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Photo Credit: Live Nation / Capital Pride Alliance Shakira cancellations are piling up with yet another show this week. Complications prevented her team from getting her set in Washington, D.C. ready in time. Colombian singer Shakira was scheduled to perform at Fenway Park in Boston on May 29 and May 30, but was forced to cancel just hours before showtime on Thursday due to production issues. Then, Shakira was slated to perform on May 31 at Nationals Park in Washington, D.C., for World Pride 2025. However, her production team ran into some snags related to the Boston show, leading to yet another cancellation. “Due to complications with the previous show in Boston, Shakira’s full tour production cannot be transported to Washington, D.C. in time for her scheduled performance at Nationals Park on Saturday, May 31,” read a message by the official Nationals Park account on Instagram. Refunds will be issued automatically for purchases made through Ticketmaster and Nationals Park’s official website, with no further action required. Those with tickets purchased through third-party resellers are encouraged to contact the point of purchase directly. Shakira shared her own message on her Instagram Stories shortly after the second cancellation. “Nothing more painful for an artist than having to cancel two sold-out stadium shows like Boston and DC for reasons beyond one’s control,” she wrote. “Thank you for being there in the good times and the not so good. We’ve cruised together through every bump in the road, and you always take me to the other side.” But some fans aren’t as understanding. “You need to stop hiring friends as tour managers,” wrote one user on Instagram. “That’s enough cancellations for the first leg. Enough!!” “And yet Beyoncé’s concerts are way more intricate and has a lot more production and she never has any issues,” another commented. “Does Shakira understand how disrespectful these cancellations are to her fans and to the people who spent thousands of dollars to come see her?” asked someone else. Shakira still has over a dozen additional tour dates scheduled through the end of June. Her next scheduled appearance is in Atlanta on June 2, followed by stops in Orlando on June 4, and Miami on June 6 and 7. View the full article

Photo Credit: Fox Broadcasting Alf Clausen, the legendary composer who penned songs for “The Simpsons” for over 27 years, has passed away at age 84. Alf Clausen passed away on Thursday, May 29, at his Los Angeles home. His daughter, Kaarin Clausen, told The Hollywood Reporter that her 84-year-old father was diagnosed with progressive supranuclear palsy eight years ago. Clausen received 21 Emmy nominations for his work on “The Simpsons,” securing wins for two of them. He ranks among the most-nominated composers in the history of the Emmy Awards, with 30 across his career. Clausen also won five Annie Awards for his musical contributions to the long-running animated series. Born in Minneapolis, Minnesota, and raised in Jamestown, North Dakota, Clausen took a correspondence course in big-bang songwriting through Boston’s Berklee College of Music. He eventually transferred to the school from North Dakota State University, where he had been studying when he signed up for the course. At Berklee, he became the school’s first French horn player. His songwriting career began in Los Angeles, where he worked as a freelance composer, ghostwriter, and arranger. Eventually he found work on television shows, including “Donny & Marie” and “The Mary Tyler Moore Hour.” In the 80s, he served as composer for the detective series “Moonlighting,” for which he received six Emmy nominations. Later that decade, he fittingly composed music for the sitcom “ALF.” He also composed music for some well-known films of the decade, including “Weird Science,” “Ferris Bueller’s Day Off,” and “The Naked Gun.” Clausen joined “The Simpsons” in 1990, for the show’s second season. His role involved creating songs, music cues, and reinterpreting Danny Elfman’s theme with the help of a 35-piece orchestra. Scoring seasons 2 through 28 of the Matt Groening-created series, Clausen scored over 560 episodes. Of the 21 Emmy nominations he received for his work on “The Simpsons,” he won twice: for 1997’s “We Put the Spring in Springfield,” and 1998’s “You’re Checkin’ In (A Musical Tribute to the Betty Ford Center).” In 2015, during an interview with the Television Academy for their “The Interviews” series, Clausen said he was reluctant to take the job that would ultimately define his career. “I said, ‘I just got off of four years of ‘Moonlighting,’ and I really want to be a drama composer. I’m more interested in doing long-form feature films.’” But “Simpsons” creator Matt Groening was the one who ultimately convinced the composer, telling him, “We look on our show as being not a cartoon—we look upon it as a drama where the characters are drawn.” Clausen left the show abruptly in 2017, filing a lawsuit against Disney and Fox in 2019 with claims that he was fired because of a “perceived disability.” He revealed he had been diagnosed with Parkinson’s disease and claimed both companies had treated him unfairly since his diagnosis. Fox producers claimed he was fired for delegating work to others without permission. Clausen ultimately dropped his wrongful termination suit in 2022. His role on “The Simpsons” was replaced by Bleeding Fingers Music, a production company co-founded by Hans Zimmer. In a 1996 profile of Clausen published in Berklee Today, Matt Groening called the composer “one of the unacknowledged treasures of the show.” View the full article

Photo Credit: CBS | AMAs The American Music Awards (AMAs) drew the largest audience since 2019—thanks to the move to CBS. The 2025 AMAs were hosted by Jennifer Lopez, with the two-hour prime-time event attracting 4.86 million viewers. That’s a 38% increase over its last live broadcast in 2022, which aired on ABC. This year’s awards show reclaimed the top spot as the #1 broadcast of the night—demonstrating the growing impact of multi-platform distribution. These ratings include both traditional live viewership and live streaming figures from Paramount+, reflecting the change streaming video is having on live event viewership. The 2022 AMAs, which aired on November 20 on ABC had significantly lower viewership. The resurgence in audience numbers signals renewed interest in live music award shows—perhaps with a boost from Swifties. Taylor Swift fans speculated that the singer may use the AMAs to announce her next Taylor’s Version album—but that didn’t happen. Instead, Taylor Swift announced last week that she had re-acquired the rights to her original masters from Shamrock Capital. This year’s American Music Awards outpaced several recent prime-time specials, too. They were 26% higher than ABC’s CMA Country Christmas on December 3, which achieved 3.87 million viewers. It was also 39% higher than NBC’s SNL 50 Years of Music broadcast on January 27, which achieved 3.49 million viewers. Perhaps most impressive, the AMAs outpaced ABC’s CMA Fest by 52%, which aired on June 25, 2024 with 3.19 million viewers. CBS also estimates that the AMAs drove 9.2 billion potential impressions and 816.6K mentions on social media as the world discussed the broadcast. It boasted growth across all key demos versus the 2022 broadcast as well. This year was up 91% among the 18-34 age cohort, 23% among the 18-49 cohort, and 16% among the 25-54 cohort. Highlighting the importance of social media, CBS reveals that the 2025 AMAs social accounts garnered over 100 million video views within the first 24 hours of airing across Instagram, TikTok, X/Twitter, and Facebook. Meanwhile, the AMAs Twitch live broadcast peaked at 205.5K during the appearance of YouTube star Kai Cenat’s appearance. View the full article

HARD Summer 2025 is coming through with major vibes, promising one of the most soul-stomping, diverse weekends Los Angeles has ever seen. Taking over Hollywood Park for its second consecutive year, the event brings together an impressive lineup of globally recognized acts, underground disruptors, and rising artists. To help you navigate through the extensive programming, here’s 10 must-see artists performing across the weekend — with a thoughtful balance of headliners, fan favorites, and emerging talent. Day 1 – Saturday, August 2, 2025 1. Kaytranada Grammy Award winner Kaytranada continues to blend house, hip-hop, and R&B with his unmistakable groove-heavy sound. Known for his specifically curated sets that fuse infectious rhythms with soulful undertones, his HARD Summer performance promises to be a standout moment for both longtime fans and new listeners alike. 2. FEID Colombian reggaetón sensation FEID brings his chart-topping hits and high-energy stage presence to HARD Summer, offering a set that will resonate with fans of Latin urban music and mainstream pop. His breakout into the global spotlight with ‘MOR, No Le Temas a la Oscuridad’ in 2023 ensures a phone-in-the-air moment once he hits the stage. 3. Sara Landry A rising force in the techno scene, Sara Landry recently delivered a standout set at EDC Las Vegas. Fans who missed her there can catch her HARD Summer performance, which is sure to showcase her signature high-BPM, industrial-tinged style. Known for commanding dance floors with unapologetic intensity, she’s a must-see for techno lovers. 4. The Blessed Madonna An influential figure in the global dance community, The Blessed Madonna is known for her genre-spanning sets that celebrate house, disco, and underground club sounds. Blending nostalgic tracks with contemporary beats, she brings a dynamic and uplifting energy to Saturday’s lineup. 5. Funk Tribu Representing the next generation of techno talent, Funk Tribu is gaining recognition for raw, high-intensity sets that pulse with underground energy. His HARD Summer debut offers festivalgoers the chance to catch a fast-rising artist before he commands bigger stages worldwide. Day 2 – Sunday, August 3, 2025 6. Gesaffelstein French electronic producer Gesaffelstein is renowned for dark, atmospheric soundscapes and a commanding stage presence. The best word to describe his live sets is “immersive,” blending brooding techno with industrial textures. His closing set at HARD Summer is poised to be one of the weekend’s defining moments. 7. Four Tet A true innovator, Four Tet seamlessly merges experimental electronic music with dance floor appeal. Known for emotional depth and rhythmic complexity, his HARD Summer set promises a cerebral yet captivating journey through sound. 8. Dom Dolla Australian house producer Dom Dolla has become a staple on the international festival circuit, delivering high-energy performances filled with infectious basslines and vocal-driven hits. Tracks like ‘Rhyme Dust’ — his most-streamed song on Spotify — ensure that his set will be a peak-hour favorite for house music fans. 9. Narciss Berlin’s Narciss is pushing the boundaries of techno by incorporating elements of trance, rave, and house into genre-blurring sets. Known for dynamic progression and surprising selections, he brings a refreshing vibe to HARD Summer for fans looking to explore beyond the mainstream. 10. it’s murph Blending indie-dance aesthetics with electronic basslines, it’s murph is quickly becoming one of the most talked-about emerging artists. His breakout track ‘Food for the Soul’ gained widespread attention, and his latest single ‘Through My System’ is racking up streams on Spotify. HARD Summer is the perfect stage for his next big moment. HARD Summer 2025 continues to solidify its reputation as a festival that champions both the iconic and the innovative. From globally recognized headliners to underground trailblazers, these ten artists represent the best of what the weekend has to offer. Whether you’re seeking high-energy techno, soulful house grooves, or genre-blurring performances, this lineup ensures a memorable HARD Summer experience. The post 10 Must-See Artists at HARD Summer 2025 appeared first on EDM House Network.

Photo Credit: PBS PBS files a lawsuit against the Trump Administration over an executive order signed earlier this month to cut funding to the public television network and NPR. On Friday, the Public Broadcasting Service (PBS) sued Donald Trump and his administration over the executive order signed early last month. The order aims to cut funding to public broadcasters like PBS and NPR. The lawsuit, filed in the U.S. District Court in Washington, D.C., follows NPR and three of its Colorado-based member stations suing Trump over the same order. According to attorneys for PBS, the executive order is “blatant viewpoint discrimination and an infringement of PBS and PBS Member Stations’ private editorial discretion. Further, they assert the order is a violation of the First Amendment, as well as parts of the Public Broadcasting Act passed in 1967. Much like NPR’s separate lawsuit over the same executive order, PBS’ lawsuit argues that Trump does not have the authority to block federal funding to the public TV and radio networks over their content. “The EO [executive order] makes no attempt to hide the fact that it is cutting off the flow of funds to PBS because of the content of PBS programming and out of a desire to alter the content of speech,” reads the filing. “The EO smacks of retaliation for, among other things, perceived political slights in news coverage.” Trump’s executive order, signed in early May, instructed the Corporation for Public Broadcasting (CPB), the private nonprofit that serves as the point of contact for government funding to public media, to cease federal funding for PBS and NPR. The order asserts that government funding serves to “support biased and partisan news coverage.” Further, the order says indirect government funding should be stopped, including funding to local stations that connect to a national news network. When NPR’s lawsuit was filed last week, White House spokesman Harrison Fields told CBS News: “The Corporation for Public Broadcasting is creating media to support a particular political party on the taxpayers’ dime. Therefore, the President is exercising his lawful authority to limit funding to NPR and PBS.” Notably, the CPB also sued Trump in a separate lawsuit over attempts to fire three members of its five-member board, asserting the president was overstepping his authority. Should the executive order stand, PBS’ lawsuit says “it would have profound impacts on the ability of PBS and PBS Member Stations to provide a rich tapestry of programming to all Americans.” PBS CEO Paula Kerger, on Face the Nation with Margaret Brennan, said that public broadcasters have “never seen a circumstance like this,” and stressed that the Trump Administration has been “coming after us [in] many different ways.” According to Kerger, a possible revocation of previously appropriated funds, as well as an effort to challenge corporate sponsorships—the primary way that public networks are funded—through the FCC, “among other things,” were possible retaliatory measures. “We’re going to be pushing back very hard, because what’s at risk are our stations, our public television, our public radio stations, across the country,” said Kerger, who added that PBS only receives 15% of its funding from the federal government. Smaller stations may receive up to 50% of their funding from federal sources, which adds the risk that those stations will cease to function altogether if that funding stops. View the full article

*Featured Cover Photo Credit: Keiki Knudsen The Dirtybird Campout x Northern Nights Music Festival is set for July 18-20, 2025, at Cook’s Valley Campground on the Humboldt/Mendocino County Line. This beautiful site is surrounded by tall California Redwoods and the Eel River and promises a fantastic weekend of music, art, cannabis, wellness, and community. Games, wellness, and enjoying life to the fullest at Dirtybird Campout x Northern Nights This festival is not your average summer camp. The Games Programming is a major part of the Dirtybird Campout tradition. It combines fun, creativity, and friendly competition. Attendees will actively participate in activities and have a chance to win bragging rights. The Games Programming will take place in four lively zones. Participants can enjoy classic Dirtybird games and surprises at the Field, variety shows and contests at the Giving Tree Art Car, drag performances at the Grove, and fun by the River. Some popular activities include the River Race, Egg Toss, Dodgeball, Speed Walking, Tug O’ War, Sac Race, and Iron Bird. Other unique events include Lap Dance For Your Life, The Great Bingo Revival, Lovebirds Dating Show, Dirtybird Spelling Bee, Dirtybird Talent Show, Rollin’ Competition, and Highdeas and Beer Pong. Also featured is a Wellness program, which offers a chance to recharge and reconnect. The program includes a mix of movement, mindfulness, and healing. Attendees can join energizing sessions like Snack Time Pilates and Street Dance Concepts or calming experiences like Yoga in Flow Friday, Awaken Breathwork, and meditation workshops. They can also learn self-massage techniques and experience bodywork such as massage, cupping, acupuncture, Gua Sha, and more. VIP Experience and notable headliners to check out The VIP Experience includes special lounges, fast entry, and a new elevated viewing deck, along with top-notch local food. Guests can explore custom zones filled with fun games, comfort, and tasty offerings. Highlights include Morning Boosters with coffee and treats, Nest Fest with live-shucked oysters and artisanal cheeses, Tarot & Tea readings, the Very Important Bird Lounge, an Ice Cream Social, and Mini Wellness Sessions. These exciting activities enhance a diverse lineup of music. Headliners include Jungle (DJ Set), Zeds Dead, Aluna, Justin Martin, Levity, and Walker & Royce, along with many others. A little bit about Cook’s Valley Campground Cook’s Valley Campground is located just 190 miles north of San Francisco. It provides a serene atmosphere with rivers, Redwoods, and stunning scenery that showcases Northern California’s beauty. Tickets are available now on the official Dirtybird Campout x Northern Nights website. Options include General Admission and VIP tickets, as well as various camping accommodations. The post Dirtybird Campout x Northern Nights Will Ensure a Stellar Weekend appeared first on EDMTunes.

The heat could not keep us away from the divine vibes that DoLab’s Lightning in a Bottle delivered during this Memorial Day Weekend. Five days and nights of silly, campy, grimey, sexy chaos ensued almost instantly. This event is considered one of the best camping festivals in the World. The elements were in our favor, and each artist delivered a one-of-a-kind experience. Nevertheless, this is something we will cherish forever. Now, let’s look at the highlights of this year’s LIB. Lightning in a Bottle The Buena Vista Aquatic Recreational Area has been the host to LIB in the last few years, and it still shines bright. The festival grounds and campsites surround the lake nearby, which is open to the public. Moreover, there are massive campsites which allow car-camping and RV camping. There are glamping options for attendees as well. As it is an all-ages event, the venue offers multiple amenities for adults and children alike. This includes a kids-only section. The Vibes As much as the weather posed a challenge to festivalgoers, including high temperatures, humidity, dust, and wind, attendees shared their love for the music and arts. They endured despite the harsh climate. From respectful and kind gestures to sexy and fun dance moves, everyone sparked electricity with every step. Security and festival staff were within the same vibrations as us. They provided pleasant, joyful, and respectful interactions throughout the 5 days. We definitely felt safe and in good hands the entire time. The Music Where do we start? This was definitely as much of a diverse lineup as Coachella, but in a much more intimate setting. Lightning in a Bottle brings the A-game out of artists, from the mainstream to the underground. Each set felt special and unique to the event. Each set had its own breath of LIB into it, which made the collective experience even more transcendental. Musical guests echoed across multiple stages, influencing our ears with tasteful and ethereal soundscapes. Keeping the tradition alive, The Junkyard and The Stacks stages gave us surprise after surprise guests. This included ZHU: BLKLZT, Monolink’s sunset set, Dimond Saints and John Summit b2b Subtronics. Major highlights include Four Tet, Jamie XX, Sultan + Shepard, Eli & Fur, Azzecca, Underworld, Sama AbdulHadi, John Summit, and Francis Mercier. The charm of the festival was truly on wheels. Multiple art cars drove across the festival grounds all week. They showcased new and fresh talent consistently into the sunrise. From the banana to the monster and the bug, we followed the art cars left and right. We enjoyed their auditory blessings. A major highlight of the weekend was the A Club called Rhonda Takeover. The crossroads stage was in full bloom alongside a stacked lineup of LGBTQ+ legends and nonstop dancing. Saturday night’s closing sets by Parris Goebbel and Biianco sealed the deal, with heavy basslines and heart-racing dancing. We definitely achieved a collective dancefloor euphoria in there. The Culture Lightning in a Bottle proved to be more than a music and arts festival. The experience extends to cultural exchanges and multiple workshops. These aimed to help and guide us even after we left the grounds. From morning Yoga to finance and cooking workshops, attendees used up the daytime to learn. They enriched themselves with wisdom from international guests. My favorite non-musical experience of the weekend was the Fire Ceremony during the sunset. The organizers invited elders from the Mayan tribe. Elders from multiple tribes across the globe joined to showcase a ritual that connected us as a community. Whether we live by different rules, gods, or religions, the ritual aimed to find a positive and serene outlook. It elevated our experience. All in all, Lightning in a Bottle brought us home, and connected all of us through music, arts, and love. The post [Event Review] Lightning In A Bottle Reminds Us Why We Love Camping Festivals appeared first on EDMTunes.

The multi-platinum artist and producer, Alan Walker, is finishing his WalkerWorld tour on May 31st, so it’s a perfect time for him to announce his next adaptation to expand his creative universe. On August 8th, he is launching his World Of Walker (WoW) app! But starting today, you have the ability to sign up HERE. If you are a fan of Alan Walker, you will love what this app has to offer. This digital hub will bring together all Walkers worldwide and deepen the connection between artist and fans. It will provide an exclusive immersive fan experience, access to premium content including Alan’s full music and video catalogue, behind-the-scenes material, exclusive weekly live streams, direct chats, and more. Along with providing content, the app will encourage meaningful engagement by allowing fans to participate in community-driven projects, events, and discussions. If you sign up and become part of this growing community, Alan Walker has already announced a 30-minute immersive movie experience titled WalkerWorld: The Last Ride that will be exclusive to the app users. Finally, Walker has just released his newest track, ‘Me, Myself and The Night,’ as a token of everything he has created and accomplished so far. The track is more than just a song, it’s a journey. The single captures Alan’s signature sound while offering a fresh, energizing listening experience. It’s a beautiful blend of contemporary electronic production and some pop undertones, tied down to an upbeat dance-ready chorus. The post Alan Walker Announces Mobile App appeared first on EDMTunes.

RISE, the world's largest sky lantern festival, is turning 10 this year, and with that milestone comes a seismic shift both spiritual and structural. Nestled in the hauntingly vast Jean Dry Lake Bed outside Las Vegas, RISE has long transcended the typical festival formula with its signature sky lantern ceremony. But in 2025, the glow of firelight will share the stage with something far more engineered: The Horizon, which RISE is calling "one of the largest music festival stages in the US." Spanning over 200 feet wide with 18 video screens and anchored by a dozen stadium towers, The Horizon is a production marvel that RISE says "is built to rival the most celebrated stages in the world." The stage represents a bold leap into the festival's second decade, promising not only breathtaking visuals and sound, but also a platform big enough to hold the swelling ambitions of one of America's most unique desert gatherings. Headliners RÜFÜS DU SOL, Calvin Harris and John Mayer are set to christen the new stage across the festival's three nights from October 3-5. "We have created something that doesn’t just house performances—it amplifies them and elevates them," RISE Festival CEO David Oehm said of The Horizon. "It's bold, breathtaking and built for celebration." Tickets to RISE Festival's 10th anniversary are on sale now. Follow RISE Festival:Instagram: instagram.com/risefestival TikTok: tiktok.com/@risefestival Facebook: facebook.com/riselanternfestival YouTube: youtube.com/user/therisefestival

Don Diablo and Nelly Furtado have joined forces for a new single, "Doing Nothin'," reminding us that sometimes the most meaningful moments are the ones we don’t plan at all. In the new collaboration, Furtado’s honeyed vocals drift effortlessly above Diablo's production, which blends euphoric keys and rhythmic piano chords into a melodic house anthem built for sun-drenched afternoons and spontaneous escapes. The track leans on sleek, shimmering piano chords backed by a warm groove. Furtado has been steadily reclaiming her space on dancefloors. Her work on Dom Dolla’s "Eat Your Man" was a bold and welcome reentry into club culture, helping the track become a global dance hit. Meanwhile, Diablo is celebrating a decade of his influential HEXAGON label with an ambitious revamp. "I had so much fun working on 'Doing Nothin' with Don Diablo," Furtado said. "After all these years, it's exciting to still be part of something that feels this fresh and full of energy. Collaborating with artists who push things forward keeps it all evolving—and that's what I'm here for." You can listen to "Doing Nothin'" below and find the new single on streaming platforms here. Follow Don Diablo:X: x.com/dondiablo Instagram: instagram.com/dondiablo TikTok: tiktok.com/@dondiablo Facebook: facebook.com/officialdondiablo Spotify: tinyurl.com/3cvw6am4

Ivana Kovačević, the wife of EXIT Festival founder Dušan Kovačević, has tragically passed away at the age of 45. A mother of three, Ivana was hospitalized in critical condition earlier in the month of May before succumbing to an unspecified illness. Her family confirmed her death in a statement on social media. "With immeasurable sorrow and pain, we inform you that this morning at 5AM, the soul of our beloved Ivana went to join the angels. She was, and remains, one of them," the statement reads. "Ivana was and remains a synonym for love. One of her final words in this world was: 'No one knows how much I love everybody.'" View the original article to see embedded media. Ivana's presence was deeply felt by the tight-knit community of the Serbian music festival, which she helped grow from a protest-rooted student movement in 2000 into a globally recognized EDM powerhouse. Her death comes just weeks before EXIT's 2025 edition, scheduled for July 10-13. Dušan took to social media to share a heart-wrenching post mourning his wife. "I vow to you that with every breath, every thought, and every action, I will care for our little dragons and guide them through life to become the kind of people we always dreamed they would be," he wrote. "They will be surrounded by those who love you, who know you well, and who will tell them about you. Who will, each in their own way, carry forward in this world a piece of the boundless love you hold for them." We at EDM.com extend our heartfelt support to the family, friends and loved ones of Ivana Kovačević during this difficult time. View the original article to see embedded media. Follow EXIT Festival:X: x.com/exitfestival Instagram: instagram.com/exitfestival TikTok: tiktok.com/@exit_festival Facebook: facebook.com/exit.festival

We swore we were still jet-lagged from Vegas, but there it was — BrewDog Dubai, staring back at us like a mirage with craft beer. There’s a special kind of buzz that lingers after a weekend like EDC Las Vegas. The kind that doesn’t fade with the final drop or the closing fireworks. For some, it usually leads to a rooftop pint at BrewDog Las Vegas, a side quest we didn’t know we’d recreate so soon — 8,000 miles away in Dubai. BrewDog’s brand-new outpost on Bluewaters Island officially opened last Friday, May 23, and we swung by early for a first taste. This place isn’t just another watering hole. It’s a literal two-floor playground for craft beer lovers, complete with 22 taps, Duck Pin bowling, AR darts, and two wraparound terraces overlooking Ain Dubai and the Marina. In other words, it’s a place where the party either winds down or starts back up. And yes — Elvis Juice and Hazy Jane made it to the UAE. That alone made our jet-lagged hearts feel right at home. Hair of the Dog, Dubai Edition They say “hair of the dog” is the best cure after a wild night out. But here, it’s not about chasing the next party. It’s about celebrating the comedown. BrewDog Dubai feels like that sweet spot — where basslines settle into memories and your crew relives the night over loaded fries, sticky wings, and small-batch pints. Sure, we’re not trying to keep the rave going — not entirely. But there’s something poetic about sipping the same citrusy Hazy Jane we had in Vegas, now with Ain Dubai towering behind us. It’s nostalgic. It’s grounding. And it tastes like a well-earned reward. A Brewdog Built for Dubai Nights This isn’t a clone of the Vegas location. While BrewDog Las Vegas offers 360-degree views of the Strip and in-house microbrews, BrewDog Dubai amps up the lifestyle factor. There’s no on-site brewing but the beer list includes Punk IPA, Wingman, Lost Lager, The Grind, and more, all cold, crisp, and flowing generously. The Dubai space wins major points for its two terraces, which shift moods throughout the day — laid-back brunch spot by daylight, golden hour stunner by sunset, and sleek hangout by night. They’ve also gone full throttle with immersive gaming, letting you pre-game your pint with bowling and next-gen darts — a clever nod to Dubai’s love for interactive nightlife experiences. A New Player on Bluewaters’ Nightlife Map The Bluewaters Island crowd has seen its share of sleek concepts, but BrewDog brings a rebellious, rock ‘n roll edge to a district better known for its curated calm. There’s still that unmistakable Dubai polish — but it’s been dipped in hop-forward flavor, garnished with tongue-in-cheek humor, and served with enough wing sauce to justify a second napkin. “We’re so excited to bring to Dubai everything the world loves about BrewDog – from its pioneering beers and legendary food to immersive gaming and live music, all under one roof,” said N Daud, CEO of Rise Hospitality. “This is a bar that sets a new benchmark for the city and delivers something fresh every day of the week.” He’s not bluffing. The Dubai debut is just the start — the brand plans eight venues across the UAE in five years. Final Sip: The After The Afters Spot That Earned Its Seat Let’s get one thing straight — we’re not here to glorify bouncing from stage to stage without sleep. But BrewDog Dubai offers something rare: a place where post-rave still feels purposeful. Not indulgent, not excessive — just a sharp, frosty punctuation mark to a night that meant everything. It’s where you land after the afters, with enough space to recover, reconnect, and maybe even plot your next one. And for us, any place that pours Elvis Juice this far from the Strip, earns a place in the rotation. The post BrewDog In Dubai? We Had To Take A Double Look appeared first on EDMNOMAD. View the full article

You know that moment in Inception when Leonardo DiCaprio explains how dreams within dreams work, and you're nodding along like you totally get it while secretly wondering if Christopher Nolan is just messing with everyone? That's the exact energy radiating from [UNVRS], Ibiza's newest superclub, which opened Friday night with the kind of splendor that makes you question if you've been living in a simulation where other major venues just weren't trying hard enough. Masterminded by The Night League, the same team behind Ushuaïa and Hï Ibiza, [UNVRS] "has been built with a singular vision: to create the most complex, breathtaking club in the world," according to a press release. The venue is described as "part nightclub, part sculpture, part dream," which sounds like something you'd pitch to Netflix after one too many espresso martinis, but somehow works in practice. That's clear the moment you step onto the sprawling grounds of [UNVRS], as it greets visitors with a towering crashed UFO sculpture at the entrance. Stefano Manzoni Outside, a variety of open-air terraces offer panoramic views of the Balearic island of Formentera. Inside, the space marries traditional Ibizan finca aesthetics with sci-fi sublimity, complete with mind-bending visuals and custom L-Acoustics sound systems that probably cost more than most people's mortgages. There's something beautifully unhinged about building a nightclub that requires its own mythology to explain, complete with origin stories about civilizations lost to time and reborn from cosmic dust. The storyline of [UNVRS] unfolded by virtue of audiovisual activations throughout every corner of the venue—each room had its "own sensory universe" with architectural references drawn from "brutalism, retro-futurism and contemporary art deco." Elsewhere inside the opening party, those who had to relieve themselves during the marathon evening found no respite in the "Wild Comet," a fully equipped mini-club tucked inside the bathroom. There's a DJ booth surrounded by sound-reactive lighting in the toilets, so it's the only place where dropping the bass and—ahem—dropping something else can happen simultaneously. View the original article to see embedded media. On the music side of things, the night featured a brilliant lineup topped by a b2b DJ set from Carl Cox and Jamie Jones, each of whom are considered legends on the island of Ibiza. Other standouts were performances by Ahmed Spins, Adam Ten b2b Mita Gami and Joseph Capriati b2b The Martinez Brothers. The party's apex was a delirious sunrise set from British house music icon Michael Bibi, who recently triumphed over a brutal six-month battle with a rare cancer, CNS Lymphoma. He DJed as the giant windows of [UNVRS] slid open and light flooded the venue, revealing breathtaking views of the White Isle. View the original article to see embedded media. The party marked the start of an epic summer of shows at [UNVRS], which is now set to present a slew of high-profile residencies and exclusive one-off shows from Anyma, David Guetta, Carl Cox, FISHER and EDM.com Class of 2024 artist Sara Landry, among others. [UNVRS] also nabbed exclusivity of Eric Prydz's pioneering Holosphere 2.0, which is said to be "the biggest show production ever undertaken in Ibiza." That's according to Yann Pissenem, Founder and CEO of The Night League, whose ambitions for the venue are anything but modest. "Opening [UNVRS] has been both a huge undertaking and a tremendous responsibility—a shared dream brought to life with passion, vision and an incredible team," Pissenem said. "From the very beginning, our goal was to contribute something new and meaningful to Ibiza's rich clubbing legacy: a space that celebrates the island’s spirit while looking boldly to the future." Check out a gallery of images from the opening of [UNVRS] below. Stefano Manzoni View the 12 images of this gallery on the original article Follow [UNVRS]:X: x.com/unvrsibiza Instagram: instagram.com/unvrsibiza TikTok: tiktok.com/@unvrsibiza YouTube: youtube.com/@unvrsibiza Facebook: facebook.com/unvrsibiza

Following an official remix of Audrey Nuna’s “Mine,” released alongside Channel Tres, DASH now introduces his first original single, “Back 2 Life,” featuring TITUS. Out via Game Over Records, the track combines drum and bass velocity with atmospheric digital grit—balancing cinematic pressure and melodic clarity across a tightly wound three-minute form. Produced from his own virtual studio, the track builds around fast-paced percussion, glitch-leaning textures, and layered vocal pacing. TITUS delivers with characteristic precision, bringing sharp contrast to the production’s restless energy. While the structure remains compact, the sound design and pacing leave room for scale—meant for immersive listening and stage execution alike. DASH enters as a fully-formed concept: an anonymous creator with digital-native DNA, working at the intersection of music, tech, and interactive storytelling. With no public identity and minimal release history, the project exists primarily through its output—positioning DASH as both participant and signal within a broader narrative arc. “Back 2 Life” serves as the first installment in that rollout, launched through Game Over Records, a label focused on narrative-led releases and hybrid creative platforms. The single arrives with an interactive web portal at dashworld.gg, where listeners can initiate direct conversations with the artist and engage with layered content tied to the project’s long-term story. The post DASH Releases Debut Single ‘Back 2 Life’ Featuring TITUS via Game Over Records appeared first on EDMTunes.

Tomorrowland just raised the bar for festival essentials—earplugs are no longer optional and with Loop, they’re officially part of the experience. After three years enhancing Tomorrowland Belgium’s soundscape, Loop becomes the global earplug partner for all Tomorrowland-branded events starting 2025. Whether you’re raving in Brazil, skiing into Tomorrowland Winter, or dancing under the Boom sky, the same high-fidelity hearing protection now follows the music worldwide. A Global Shift Toward Sound-First Culture This partnership marks a turning point for live music. Earplugs are no longer a side thought—they’re key to immersive, safe listening. The new Tomorrowland x Loop Experience 2 delivers 17 dB of filtered noise reduction, preserving clarity while reducing damage. Their dance-proof fit keeps them secure in the crowd, letting ravers move freely without compromising sound or safety. “Going beyond Belgium to events like Tomorrowland Brasil and Tomorrowland Winter is a huge milestone in redefining the role of hearing protection at festivals,” says Loop co-founder Dimitri O. “Tomorrowland shares our vision for a deeper connection to sound. Its blend of music, art, and technology creates the perfect stage to shape this on a global scale.” Tomorrowland and Loop Makes A Festival Essential an Experience Design lovers and audiophiles get the best of both worlds. The new Experience 2 earplugs take design cues from Tomorrowland Belgium’s 2025 ‘Orbyz’ theme, echoing an underground crystal-powered universe. Fans can choose between Holographic Ruby or Holographic Black, each with a matching Loop Carry Case. For the first time, the line also introduces the Tomorrowland x Loop Link connector cord, ensuring earplugs stay within reach no matter where your journey leads. This isn’t just a product—it’s a shift in festival culture. Loop transforms earplugs from something hidden to something proudly worn. With smart design, filtered acoustics, and global accessibility, Tomorrowland and Loop are redefining what it means to be a conscious raver. Music lovers can now dive deep into the moment, knowing their ears are protected for the long run. Your New Must-Pack Festival Item Available now, both the Tomorrowland x Loop Experience 2 earplugs ($39.95/€34.95) and the Loop Link connector cord ($29.95/€24.95) will be available: Online at store.tomorrowland.com and loopearplugs.com Onsite at Tomorrowland Belgium, including the festival grounds and DreamVille At Tomorrowland-branded events worldwide, with more details to come Whether you’re a Tomorrowland mainstage purist or a deep house explorer, Loop ensures you hear every drop and protect every beat. The post How To Enjoy The Magic of Tomorrowland Without Sacrificing Your Hearing, Loop to the Rescue appeared first on EDMNOMAD. View the full article

Matt Blackhouse, ATG Entertainment-operated Swansea Building Society Arena’s new venue director. Photo Credit: ATG Here’s a recap of recent music industry hires and in-house promotions as of May 30th, 2025. If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here. TouchTunes TouchTunes has hired Brightcove vet Scott Levine as CEO. SOCAN SOCAN members have elected and re-elected six board members to three-year terms. On the writer side, that includes Darren Fung, Greg Johnston, and board chair Marc Ouellette. Meanwhile, Peermusic’s Cheryl Link, Sony Music Publishing’s David Quilico, and YMX Media’s Jean-François Denis are confirmed as publisher members. Wasserman Wasserman Music has brought on New York-based Jazmyn Griffin (previously C3 Presents’ marketing manager) as global festivals director. Additionally, LA-based Tessie Lammle (a 10-year UTA vet) has come aboard as a hip-hop-focused director and agent. CRS CRB has revealed the Country Radio Seminar’s 2025-26 Agenda Committee leaders and members. On the leader front, Broken Bow/BMG higher-ups Shelley Hargis (chair) and Krista Hayes-Pruitt (co-vice chair) are returning, with Pamal Broadcasting’s Kevin Callahan joining as co-vice chair. Members, for their part, include Audacy’s Andrea Burtscher, Sarah Frazier, and Scott Roddy; Cumulus’ Jennipher Miller and Brooks O’Brian; manager Tanner Davenport; Cannon Country 107.9 host Gideon Dean; Leo33 co-founder Katie Dean; Froggy 101.7 host Paisley Dunn-Banks; Red Street regional director Bridget Herrmann; RECORDS Nashville’s Jamice Jennings; iHeart program director Jess Jennings; Megatrax’s Ileana Landon; Super Hi-Fi’s Bo Matthews; Forever Media’s Charlie Maxx; 92.5 XTU host Nicole Michalik; Urban One’s Lauren Sessions-Barker; BMG’s Jennifer Shaffer; Collective Heads partner Jimmy Steal; 97.3 The Dawg host Jude Walker; and Neil Wilson Voiceovers’ namesake founder. Dreamliner Entertainer Motorcoach Hall of Fame inductee Mark Larson has rejoined Dreamliner Luxury Coaches as leasing VP. Plus, tour operations VP Damian Holton is “transitioning to a new” business-development role. Audio Chateau Records Audio Chateau’s advisory board has welcomed Poo Bear, who’ll “co-write and produce the debut album for Randy Savvy, lead singer of the Compton Cowboys.” Tickets for Good Eyeing an international expansion, Tickets for Good has formally added Derek DeVeaux as global COO. And the company’s U.K. team has expanded with Aaron Taylor (new business lead), George Webb (ticketing operations and customer service lead), and Laura Harmer (community partnerships lead). Swansea Building Society Arena Formerly YTL Arena’s senior events project manager, Matt Blackhouse is preparing to begin as the Swansea Building Society Arena’s venue director on June 2nd. AEG Presents AEG Presents has upped seven-year team member Joe Jaeger to VP of integrated marketing and strategy. Live Nation Live Nation has elected Kennedy Center head Richard Grenell to its board. Frontiers Label Group Frontiers has named Earache vet Tim Bailey head of label for international. Universal Music Group Former Verizon CFO Matt Ellis will begin in the same role at Universal Music on June 9th. Capitol Music Group One reorganization later, CMG has enlisted Candice Watkins to serve as president of Capitol Records Nashville; the former Big Loud marketing exec will double as Capitol Christian’s EVP. Armada Music Group Priority Lane owner Maarten Steinkamp is now Armada Music’s interim president. TikTok TikTok has tasked creative agency Pereira O’Dell with overseeing its global-creative projects. View the full article

Even cutting-edge technology can benefit from an occasional reboot. Tokyo Machine is back with a new EP, Factory Reset, which sees the Japanese-inspired producer reclaim his position amongst bass music's elite. Out now via Monstercat, the five-track collection marks a creative turning point for the virtuosic producer, combining his signature chaotic basslines with darker, more brooding soundscapes. Thematically, the EP lives up to its name. The accompanying artwork—a half-human, half-cybernetic Tokyo Machine mid-reboot—echoes the sonic evolution inside. This is music for festivals, rave caves and the video game world all at once. "I wanted Factory Reset to feel like a live show in your headphones,” Tokyo Machine explained in a press release. “It’s a more mature, dark and live-based sound that still keeps the nostalgic and synthetic core of Tokyo Machine." Opening track “THE FURIOUS” sets the tone with a concoction of digitized dubstep and glitchy bass house, crackling with robotic samples and frenetic vocal chops. Tokyo Machine's love of genre fluidity is on full display here. “MVP” follows, detonating with distorted guitar and laser synths before swerving into a pounding techno finale. It’s intense and cinematic in a way that evokes the feeling of a final boss fight. “SCREW UR FACE UP” does exactly what it promises, bringing twisted glitches and moshpit-level bass, while the previously released singles “LOCK N LOAD” and “WATCH OUT!” deliver rave maximalism with nostalgic, arcade-style flair. Backed by over 300 million streams, a Gold record and syncs across Rocket League, Meta, F1 and more, Tokyo Machine is hardly an underground name. But Factory Reset plays like an origin story reimagined and recharged. In the midst of his debut "CHOMPO" tour, he’s been selling out venues across the US and proving this reset is anything but quiet. Listen to Factory Reset below. Follow Tokyo Machine:X: x.com/tokyomachine Instagram: instagram.com/tokyomachine TikTok: tiktok.com/@tokyomachine Facebook: facebook.com/tokyomachine Spotify: spoti.fi/2YMOzk9

Washington, D.C.’s James Madison Memorial Building, which houses the U.S. Copyright Office. Photo Credit: UpstateNYer The battle for Copyright Office control isn’t letting up: Shira Perlmutter is now seeking a high-speed summary judgement resolution, while the Trump administration is firing back against the sought “fast-track schedule.” Those developments might come as a surprise in light of the court’s most recent determination. Upon denying Perlmutter’s restraining order ask, the presiding judge also instructed the parties to “submit a joint proposed briefing schedule” concerning a potential preliminary injunction push on the plaintiff’s end, we reported yesterday. Instead, Perlmutter’s legal team has opted to entreat the court to green-light an “expedited briefing schedule” on the summary judgement front. There’s “a pressing need for both the parties and the public to obtain a speedy resolution of this matter,” the former USCO head indicated, “as the leadership of the Library of Congress and the Copyright Office will remain in dispute until the legality of Defendants’ actions is adjudicated on the merits. “It would best serve judicial economy and the interests of the parties to proceed to final judgment,” the plaintiff summed up. That refers specifically to a desired June 5th deadline for the actual summary judgement motion, a June 12th cutoff for the defendants’ response, and four days thereafter for Perlmutter’s reply. However, if “expedited summary judgment is unavailable,” Perlmutter would like “an opportunity” to hammer out the aforementioned preliminary injunction schedule, per the legal document. As highlighted, the Trump administration isn’t on board with the quick-moving schedule, which it formally opposed in a filing today. “But there is nothing ‘pressing’ about a legal issue remaining ‘in dispute’ until an adjudication on the merits after a case has run its normal course,” the Justice Department penned. “That is true of all litigation, but that fact does not give every plaintiff a right to expedited proceedings,” the Trump administration continued. “And it especially should not here, where this Court recognized in denying the motion for a temporary restraining order that Plaintiff has failed to show that any of the purported harms she identified are either irreparable or imminent.” Besides rejecting the rapid-fire schedule, the court shouldn’t entertain Perlmutter’s above-described request to cement a preliminary injunction timetable, the defendants said in more words. “This Court gave Plaintiff that opportunity already,” the DOJ wrote, “but rather than propose a schedule for preliminary injunction briefing to Defendants, Plaintiff filed her present motion. That is no doubt because Plaintiff does not believe she could obtain a preliminary injunction given this Court’s holding that she has failed to show the irreparable harm necessary for emergency injunctive relief.” How, then, should the case proceed? According to the Trump administration, a June 5th “or later” summary judgement cutoff for the plaintiff would be suitable, followed by a three-week window for an opposition response and a cross-motion for summary judgement. From there, Team Perlmutter would have another three weeks yet to respond, with the defendants’ reply in support of the summary judgement cross-motion due within two more weeks. At the time of writing, the court hadn’t weighed in on the opposing views. Despite the benefit of frequent updates thus far, though, it’s possible that the case will spin out over weeks (if not months should a full legal proceeding take place). Among other things, the window could bring with it the appointment of permanent Library and Copyright Office heads – and, in turn, fresh legal questions as well as a variety of considerations for the music space. View the full article

So much digital ink has been spilled in the electronic dance music world about the loss of the album in the classic sense of the word. We reminisce on the days when an album was a musical journey, meant to be consumed as a whole. That type of album has largely been lost to the endless singles and cumulative release albums. Yet Anyma‘s The End of Genesys album not only revives this type of album, but takes it to a whole new level, potentially starting a new trend for high-concept albums. This is because thousands of people had the opportunity to experience this album as live visual and auditory spectacle at Sphere Las Vegas. You see, Anyma has had a very clear vision for what he wants his project to be, and the Sphere shows were the fully realized version of that vision. His tracks often explore concepts surrounding intelligence, consciousness, the fusion of nature and technology, and the applicability of human concepts, such as life & death and love & loss to the world of artificial intelligence. It all sounds a bit excessive for a melodic techno artist, but it all comes together when the intricate visuals are presented alongside the music. And so it is that almost every track on The End of Genesys instantly transports you back to the mindblowing Sphere, bringing back the moments of wonder you experienced there, and the friends and loved ones you shared those moments with. The goosebumps return with a rush of emotions that is hard to compare to any other album. It’s not crazy to think that The End of Genesys is the beginning of a new era for albums. Basically every track on this album was played during the Sphere shows, so those people will already know them. Even for other people, the tracks have been omnipresent on social media since the Sphere shows began. Anyma is cognizant that this is a new type of album and perhaps it goes beyond the realm of melodic techno or even techno, and Anyma sees this album as a foray into the general music industry. The Tracks The tracklist does not mirror the Sphere shows in terms of running order, and the tracklist also includes tracks that were not played at every Sphere show. The biggest and most beloved tracks were released as singles, ‘Angel in the Dark‘, ‘Hypnotized‘, ‘Voices in My Head‘, and ‘Neverland‘. However each of the tracks is bound to elicit an emotional response. The opening track, ‘Lucente‘, will be familiar to anybody from the Sphere as it was the very first thing that played as the show began. This track goes hand in hand with ‘The End of Genesys’, the operatic track that played outside of the Sphere for months during the Anyma residency. It also included one of the most memorable visuals since it was played on the Exosphere for all to see around Las Vegas and the world. The end result is that this album feels like an instant classic, a platitude I usually reserve for Rufus du Sol albums. By the time you hear this album you will probably already love at least a few, if not most, of the tracks on it. My favorite tracks that were not released as singles Taratata – This dark and foreboding collaboration with Grimes came with such a visual flare in the form of the terrorizing visuals that it can’t be ignored. This one has been out in the ether since even before the Sphere shows and we love it. Atmosphere – This is another darker and punchier track with Chris Avantgarde. It’s one of the rare instrumentals in the mix and it served as a bit of a bridge between scenes during the Sphere shows. It’s a great dark atmospheric track that you can see being played across the techno spectrum. In My Mind – Anyma’s collaboration with SCRIPT is such a banger that I am surprised it was not given a single release, but it was pre-released last week as a Beatport exclusive, demonstrating the power of this one as a dancefloor weapon. Entropy – When we learned that Anyma was collaborating with REZZ, many of us were puzzled at how the two could merge their sounds. This track did not make it into rotation until the final run of Sphere shows, but it was added to great effect. The more you listen to this one the more it grows on you. Human Now – This was one of the tracks that only got introduced in certain Sphere shows, but it has grown to occupy the emotional closing track moment for Anyma’s shows in recent months. This collaboration with Luke Steele of Empire of the Sun is the perfect closer for Anyma because it is the end result of his Genesys narrative. The story of Genesys is something akin to the creation of artificial life, the artificial life gaining consciousness and the human experience through life, death, love and loss – so that the robot is, in many ways, a human just like all of us. All of this is set against the uplifting feel-good vibes of the track that can’t help but make your heart swell. Leave a Mark – My favorite of the new tracks is absolutely ‘Leave a Mark’ with MAGNUS, and the gorgeous visuals that go with it. Since we still aren’t getting ‘You Make Me’, this track fills that emotional lovey-dovey slot in the tracklist. It’s nearly impossible to hear this one without feeling that sense of wonder that you felt during the Sphere show as the entire ceiling above you became a gorgeous starry night sky until the two beings come together and it creates a huge wave of energy that rolls across the entire massive screen. It says quite a lot that, in an album that released its heaviest hitters in advance, there are still 6+ amazing tracks that you need to check out. Do yourself a favor and listen to the entire album, and pull up the track visuals to go along with it on YouTube. We don’t know what’s next for Anyma, but we will start to get an idea soon. He’s set for a number of headlining shows throughout the Summer, including Afterlife Barcelona, Tomorrowland, Creamfields and more. We’ll get more visual spectacle shows but also some stripped down performances as well. The future is bright for Matteo Milleri. You can listen to the whole album below. The post Anyma Closes the Genesys Era with a Groundbreaking Album appeared first on EDMTunes.

After drought-related fire restrictions forced Lost Lands to rely solely on drone displays last year, the prehistoric-themed festival, founded by dubstep superstar Excision, will restore its full pyrotechnic production in 2025 while introducing a spate of updates to both its venue and onsite experience. The Ohio-based event, which in recent years has established itself as one of the nation's leading EDM festivals, will feature a combination of flames, fireworks and drones in 2025. The revamped programming brings "the full Lost Lands spectacle back to life in dramatic fashion," per a press release shared with EDM.com. Turk Photos One of the most significant additions is "Dino Divas," a designated camping area exclusively for female attendees. The specialized campground represents Lost Lands' effort to address safety concerns within the rave community, which often brings about aggressive environments that lead to unwanted physical contact. Last year's festival saw a group of women organize "girls-only mosh pits." Lost Lands' tunnel system, introduced in 2024 to connect campgrounds with the main festival grounds, will continue operating to manage crowd flow. Organizers are also planning a "significant increase in shuttle service" between the South Parking Lot and the venue to minimize entry wait times. Elsewhere on Lost Lands' sprawling Legend Valley grounds, its infrastructure continues to evolve with the return of the 360° Crater Stage, a fan-favorite. First introduced in 2024, the circular performance space is now expanding to offer increased viewing capacity and improved sight-lines. The rest of the festival's beloved themed stages are also returning, but Prehistoric and Wompy Woods are both set to debut new designs. View the original article to see embedded media. Dining options will see substantial upgrades, including a dedicated marketplace zone featuring health-conscious alternatives such as vegan, vegetarian and gluten-free offerings alongside non-alcoholic beverages. A guest chef has also been commissioned to curate an onsite dining experience. A "private high-end food court" will also be available to those who opt for the Lost Lands glamping experience. In addition, the Village Glamping area will feature new air-conditioned bell tents and 24-hour shower facilities. Lost Lands 2025 is scheduled for September 19-21. Excision is once again set to deliver three unique performances, including a b2b set with fellow dubstep superstar Subtronics. They're joined on the lineup by a slew of influential electronic artists, including REZZ, ILLENIUM, Space Laces, LSZEE (CloZee and LSDREAM), Eptic, PEEKABOO and SVDDEN DEATH's VOYD alias. You can check out the full lineup below and purchase festival passes via the Lost Lands website. Lost Lands Follow Lost Lands:X: x.com/lost_lands Instagram: instagram.com/lostlandsfestival Facebook: facebook.com/lostlandsmusicfestival

Photo Credit: Creative Community for Peace More than 400 prominent leaders from the music and entertainment industries—including executives from YouTube Music, Warner Music Group (WMG), Universal Music Group (UMG), VEVO, Roc Nation, and the Recording Academy—have signed a powerful open letter denouncing anti-Israel extremism and antisemitism. The initiative, organized by the Creative Community for Peace (CCFP), marks a significant stand against the rising tide of hate speech and misinformation targeting Israel and Jewish communities since the October 7, 2023 Hamas attack on an Israeli music festival. The open letter was released on May 28, 2025 and directly addresses the proliferation of extremist rhetoric and antisemitic incitement, which signatories say has been amplified by both ideological actors and unwitting celebrities. The letter states: “Hamas, Iran, and their allies and ideological sympathizers in the West have flooded the world with their hateful lies and antisemitic incitement since October 7—lies designed to demonize Israel, the Jewish people, and their supporters.” “When public figures accuse Israel of genocide, call for intifada, or claim Jews are colonizers, they may not understand the history they’re invoking—but the people who act on those words do,” says Haim Saban, CEO of Saban Capital Group and the leading voice behind the letter. “This open letter is a plea for truth, for accountability, and for responsibility—especially from those with powerful platforms.” Executives from major record labels and platforms including YouTube Music, WMG, UMG, VEVO, ROC Nation, and the Recording Academy have all endorsed the open letter. The Recording Academy has reiterated its commitment to the unifying power of music and condemned violence, hate, and antisemitism, particularly referencing the massacre at the Supernova music festival in Israel on October 7. UMG’s statement highlighted the need for tolerance, empathy, and understanding, while WMG reaffirmed its opposition to all forms of discrimination and racism, expressing solidarity with Israel and the global Jewish community. “For the past 600 days, the anti-Israel movement has espoused an unrelenting stream of extremist rhetoric to demonize Israel and anyone who supports the country — it’s a toxic mix of distortion, bigotry and incitement. Given the power of social media, it’s incumbent on entertainers and public figures, with their ability to influence millions around the world, to use their platforms responsibly. Without a course correction, we will only see more hate, more violence, and more innocent people targeted simply for being Jewish,” CCFP Chairman/Co-Founder David Renzer and Executive Director Ari Ingel add. The full open letter and signatories are available here. View the full article

Photo Credit: RTR Distribution RTR Distribution has issued a formal cease and desist letter to UnitedMasters over the use of the term ‘Real-Time Royalties’ on their website. RTR Distribution, a platform for real-time royalty payments for content creators, has issued a formal cease and desist letter to UnitedMasters. This legal kerfuffle is over the unauthorized use of the term “Real-Time Royalties” on their website. RTR Distribution holds a pending patent for real-time royalty payment technology and has exclusive rights to the technology in the blockchain-based entertainment monetization space. The cease and desist letter demands that UnitedMasters immediately remove the term “Real-Time Royalties” from their marketing, promotional materials, and any online references. Those references directly infringes upon RTR Distribution’s intellectual property. The company has given UnitedMasters a 14-day deadline to comply with the request. “We have developed and have a pending patent on the technology that powers real-time payments for creators,” said Joshua D. Combs, Founder and CEO of RTR Distribution. “Our platform enables artists, musicians, and content creators to receive instant payouts for their work, and we take great pride in the innovation we’ve brought to the industry. The use of the term ‘real-time royalties’ by UnitedMasters is not only misleading but also an infringement on the intellectual property we’ve worked tirelessly to build. If they do not comply, we will take the necessary legal steps to protect our pending patent and our business.” The ability to provide real-time royalty payments has become increasingly important in the music and content creation industries. As the entertainment sector moves toward blockchain integration, RTR Distribution is hoping to lead the charge in ensuring that creators receive instant payouts for every stream, view, or download of their content. The patent-pending technology behind RTR Distribution’s platform ensures fair compensation for artists, producers, and content creators worldwide, without the traditional delays of legacy payment systems. RTR Distribution is a platform built on blockchain technology that provides real-time royalty payments to content creators in the music, film, podcast, and digital media sectors. By using RLT tokens and smart contracts, RTR Distribution ensures that creators are paid immediately every time their content is consumed. RTR Distribution is working to revolutionize the way content creators are compensated, providing fairer, faster, and transparent payment solutions. UnitedMasters is a digital music distribution company that allows independent artists to distribute their music across various streaming platforms. They offer a variety of tools to help artists manage and monetize their content independently. Should UnitedMasters fail to comply with the cease and desist request, RTR Distribution is prepared to pursue legal action to protect its intellectual property rights. The company is committed to defending the technology that powers real-time payments and ensuring that creators receive the compensation they deserve, without compromise. View the full article

Out today is Adam Beyer’s latest single, ‘Alto‘ in collaboration with Layton Giordani, joining last week’s ‘Taking Back Control‘ as the newest single off his forthcoming album. The excitement surrounding Beyer’s first album in over 20 years is palpable. Following the LP’s eponymous first single, ‘Explorer’ which dropped in March, and the well-received ‘Hypnotic,’ a collaboration with rising producer HNTR feat. Kygo, highlights have been coming thick and fast. They include the 12,000-person Drumcode party at Drumsheds (featuring Adam Beyer b2b Vintage Culture), a wild Drumcode Pop-up event at an off license in London, while Beyer featured on two billboards in Leicester Square and Stratford to celebrate his takeover of Spotify’s Techno State playlist. Cross-genre fusions continue to inspire Beyer, soaking up inspirations from three decades producing music. ‘Taking Back Control’ is fierce techno that scribbles outside the lines via a scintillating vocal that takes influence from rap and pop, but crafted in the Drumcode boss’s imitable fresh style. Creative link-ups between Beyer and Layton Giordani are always special. From their memorable b2b’s at events like Awakenings, to studio link ups that highlight the release calendar, the duo share incredible artistic chemistry. ‘Alto’ is divine rave kissed techno made for teary mornings. “I sent Layton a lot of my sketches while on tour, and this one caught his attention. I laid down the melodies and core structure, then he brought Alto to life with his signature drums and finishing touches. We sampled an iconic vocal from the same source as The Orb’s Little Fluffy Clouds. It’s euphoric, emotional and written in a major key which is rare for me, and has become a set closer, especially in Ibiza. Always goes off.” -Adam Beyer Adam’s new album, Explorer Vol.1, is out June 13th via Drumcode, pre-save here. The post Adam Beyer Releases ‘Alto’ With Layton Giordani Ahead of Album appeared first on EDMTunes.

After a 15-year hiatus from releasing full-length albums, iconic electronic rock band Pendulum has announced their return with a new LP titled Inertia, scheduled to drop on August 22nd. Their last album, Immersion, was released in 2010. The announcement comes with the release of a blistering lead single, “Save The Cat,” a high-energy fusion of drum & bass and metal, featuring emotionally charged vocals from frontman Rob Swire. According to Swire, the song was penned during a period of self-reflection and frustration following two breakups, and signifies the band, and himself, rediscovering their identity. “It’s the sound of Pendulum finding themselves again, and me figuring myself out to a certain extent. Breakups do that—they strip things down and show you who you are. I’m just trying not to become the guy who needs to go through one just to make a record.” -Rob Swire Inertia is set to feature 16 tracks, including songs from their 2021 “Elemental” and 2023 “Anima” EPs, alongside new material. The album will also boast collaborations with several artists, including Bullet For My Valentine, Wargasm, AWOLNATION, Scarlxrd, Joey Valence & Brae, and Hybrid Minds. Swire stated that with this album, they were testing the boundaries of Pendulum’s sound, drawing inspiration from the evolution of acts like The Prodigy. He described Inertia as the sound of Pendulum finding themselves again and considers it their most personal work to date. The album was co-produced by Swire and Owen Charles in Pendulum’s London studio and will be released August 22nd via Mushroom Music. You can pre-save the album here. The post Pendulum Announces ‘Inertia,’ First New Album in 15 Years appeared first on EDMTunes.

There's a moment every year when electronic music fans collectively remember they need to start stretching their necks in preparation for Lost Lands. For better or worse, some traditions never go extinct, and that moment has arrived with the reveal of the prehistoric-themed festival's 2025 lineup. For the uninitiated, Lost Lands is the Excision-led dubstep and bass music festival that operates on the principle that if your entire cervico-thoracic region isn't sore by Monday morning, you didn't really even attend. The annual pilgrimage to Ohio's Legend Valley returns September 19-21, promising another weekend where head-banging becomes a legitimate cardiovascular workout. Excision is once again set to deliver three unique sets, including a b2b with fellow dubstep superstar Subtronics. He's joined on the lineup by REZZ, ILLENIUM, Space Laces, LSZEE (CloZee and LSDREAM), Eptic, PEEKABOO and SVDDEN DEATH's VOYD alias, among many other influential electronic artists. This year's lineup also features a slew of young producers currently shaping dubstep's future, including a trio of EDM.com Class of 2025 artists: Tape B, Jessica Audiffred and ALLEYCVT. You can check out the full lineup for Lost Lands 2025 below and purchase festival passes here. Lost Lands Follow Lost Lands:X: x.com/lost_lands Instagram: instagram.com/lostlandsfestival Facebook: facebook.com/lostlandsmusicfestival