bass and emotional pop, making his sound stand out. After moving to Los Angeles, he fully focused on his music. After his 2024 hit with Alesso, ‘Lonely Heart’, John became the first artist signed to Alesso’s BodyHi label. Additionally, he spent the summer touring with him, hitting cities like Salt Lake City, San Francisco, and New York’s Brooklyn Navy Yard. 2025 is looking to be John Alto’s biggest year yet, starting with his single that he released on January 31st, ‘Do You Like Bass’, which has caught the attention of big names like John Summit and Disco Lines. With a bunch of exciting singles and collaborations coming up, he’s on the rise in the music scene. The post John Alto and Surf Mesa Elevates Groovy Synths in ‘Holding On’ appeared first on EDMTunes.

A tastemaker that takes over every stage she performs at, Indira Paganotto landed in California for a two-weekend performance in the desert at Coachella Music Festival. The Spanish DJ and producer leads a younger generation of artists with her influential Psy-Techno sound and her label ARTCORE Records. We chatted with “Psymama” herself after a long and hot day, where she debuted her high-speed and powerful melodies at the Yuma Tent. Shortly after, the ARTCORE label head joined HEKATE’s founder, Sara Landry, and EXHALE’s label lead, Amelie Lens, to make history during a surprise closing b2b2b at the DoLab stage during Weekend 1. EDMTunes: What was the preparation like for this set? Indira: I didn’t really change anything; no matter where I play, I always keep the preparation and vibe the same. I think it’s important to keep my style true to what I love. EDMTunes: Is it intimidating to bring your sound to a show you’re playing at for the first time? Indira: I didn’t feel intimidated, as I play a lot of shows in the US, and we have just had another two big ARTCORE showcases in New York and Miami, so I know we have people here that love the sound. But it’s nice to play somewhere new, as you never know who will end up discovering you for the first time. EDMTunes: Do you prepare differently for a festival set vs an ARTCORE showcase? Indira: As we take ARTCORE to festivals, it applies to whether we are playing a club or a festival. I always play a lot of ARTCORE tracks in all of my sets, so they work for any event. People know the sound of the label and therefore, I want them to be excited to hear the sound they support. EDMTunes: Can we expect an official release for that Sara Landry ft. LEGZDINA ‘Pressure’ remix? Indira: Yes, you can! The remix will be out in May, but we have yet to announce the date, so everyone needs to keep an eye on socials for that. “I think it’s important to keep my style true to what I love” Indira Paganotto EDMTunes WOW! The legendary Psymama b2b Sara Landry b2b Amelie Lens was an auditory banquet. How did it feel being part of the Blood Oath? Indira: WOW! What a moment for each of us, and also Coachella. It was amazing being part of an all-female b2b2b. I think that we really brought something new, exciting and full of energy for everyone to close out their Saturday during weekend 1. The crowd was with us the whole way, I loved it. EDMTunes Are you ready for your summer residency at Hi-Ibiza? Indira: Yes! We have come so much around this residency this summer, it’s been a very big but exciting project. What we are bringing to the club and the island is new, as my goal is to make the experience of going to a club opulent and sexy, rather than dark and sweaty. I think we will achieve this, having seen the booth and room designs. I can’t wait for everyone to see it on the 4th of July when we open. EDMTunes: In 3 words, describe what we can expect from your upcoming debut album? Indira: My life story Support Indira Paganotto and Artcore on socials, and check out her latest release below. The post [Interview] Indira Paganotto Discusses Her Electrifying Performance At Coachella And Her Upcoming Exciting Projects appeared first on EDMTunes.

Kevin de Vries teams up with Bigfett and vocalist Frýnn for ‘Crashing Down’, a new single released on April 18, 2025, via Ame Records. This track showcases de Vries’ signature melodic techno sound, blending emotive vocals with driving rhythms to create a compelling dancefloor experience. ‘Crashing Down’ opens with floating vocal layers that evolve into a hypnotic build, anchored by deep bass and precise percussion. The drop lands with impact, balancing melodic lift and rhythmic force—perfectly tuned for both festival mainstages and late-night warehouse floors. Fans can catch Kevin de Vries at several major events this year, including DGTL Lima on May 9, Ikarus Festival on June 6, Kappa FuturFestival on July 4, and Awakenings Festival on July 12. With fresh music and a packed global tour schedule, 2025 is already shaping up to be a major year for one of melodic techno’s most consistent artists. Listen to Kevin de Vries – Crashing Down below. The post Kevin de Vries Drops New Single ‘Crashing Down’ with Bigfett & Frýnn appeared first on EDMTunes.

Pop newcomer Jules Liesl is off to a rapid start. Her debut single “Cherry”, released via Halogen Entertainment, is already gaining traction in clubs and online alike—most recently at a packed-out release celebration at West Hollywood’s legendary Abbey. The energy in the room was palpable as the crowd danced, filmed, and sang along with the track, highlighting a rare early-career moment where an artist’s music immediately is finding it’s audience early on. Watch the clip here. Liesl – originally from a small town and now based in California – has quickly built a digital audience of over 11 million views across TikTok and Instagram, gaining attention for her unapologetic style and infectious performance energy. Her live schedule is already filling up, with appearances at Miami Pride and Winter Party placing her squarely in the spotlight of LGBTQ+ nightlife and dance culture. The single “Cherry” brings together elements of early-2000s dance-pop and contemporary club production. Bold and rhythm-forward, the track delivers a fast-fueled sound designed for the dancefloor while maintaining an very present personality placed in the music. Produced with a polished, high-gloss finish, it’s already being picked up by DJs, radio stations, and playlists – with a full remix package is on the way, featuring Grammy-nominated and internationally known producers including Mousse T, James Hurr, and Birdee. “Cherry” also plays a key role in the upcoming season of America’s Top Choreographer, where it will be the featured track in a dedicated episode. Liesl is set to appear as a guest judge alongside choreographer Richard Jackson, best known for his creative work with Lady Gaga. Backed by Halogen’s Phoenix Stone and Sybil Hall – industry veterans known for working behind the scenes with names like The Backstreet Boys, HAIM, and Maty Noyes – Liesl is entering with both talent and serious support behind her. Her early performances, digital momentum, and first official single suggest that “Cherry” is only the beginning of what could be one of 2025’s most compelling breakout stories. The post JULES LIESL Rises Fast with Packed Shows, 11M+ TikTok Views, and Debut Single ‘Cherry’ appeared first on EDMTunes.

Afrotech talents Alex Wann and Shimza have teamed up for their new single ‘Skill of Love’, releasing today via Helix Records. Listen below. Premiered during their back-to-back at Miami Music Week and later performed at the Pyramids of Giza, the track blends atmospheric vocals with uplifting piano chords and a tense, evolving bassline. The result is a restrained yet emotional piece that reflects both artists’ distinctive styles. Alex Wann, known for his breakout track ‘Milkshake’, continues his rise with performances at Tomorrowland, Pacha Ibiza, and CRSSD, alongside recent collaborations and remixes supported by names like Adriatique and RÜFÜS DU SOL. Shimza, one of South Africa’s leading Afrotech exports, builds on his global presence with his Kunye label and shows alongside Black Coffee, CamelPhat, and more. His ‘Karma Karma’ radio show now reaches over a million listeners weekly. ‘Skill of Love’ showcases the subtle power of Afrotech—emotive, groove-driven, and built for both intimate and expansive stages. The post Alex Wann & Shimza Release New Afrotech Single ‘Skill of Love’ appeared first on EDMTunes.

Photo Credit: Joel Katz, courtesy of the Katz family Powerful longtime music attorney Joel Katz, whose clients included James Brown, B.B. King, Willie Nelson, and the Recording Academy, has passed away. He was 80 years old. Joel Katz was the founding chairman of the entertainment and media practice at top law firm Greenberg Traurig, and was heavily involved in the Recording Academy and Country Music Association. He negotiated major deals for both. Katz represented artists like James Brown, Willie Nelson, Michael Jackson, and Senator Orrin Hatch, and oversaw the $300 million purchase of Big Machine Records by Scooter Braun’s Ithaca Holdings in 2018. No cause of death was cited, but reports say he died “peacefully at home, with his wife Rikki by his side.” Katz spent decades as one of the most high-powered attorneys in the music business, where he negotiated the Recording Academy’s $600 million 10-year agreement with CBS for the Grammys. That deal ends next year, as the Grammys move to their new home at Disney. He was also a prominent figure in Michael Jackson’s estate’s $750 million sale of its stake in Sony/ATV Publishing. He resigned from Greenberg Traurig at the end of 2020 and was nominally retired. But he continued his work as a top-level player for artists like Justin Timberlake, Jimmy Buffett, George Jones, Kris Kristofferson, Jamie Foxx, George Strait, Kenny Chesney, Tim McGraw, and Faith Hill, as well as the Recording Academy and numerous executives. In 2016, he was honored with the City of Hope’s Spirit of Life Award, joining such prominent figures as Irving Azoff, Coran Capshaw, and Lucian Grainge. “The architect is gone, but the blueprint he left behind — of boldness and belief in his clients — will shape this industry forever,” said longtime client Jason Owen, CEO of The Sandbox. “Joel was my friend, my champion, and a once-in-a-lifetime force. He believed in me before I believed in myself. I will miss his laugh, his wit, and his ability to bill me back for 15 minute conversations. I loved him like family and will miss him every single day.” Part of the Northside Parkway in Atlanta is known as Joel Katz Parkway due to his contributions to the state of Georgia as an Atlanta resident. At the University of Georgia campus at Kennesaw State University, he launched a commercial music program that now includes over 500 students. He also led philanthropic endeavors in education and in cancer research. Katz worked extensively with programs like the Recording Academy’s Grammy in the Schools Program, the Atlanta Downtown Partnership’s Music Industry Symposium, and many lectures and panels for the Entertainment and Sports Industry Forum of the ABA, and the Entertainment and Sports Law Section of the State Bar of Georgia. In February 2024, he was honored with a Recording Academy Trustee Award in recognition of his contributions to the field of recording. View the full article

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg. Mary Droppinz – Drop In Freshly removed from an appearance at Coachella’s famed Do LaB — where she appeared alongside the likes of Sara Landry, Amelie Lens, Indira Paganotto, and more as part of Landry’s BLOOD OATH takeover this past Saturday — Mary Droppinz has returned with her refreshing brand of bass music on her latest single. “Drop In” lands as the debut release on Zeds Dead’s Deadbeats for the first of four Dancing Astronaut Artists to Watch in 2025 included in this week’s release roundup. LUSU – Siren EP The second Dancing Astronaut Artist to Watch in 2025 to highlight this week is LUSU, who return to Eli Brown’s Arcane label with a two-track EP. The duo — comprised of Wiwek and Mike Cervello — has been making a name for themselves with a unique combination between high-energy, melodic, and futuristic-sounding techno, with their Sinner offering continuing to reaffirm that. They’ve already gained the support of esteemed labels like the aforementioned Arcane as well as Adam Beyer’s Drumcode and HI-LO’s HILOMATIK. John Alto & Surf Mesa – Holding On John Alto is the third Dancing Astronaut Artist to Watch in 2025 to offer something new this week. And Alto did it alongside a Dancing Astronaut Artist to Watch alumni, Surf Mesa. After delivering “Do You Like Bass” back in January via Alesso’s newly minted label Body Hi, Alto doubles his 2025 release tally with “Holding On,” a collaboration he said came together “so naturally” and offers a seamless intertwining of his heavier approach with Surf Mesa’s melodic taste. Aaron Hibell & Dan Heath – Odyssey The final Dancing Astronaut Artist to Watch in 2025 Aaron Hibell continues to show off his signature brand of cinematic electronic music on his latest sonic output, “Odyssey.” Together with composer Dan Heath, Hibell was tasked with creating the soundtrack to Cercle’s upcoming Odyssey experience. The record, tabbed “the heartbeat of the entire [Odyssey] project,” is out now via Cercle Records ahead of Hibell’s opening for Ben Böhmer in Paris for Cercle Odyssey on June 1. Disfreq – Raw Motion EP Disfreq have returned with a four-track offering via Solomun’s esteemed imprint, Diynamic. The Irish pair have been steadily climbing the ranks, earning coveted live support from the likes of Solomun, Anyma, CamelPhat, Innellea, and many more. Their Raw Motion EP continues to solidify their status as one of dance music’s most exciting duos, showcasing their dynamic production range. And while all four EP cuts are worth noting, t’s the standout track “Sweat” that’s undeniably destined to dominate dance floors in the coming months. As the summer season kicks into full swing, the dance music world should expect Disfreq’s signature sound to be echoing in every corner. AYYBO & Taylr Renee – Obsession Our in-person live introduction to AYYBO came at the tail end of 2024 when he appeared at Proper NYE, and his 2025 thus far has only reconfirmed why his dance music stock has continually skyrocketed over the past year. Ahead of his two-show day in Brooklyn on April 19, that pattern now extends with his Experts Only debut. Aptly titled “Obsession,” AYYBO’s second release of the year — following “Demon Time” — had already been a staple in his sets before picking up steam when the label boss began to add it into his tracklists earlier this year. Featuring what he described as a “unique and haunting” vocal from Taylr Renee, “Obsession” puts AYYBO’s distinct brand of house on full display. Dom Dolla & Kid Cudi – Forever Dom Dolla and Kid Cudi met in the studio with the intention of writing “the happiness song [they’ve] ever done.” The result is “Forever,” a nostalgic collaboration that serves as the latest installment in Cudi’s rare but impactful forays into the world dance music. Originally debuted live during the first of two sold-out evenings for Dom Dolla at Madison Square Garden — with Cudi also joining during night two and during the Brooklyn Storehouse afterparty — “Forever” channels the euphoric energy of the early 2010s era of dance music, paying homage to the era that catapulted the genre into the mainstream eye. Featured image: Dom Dolla/Facebook The post Dancing Astronaut’s New Music Friday: April 18, 2025 appeared first on Dancing Astronaut.

Photo Credit: Formula 1 Crypto.com Miami Grand Prix Atlantic Records and Hard Rock International are curating the Formula 1 Miami Grand Prix with chart-topping EDM artists heading the bill. South Florida Motorsports (SFM), organizers of the Formula 1 Crypto.com Miami Grand Prix, have announced along with founding partner and music lineup curator Hard Rock International and Atlantic Records, a weekend filled with live music and entertainment for the event’s fourth year. Taking place from May 2-4 in Miami Gardens, the event features such artists as Kygo, Pitbull, Tiësto, Kaskade, Sofi Tukker, and Cedric Gervais to keep the party going all weekend. Hard Rock International will host its Hard Rock Beach Club for a trackside day club experience with chart-topping artists once again. International dance music superstar Kygo will kick off the race weekend with an uplifting dance set on Friday, May 2, followed by DJ and electronic music icon Kaskade on Saturday, May 3. On race day, Sunday, May 4, Grammy Award-winning artist and Miami native Pitbull will keep the trackside party going. Adding to the lineup is DJ and dance music producer Tiësto, who will perform on the starting grid and post-race podium on Sunday, May 4, igniting the crowd with his iconic sound before the race begins and after it ends. The set will be broadcast live across the entire Miami International Autodrome Campus. Award-winning artist Maffio will take over on Saturday for the sounds ahead of the Sprint. Before lights out on Sunday, fans will be treated to a heartwarming rendition of the US National Anthem performed by a talented local student from nearby Fort Lauderdale. 14-year-old King Bell, who has previously performed at Hard Rock Stadium for the Miami Dolphins, will sing a stirring version of the anthem to a global TV audience of millions. Currently a freshman at North Broward Preparatory School, he is also a member of Broward Center Spotlights and has been performing since he was six years old. The pre-race grid ceremonies will also feature a performance by Justin Quiles, showcasing the dance and music styles of the diverse Miami culture. “As we continue to build on the incredible energy and cultural vibrancy of Miami, we’re thrilled to offer fans an unforgettable weekend that blends world-class racing with top-tier music performances,” says Tyler Epp, President of the Formula 1 Crypto.com Miami Grand Prix. “With a talented local artist singing the National Anthem, DJ Tiësto taking over the starting grid and podium, and global superstars like Kygo, Pitbull, Kaskade, and others performing at Hard Rock Beach Club, we’re delivering an experience that captures the essence of Miami’s music scene alongside the speed and excitement of Formula 1.” “Hard Rock is thrilled to curate another energy-packed lineup for a nonstop party at the Hard Rock Beach Club,” adds Keith Sheldon, President of Entertainment and Brand Management at Hard Rock International and Seminole Gaming. “We’re continuing to elevate the experience with incredible music that brings fans back year after year.” View the full article

Photo Credit: CNN Diddy requests the video footage of him brutally beating Cassie Ventura to be excluded from evidence at his trial, claiming it has been manipulated. Sean “Diddy” Combs has requested the hotel video footage that showed him beating ex-girlfriend Cassie Ventura be excluded from evidence at his trial. The disgraced music mogul and his team claim the footage, which was released by CNN in May last year, has been manipulated. “Mr. Combs seeks to exclude all available video files related to an incident from March 5, 2016, in the Intercontinental Hotel,” his lawyers wrote in a 15-page motion, which was submitted to the US Southern District Court of New York on Thursday. “There is no longer any dispute that the CNN footage from March 5, 2016, at the Intercontinental Hotel, offered by the government at three separate bail hearings, is wholly inaccurate, having been altered, manipulated, sped-up, and edited to be out of sequence,” they claim. “CNN paid [redacted] for footage, copied that footage in unknown ways, presented that footage out of order, and destroyed the original. Accordingly, all the footage from CNN is inaccurate and inadmissible as well.” Combs’ team also requested a pre-trial hearing to “present testimony and video evidence” from a forensic video analyst, Conor McCourt, “so that the court can better understand the ways in which each of the available videos are unreliable and not a fair and accurate reflection of the actions depicted.” CNN denies all claims of manipulate footage, asserting that none of the footage was ever altered. “CNN never altered the video and did not destroy the original copy of the footage, which was retained by the source,” said a CNN spokesperson. “We aired the story about the video several months before Combs was arrested.” Combs’ trial begins on May 12, with jury selection beginning on May 5. A New York City judge has denied his request to delay the federal trial by two months, determining there should have been ample time for his team to prepare. Diddy has been charged with five counts of racketeering conspiracy, sex trafficking, and transportation to engage in prostitution. He has pled not guilty to all charges. View the full article

Photo Credit: Infinite Reality Hot on the heels of its $207 million Napster acquisition, Infinite Reality has announced the acquisition of AI company Touchcast for $500 million in a combination of cash and stock. The acquisition is Infinite Reality’s largest yet and the transaction agreement values the company at $15.5 billion. Touchcast’s powerful agentic AI platform, known as Mentorverse, generates an infinite universe of specialized AI mentors who engage in natural face-to-face video conversations, and unlike traditional chatbots or static web experiences, combine consistent personalities with deep domain expertise to deliver genuinely helpful guidance through multimodal interactions. The integration of Touchcast’s technology across Infinite Reality’s portfolio of products and services will enable IR customers to tap AI agents for a number of tasks that drive user engagement, customer support, and sales. For example, within Napster, Touchcast tech will enable subscribers to easily generate immersive social listening spaces and leverage knowledgeable AI agents for music playlisting, community management, and music trivia among other engaging features. Touchcast is built on OpenAI and delivered on Microsoft Azure via a $50 million strategic partnership that provides a suite of groundbreaking AI delivery systems to improve response times for AI interaction. For businesses, this means the delivery of seamless, human-like experiences while boosting efficiency and reducing costs—a vital edge in today’s competitive digital landscape. Touchcast’s platform is turning what once required entire teams and years of work into one-click solutions with multiple products ranging from AI mentors to transforming websites into interactive AI experiences and more. The company holds 27 patents related to AI and interactive video technology, including systems for coordinated presentations, video conferencing enhancements, and intelligent virtual assistant systems. “The acquisition of Touchcast marks our largest transaction thus far, and represents a perfect continuation of our strategic growth trajectory, building on the momentum from the iconic Napster acquisition and recent $3 billion funding round,” says Amish Shah, Co-Founder and Chief Business Officer, Infinite Reality. “The addition of Touchcast’s agentic AI technology serves as a powerful building block for our platform as we look to provide our customers with the tools they need to succeed in the modern AI-powered era.” View the full article

Roblox is facing a copyright infringement lawsuit centering on the viral ‘Apple Dance.’ Photo Credit: Oberon Copeland A copyright infringement battle over dance moves? TikToker Kelley Heyer has named Roblox Corporation in a lawsuit centering on its emote for the viral “Apple Dance.” The self-described artist and creator Heyer submitted the straightforward complaint to a California federal court, naming Roblox as the sole defendant. As laid out in the eight-page suit, the plaintiff “created and choreographed the viral Apple Dance” last summer. Set to the Charli XCX track of the same name, the dance is said to have made its way onto TikTok in an upload from Heyer on June 15th, 2024. And at least according to the filing party, the Apple Dance took off from there; a multitude of posts and the better part of a year later, Coachella attendees did the apple last weekend. Evidently, though, there’s more to the “Apple Dance” story than a nice bit of promotion for Charli XCX (as well as Warner Music) and an advantageous wave of exposure for Heyer, who looks to have attended the VMAs. Per the legal text, the dance is a “work of authorship” resulting from “Heyer’s ingenuity, creativity and artistry; it is literally her brainchild.” Roblox purportedly contacted the plaintiff “to license her viral Apple Dance as an emote.” And Heyer allegedly consented to the usage on August 12th pending “an executed agreement on the license terms.” It probably goes without saying in light of the suit, but this executed agreement doesn’t seem to have materialized. Instead, Roblox allegedly began selling the dance emote on August 17th “while engaged in active negotiation with Heyer.” Heyer claims to have “submitted her copyright registration application in the Apple Dance” on August 30th, before negotiations with Roblox “ground to a halt” in November, according to the action. Incidentally, November also saw Roblox cease selling the emote, the suit indicates. While the emote was available via Roblox, it sold an astonishing 60,000 “units” to generate around $123,000, the complaint estimates. “Notably,” the text claims, “other similar entertainment platforms, such as Fortnite and Netflix, HAVE licensed (following extensive negotiation and full execution) the Apple Dance for emote or skin release, PRIOR to commercial exploitation of such.” Suing for copyright infringement as well as unjust enrichment, Heyer is seeking damages, a piece of Roblox’s Apple Dance profits, and more. In a statement, a Roblox spokesperson told DMN that the company is confident about “the propriety of its dealings in this matter.” “As a platform powered by a community of creators,” the Roblox rep said to DMN, “Roblox takes the protection of intellectual property very seriously and is committed to protecting intellectual property rights of independent developers and creators to brands and artists both on and off the platform. Roblox is confident in its position and the propriety of its dealings in this matter and looks forward to responding in court.” View the full article

Photo Credit: Miami Worldcenter Downtown Miami’s cultural landscape is about to reach new heights as Miami Worldcenter celebrates its grand opening. The $6 billion mixed-use destination will celebrate with a free, star-studded concert and block party on May 22. The event is a showcase of international talent and a testament to Miami’s growing stature as a global music and entertainment hub. The evening’s programming will kick off with Lee Greenwood singing “God Bless the U.S.A.” to set a patriotic tone before the stage ignites with performances by superstars including Flo Rida, Nicky Jam, and Shaggy. The night culminates in a high-energy block party set by Swedish DJ and producer Alesso. Miami’s own DJ Irie and DJ Scotty B will host. Beyond the free concert, the event is a strategic platform for Miami Worldcenter’s 300,000 square feet of retail, dining, and lifestyle experiences. Attendees will enjoy immersive street activations, food and beverage tastings, and experiential performances throughout the 27-acre pedestrian-friendly development. The grand opening official sponsors include Openbank by Santander, Ray-Ban, CitizenM, Lucky Strike, E11EVEN Vodka, Nestlé, and Rentyl Resorts. Admission is free with RSVP, making the event accessible to the public. The location at 850 NE 2nd Avenue is transit-friendly with nearby access to Brightline, Metrorail, Tri-Rail, and Metromover as well as ample parking available in adjacent garages. Anyone interested in attending the grand opening concert should RSVP through Eventbrite. Doors open at 6 pm and the concert will begin at 7:30 pm. Miami Worldcenter was brought to life by master plan developers Miami Worldcenter Associates, led by Managing Partners Art Falcone and Nitin Motwani, in partnership with Los Angeles-based CIM Group, a community-focused real estate and infrastructure owner, operator, lender, and developer. Together they have assembled a best-in-class development team that is transforming Miami’s urban core into one of the country’s largest mixed-use lifestyle destinations. View the full article

UK house music titans Gorgon City, the duo comprised of Kye Gibbon and Matt Robson-Scott, have dropped their latest single, ‘Run It Back,’ just in time to soundtrack the approaching warmer months. Released today (April 18, 2025), via their own REALM Records imprint, the track marks their second offering of the year and continues their prolific run following the 2024 album, Reverie. ‘Run It Back’ features the captivating vocals of Caroline Byrne, a collaborator who previously lent her talents to the track ‘All That You Need’ from Gorgon City’s Reverie album. Byrne’s contribution is once again a highlight, infusing the song with what the duo describes as an “authentic garagey, R&B feel.” Her voice glides smoothly over the production, adding a layer of soulful warmth. Musically, the single is a quintessential Gorgon City creation, blending their signature bass-driven house sound with infectious energy. Described as a “nostalgic, feel-good banger” and a “sun-drenched single,” ‘Run It Back’ leans into a vibrant, grooving house style. It strikes an effective balance, delivering lush melodies and a catchy chorus that feels both ready for radio play and cool enough for underground club sets. The track embodies a sense of looking back with affection while keeping feet firmly on the dancefloor. It’s built for repeat listens, capturing a bright, optimistic mood perfect for ushering in summer vibes. With ‘Run It Back,’ Gorgon City demonstrates their consistent ability to craft high-quality, memorable house anthems that resonate with their global fanbase. The post Gorgon City Kicks Off The Summer Season With ‘Run It Back’ appeared first on EDMTunes.

Five years after its initial rejection, a father-son LEGO tribute to electronic music legends Daft Punk has evolved into a creation that could soon sit on store shelves worldwide. The pyramid stage that defined the robots' groundbreaking "Alive 2007" tour may soon be manufactured as an official LEGO set thanks to the persistence of Patrick Harboun and his son. The duo's stunning design, a meticulous recreation of the stage containing over 2,000 bricks, won the Grand Prize in LEGO's global "Music To Our Ears!" competition back in 2020 but was passed over for commercial production. However, it has now earned a second chance at immortality in plastic after receiving the requisite 10,000 public votes on LEGO's Ideas platform to advance in the company's approval process and face its notoriously exacting Review Board. Patrick Harboun The genesis of Harboun's project speaks to the peculiar alchemy of lockdown creativity. While others baked sourdough or discovered Peloton, the father-son team channeled their shared Daft Punk obsession into LEGOs. His son, eight years old at the time, built a prototype cobbled together from his existing brick collection before the elder Harboun used his engineering background to expand the concept digitally. At its heart, the design features a rotating transparent-brick box nestled inside the iconic pyramid, powered by a motor with hanging lights that recreate the pulsing light show that accompanied tracks like "One More Time" and "Around the World" during Daft Punk's career-defining tour. It's a fitting tribute to a tandem whose aesthetic sensibility has always straddled the line between retrofuturism and meticulous attention to detail, qualities that LEGO's own design philosophy mirrors with uncanny similarity. Patrick Harboun Should the project survive LEGO's rigorous review process, which scrutinizes everything from "playability" and safety to brand alignment, it will enter development later this year. Every potential LEGO product goes through this process and must meet the same standards, according to the company. If approved, the set will enter the Development phase, the longest stage of the process. During this time, LEGO's model designers will refine the concept and prepare it for release while the team develops all supporting materials, including packaging, instructions and marketing assets. The final verdict will be made and announced toward the end of 2025, Harboun tells EDM.com. As the robots themselves might put it, he and his son are "doin' it right" the second time around. The LEGO review process will officially begin in May 2025. You can find out more about the project here.

Dabin has once again captivated the electronic music landscape with his fourth studio album, Aura Park. Dropping a week ahead of his highly anticipated second annual Stay In Bloom festival at Stanford, CA this multi-talented instrumentalist and producer delivers his most sonically diverse and emotionally stirring project to date, a collection of thirteen tracks that individually have its own “aura“, a unique emotion, a different energy. Aura Park is Dabin’s love letter to the music that’s shaped him as an artist and dedicated to all his fans that’ve been with him on his musical journey. Aura Park marks a significant evolution for Dabin, showcasing his signature melodic bass foundation while fearlessly venturing into an ever-widening spectrum of styles and genres. The album has already generated buzz with its compelling singles, including the introspective ‘Hollow‘ and the powerfully emotive ‘I See You’ featuring the iconic vocals of Skylar Grey. These tracks highlight Dabin’s ability to transcend the traditional EDM boundaries, crafting music that remains authentically his while drawing in fans of pop, rock, and indie music alike. Aura Park brings in an impressive roster of collaborators, each adding their unique flavor to the tapestry of Aura Park. Featuring the talents of FRND, Said The Sky, Grabbitz, Blanke, Lo Spirit, Tiffany Day, Frosttop, and more, the album showcases not only Dabin’s multifaceted influences but also the creative synergies of those around him. The album feels like a deeply personal and introspective masterpiece, laced with intense emotions from every artist involved. Dabin’s music is always meant to uphold a safe sanctuary where listeners can find solace and connection, offering a little something for everyone who steps inside its welcoming gates. With its blend of familiar melodic brilliance and bold stylistic exploration of genres, Aura Park is a testament of Dabin’s growth and we’re all excited to see how his “aura” continues to grow. Here’s what Dabin took to Instagram to say about this album: “Aura Park is a culmination of both the old and new me. Each track represents a different “aura”, a unique emotion, a different energy… My hope is that everyone who listens can find their “aura” within one of these songs. Whether you’ve been here since the beginning or you’re just discovering the music, I’m so excited to finally share this with you.” Next week is the second edition of Dabin’s Stay in Bloom festival in Standford, CA and the following month is the debut of Stay in Bloom in New York. Come experience Aura Park at the festival and see for yourself the Aura sanctuary that Dabin has built for his fans. Dabin is a JUNO nominated music producer/instrumentalist from Toronto. Having spent his teens learning to play the piano, drums and guitar, Dabin started producing electronic music in 2011. He quickly attracted the attention of Kannibalen Records and released his first tracks on the ever growing independent label only a year later. Now Dabin has increased his exposure by supplementing releases with Mr. Suicide Sheep’s Vancouver label, Seeking Blue. Dabin has gained hundreds of millions of plays while refining his musical style into what it is today. His “Wild Youth” LP has seen Dabin solidify his signature sound which blends acoustic elements with electronic ones through a dance-pop lense, while his “Between Broken” LP further evolved his creative output. His high level of musicality has caught the ears of collaborators including Seven Lions, SLANDER, Said the Sky and Black Tiger Sex Machine, as well as Illenium who Dabin has collaborated with for “Hearts On Fire” and numerous tours together as a live band. Now, Dabin has formed his own Sanctuary Live Band alongside members including Grabbitz that debuted in 2023. Dabin will also continue his unique live solo show at venues and festivals across the globe, including his very own festival, Stay In Bloom, which sold out its inaugural weekend and will return for 2025 in both the bay area and Brooklyn. The post Dabin Unveils Fourth Studio Album ‘Aura Park’: An Aura Sanctuary For All appeared first on EDMTunes.

Techno titan Enrico Sangiuliano, known for his melodic/driving production, has just released Discipline EP on his NINETOZERO Imprint. This 3 track release includes tracks from Secret Cinema & About Sofiya (‘You Know What I Was Thinking’) and Zimmz (We Build And Reset’) who join Enrico Sangiuliano alongside Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX for a release on NINETOZERO. Listen here. ‘The Techno Code’ (Enrico Sangiuliano ) is both a manifesto and a commentary on techno itself, with a portentous voiceover announcing ‘“These are my rules – the Techno Code.” The Voice takes us through a march of kick drum & hi-hats, the subtly captivating main theme with its melodic synths, a dash of acid, before all elements converge in a powerful surge. ‘We Build And Reset’ is from Rotterdam’s enigmatic talent Zimma. Featuring a complex beat with building static hiss, melodic pulsating synth layers in an upbeat, bounding main theme adorned with fuzzy stabs and spacey swoops. ‘You Know What I Was Thinking’ is from Dutch luminary Secret Cinema & Japanese artist About Sofiya. The track is an intriguing soundscape invoking imagery of some alien factory still functioning in an overgrown planet – percussion breaks, bongo-like ear candy, machine-like synth strands, occasional vibrato female vocal whispering sweet nothings. The post Enrico Sangiuliano ‘Discipline’ EP appeared first on EDMTunes.

Barkin is back with his 2nd record of the year. Off the heels of his Hexagon debut with ‘Percolator’ comes ‘Soak It In’ out on 2Dutch Records. The energetic house track takes influence from both the Bass and Tech House genres. The breaks feature sultry and inviting female vocals that pull you in. The track has a simple message: soak in and soak up every moment that you can. And of course, enjoy it. The drops feature a groovy bassline and punchy drums. While the bassline is plucky, it has these nice, smoother moments. Little ear candy synths come in and out, giving your ears all they can handle. Falsetto and spicy vocals join the drop halfway through, reinforcing the moment. A driving 2nd break and even bigger tension-filled build open the doors to the 2nd drop with a cheeky fakeout. ‘Soak It In’ shows off Barkin’s signature producing skills. He blends genres, taking influence from the more bass-dominant side of dance music. The New York born and raised producer is bringing heat to House. Make sure to check it out below! The post Barkin Drops Groovy and Sultry House Track ‘Soak It In’ appeared first on EDMTunes.

The future is now. Alvin Lucier died in 2021, yet he is still making music. How, you ask? A team of artists and scientists have joined forces to create a lab-grown ‘mini-brain’ made from the blood cells of the American experimental composer. His resurrected brain is currently making music at an exhibition in Australia. The project is known as Revivification and is hosted at the Art Gallery of Western Australia in Perth. Admission is free until August 3rd. Lucier led the way in neurological sound generation. His 1965 work ‘Music for Solo Performer’ made him the first composer to use brainwaves to make music. The video and experience feel way ahead of its time. The Revivification team began talking to Lucier in 2018, and he eventually agreed to donate his blood in 2020. At age 89, he was sadly suffering from Parkinson’s disease. He met with the team comprising artists Guy Ben-Ary, Matt Gingold, and Nathan Thompson, and neuroscientist Stuart Hodgetts, every night over Zoom. The process involved advanced neuroscience, reprogramming his white blood cells into stem cells, which were then transformed into 3D cell structures that imitate brain activity known as cerebral organoids. These organoids are now inside a sculpture which houses 20 brass plates that are connected to the two ‘in vitro brains’. The Guardian reports: “Importantly, Lucier’s organoids don’t just produce sound – they also receive it. Microphones in the gallery pick up ambient noise, including human voices and the resonant tones of the plates, and that audio data is converted into electrical signals and fed back into the brain.” This has raised ethical questions about the use of artificial intelligence. It doesn’t seem like it will be very long before it is available to the public in various ways. The post Artificial “Brain” Grown From Composer’s Blood is Making Music After His Death appeared first on EDMTunes.