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Burning Man's misfortunes continue to mount after its endorsed ticket resale platform mistakenly charged buyers an extra 9% tax, The San Francisco Standard reports. The event's Secure Ticket Exchange Program (STEP), powered by resale platform Tixel, erroneously applied Nevada's 9% "Live Entertainment" tax to secondary market purchases when the program launched in mid-May, per The Standard. This meant buyers were effectively taxed twice—once during the original purchase and again during resale—adding roughly $70 to tickets that originally cost $750 with fees. Organizers also reportedly implemented a new tiered-pricing system recently that drew criticism for its lack of transparency. The double-taxation issue represents another stumble for the beleaguered event, which has faced mounting challenges since its disastrous 2023 event, wherein tens of thousands of attendees found themselves stranded in the Nevada desert after a heavy rainstorm walloped the Black Rock City metropolis. Burning Man at the time disseminated a "survival guide" after issuing a shelter-in-place directive. Last year marked the first time since 2011 that the event failed to sell out, followed by a controversial $20 million budget shortfall that prompted the organization's CEO, Marian Goodell, to solicit community donations to "help secure the long-term of Burning Man." A Burning Man representative confirmed in a statement that Tixel had "accidentally charged" the duplicate tax and is now working to process refunds. "This issue is resolved and we anticipate STEP will continue to operate smoothly throughout the season," Burning Man spokesperson Dominique Debucquoy-Dodley told The Standard. The incident underscores the operational challenges facing Burning Man as it attempts to stabilize its finances while maintaining community trust less than three months before its next gathering. The 2025 event is scheduled for August 24th to September 1st. Follow Burning Man:X: x.com/burningman Instagram: instagram.com/burningman Facebook: facebook.com/burningman

Photo Credit: Taylor Swift Taylor Swift has bought her masters from Shamrock Capital, reclaiming the rights to her first six albums after Scooter Braun bought them in 2019. On Friday, Taylor Swift made an announcement on her website that she had bought her masters back from Shamrock Capital. The Los Angeles-based investment firm, which acquired her masters from Scooter Braun in 2019, was founded by Roy E. Disney, a nephew of Walt Disney. Scooter Braun had acquired the masters as part of a larger acquisition of Big Machine Records. “The best things that have ever been mine… finally actually are,” wrote Swift. “For years I asked, pleaded for a chance to own my work,” she added. “Instead, I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future.” A note posted to Swift’s social media at the time of the Shamrock sale said she was given the opportunity to be a “partner” with the company. She turned down the offer because Braun’s deal would have enabled him to continue profiting from her work. That was when she decided to re-record her original albums, releasing them as “Taylor’s Versions.” Swift released a re-recording of her second album, Fearless (Taylor’s Version) in 2021, followed by Taylor’s Versions of Red, Speak Now, and 1989. The release of 1989 (Taylor’s Version) enjoyed a larger opening week than the original album, debuting on the Billboard 200 with over 1.5 million sales in the US—the biggest opening week of her career at that time. As for the final two re-releases in the project, Swift addressed them in her note to fans on Friday. The re-recorded version of her self-titled debut, she said, has already been completed, “and I really love how it sounds now.” However, her work on a re-released Reputation has hit some snags. The original album “was so specific to that time in my life,” she said, “and I kept hitting a stopping point when I tried to remake it.” Currently, the artist says there are no firm plans to release either record, but that she is leaving the option open. Swift credited her fans’ enthusiasm for the re-recordings and the success of her record-breaking Eras Tour for enabling her to buy back her masters. Across 149 shows, the tour sold over $2 billion in tickets. View the full article

Photo Credit: Flaco2xs / reddit Apple’s removal of the popular music streaming app Musi from the App Store has sparked a high-profile legal battle. Musi’s creators allege the tech giant engaged in collusion and ‘backroom dealings’ with major labels to force the app offline. Apple has dismissed these claims as ‘unfounded conspiracy theories.’ Musi garnered over 66 million downloads on the App Store before it was removed, serving millions of users across the globe. The app acted as a simple wrapper for YouTube music, playing music videos and enabling features like background play—which is a paid YouTube Music feature. Musi stripped YouTube’s ads and added its own or offered ad-free streaming for a price—in violation of YouTube’s API terms of service. Following pressure from music industry organizations like the National Music Publishers’ Association (NMPA), Sony Music, and the International Federation of the Phonographic Industry (IFPI) and YouTube itself—Apple removed Musi from the App Store in September 2024. Musi filed a lawsuit against Apple in the U.S. District Court for the Northern District of California in an attempt to force its way back onto the App Store. Musi claims that Apple’s decision was not merely a response to complaints, but was the result of ‘backroom dealings’ with major labels and YouTube. They allege that the ultimate goal it to eliminate Musi as a competitor. Musi points to internal Apple emails and meetings with music industry executives as evidence of this alleged conspiracy. Apple has categorically denied those allegations, however. In court filings, the company argues that its developer agreement allows the company unilateral authority to remove an app at any time—with or without cause. Apple says the decision to remove the app came after numerous credible complaints of copyright infringement and violation of YouTube’s terms of service. Apple even accused Musi of fabricating an email from a Universal Music executive in an earlier attempt to avoid removal, calling Musi’s accusations “baseless conspiracy theory.” Now Apple is seeking sanctions against the app’s creators for attempting to mislead the court. The court has denied Musi’s request for a preliminary injunction to force Apple to restore the app—finding no evidence that Apple acted in bad faith for the removal. For now, Musi remains unavailable on the App Store. Meanwhile, hundreds of users who previously used the app flood the Musi subreddit seeking alternatives and ways to sideload the app on to their iPhones. View the full article

We’ve got one banger of a tune for you to kick off the weekend. Well hey there! We’ve got some rather exciting news from the world of House music today. And I mean real, proper House music. Mia Moretti has just landed her first signing to the iconic British label Shaboom Records. The track is called ‘My House‘, and although it’s been out for a little while already, we felt it needed to be heard by our dear audience — it would be a crime not to share it. And not only is this Mia’s first release on Shaboom, but it’s also her first-ever song published outside her own imprint Spaghetti Moretti. This only goes to show that Mia is not slowing down anytime soon, in fact, her momentum only picks up pace with time. We’re looking forward to seeing where that rocket-powered momentum takes her. Featuring the vocal talents of spiritual guide Shaman Durek, ‘My House’ is all about letting loose and hitting the dancefloor — you know, as you should on a Friday. The core message is crystal clear, you can peep at the lyrics: “There are no chairs in my house, no tables in my house, no beds in my house“. No it’s not a poor house: you’re there to groove. No place for obstacles in the way. In my production I’ve always been drawn to the classics, the originals, the root — like tending a garden, making good music takes the ability to get down to the source and go deep. However, for this one we aren’t tending garden we are tending house and EVERYTHING MUST GO! I am so honored to join Shaboom Records with this release and clear the floor for Shaman to take the reins. From the parade to the ballroom this is a summer anthem that will put everyone on their tip toes. -Mia Moretti By joining forces with Shaboom, Moretti is now part of a catalogue that boasts some serious heavyweights like Doc Martin, Marshall Jefferson, and Dave Morales. It’s no easy task to belong to a roster of that calibre, but she’s managed to look — and be — the part quite well. For three decades, Shaboom Records, founded in 1995 in Blackpool, has been a powerhouse of innovative House music. Started by the likes of Mark Bell and Dick Johnson, the label has consistently pushed boundaries, blending jazzy sounds, vocal bangers, and deep floor-fillers. Their roster reads like a who’s who of House, including DJ Sneak (you might have heard him in Mia’s second-most recent release) and Joeski & Onionz. Listen to Mia Moretti‘s brand-new ‘My House’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Mia Moretti Debuts On Legendary Shaboom Records With Latest Hit ‘My House’ appeared first on EDMTunes.

After three years at Tomorrowland Belgium, the partnership with Loop is going global. In 2025, Loop becomes the exclusive earplug partner for all Tomorrowland events worldwide, raising the bar for festival sound experiences. This year introduces the new Tomorrowland x Loop Experience™ 2 earplugs, designed to help you enjoy the music longer. They offer 17 dB (SNR) noise reduction while keeping the sound clear and stay put while you dance. Expanding to Tomorrowland events globally is a huge step in making hearing protection essential at festivals,” says Loop co-founder Dimitri O. “Tomorrowland shares our vision for a deeper connection to sound.” Inspired by Tomorrowland Belgium’s 2025 ‘Orbyz’ theme, the limited-edition earplugs come in Holographic Ruby or Holographic Black, each with a case. The collection also features the Tomorrowland x Loop Link™ connector cord to keep your earplugs secure. This global partnership highlights a shift in festival culture: hearing protection is now a key part of enjoying the experience. Loop and Tomorrowland are working to ensure music lovers can enjoy today and protect their ears for tomorrow. The Tomorrowland x Loop Experience 2 earplugs ($39.95/€34.95) and Tomorrowland x Loop Link connector cord ($29.95/€24.95) will be available from May 27, 2025: Online: loopearplugs.com, tomorrowland.com, and amazon.com Onsite: Tomorrowland Belgium and other Tomorrowland events worldwide. Get ready to experience Tomorrowland with great sound and protected ears! The post Loop Becomes Exclusive Worldwide Earplug Partner for Tomorrowland appeared first on EDMTunes.

Every year, a migration of ravers, dreamers, and electronic music lovers makes its way to Las Vegas for Electric Daisy Carnival (EDC). Known as the crown jewel of North American EDM festivals, EDC Las Vegas is more than a party—it’s a massive celebration of sound, community, and creativity. With a reputation built on its commitment to Peace, Love, Unity, and Respect, the festival has earned a global following and continues to raise expectations. EDC is also widely known for the immersive music environment it builds at the Las Vegas Motor Speedway each year, featuring carnival rides, interactive art installations, secret stages, and a culture that emphasizes radical self-expression and inclusivity. It’s not just an event—it’s a pilgrimage for electronic music lovers around the world. EDC Las Vegas 2025 brought unforgettable moments and endless energy to a huge venue filled with sights, sounds, and stories. But while the magic was real, the weekend also revealed some challenges. Here’s how this year’s edition stacked up. Vibes: ★★★★☆ The spirit of EDC was alive and thriving in 2025. Crowd energy was overwhelmingly positive, with hundreds of thousands of strangers forming new friendships in real-time. Kandi exchanges, shared snacks, spontaneous hugs, and mutual encouragement were everywhere. Whether in GA, VIP, or backstage areas, the environment felt inclusive, respectful, and open. We didn’t see any major fights, hostility, or aggression. People danced with strangers, lifted each other up (literally and metaphorically), and created the shared feeling that makes EDC more than just a collection of stages. This was a people-powered success. Security was professional yet relaxed, helping keep the peace without an overbearing presence. Ground Control was especially commendable this year. Multiple attendees shared stories of witnessing Ground Control help individuals in distress, administer Narcan, and save lives without judgment. They moved through the venue like guardians—supportive, alert, and genuinely caring. Even interactions with artists felt personal. A few DJs were spotted chatting with fans and taking photos, which added to the sense that everyone—famous or not—was part of the same shared experience. The Marquee Skydeck at Kinetic Field and Circuit Grounds also brought great vibes. VIP attendees were dancing and making friends, and the energy was incredible all weekend. The elevated perspective of the Skydecks is also a sight to behold, offering unobstructed views of the stage and the crowd. Compared to other major festivals, EDC continues to foster one of the most genuine and unified atmospheres out there. It truly feels like you are in another world. The emotional safety, openness, and good intentions of the crowd played a massive role in making the weekend so memorable. Production: ★★★☆☆ EDC is synonymous with jaw-dropping visuals and cutting-edge stage design, and much of that held true in 2025. Kinetic Field stood out with a massive owl-inspired build, complete with moving wings, a glowing LED backdrop, and pyro synced to the music. The sheer size and grandeur of the stage made it the weekend’s visual centerpiece. Circuit Grounds offered a futuristic layout with an expansive perimeter and plenty of open space, making it one of the best stages for crowd movement and immersion. Fireworks lit up the sky every night in EDC’s famous nightly display, while drones formed complex animations above the crowd, adding another layer of wonder to headline performances. However, a major issue across multiple stages was the lack of large screens or monitors that would allow the audience to actually see the performing DJs. Unless you were in the front row or inside VIP areas, it was difficult to visually connect with the artists. This lack of visibility undercut the emotional energy of the performances and left many in GA feeling disconnected. At Cosmic Meadow, audio issues plagued the stage all weekend, including blown subwoofers and low volume levels. For a festival known as the biggest in North America, the sound inconsistency was noticeable. The smaller details, such as performers on stilts and walk-through light installations, helped sustain EDC’s immersive atmosphere, but the fundamentals—clear sound and artist visibility—could use additional refinement to match the festival’s reputation. Food & Beverage: ★★★☆☆ Food at EDC 2025 was solid overall, with vendors offering options that ranged from greasy comfort food to lighter fusion fare. The most popular options included Asian fusion bowls and poke-style meals, which we found to be a refreshing alternative to the usual fried offerings. These booths consistently drew long lines. In GA+, there were some added selections, but the real jump in quality came in VIP. VIP zones offered air-conditioned dining areas, shorter lines, and more curated options, including gourmet sliders, artisan flatbreads, and a dessert bar, featuring frozen treats made on the spot. These premium perks elevated the experience for those who opted in, and the difference in both comfort and food quality was clear. Beverage variety could use improvement. Alcoholic options were abundant, ranging from daiquiris to tequila-based cocktails, but non-alcoholic options were lacking. Beyond water refill stations, there were very few wellness beverages, such as cold-pressed juices or smoothies. Given the physical toll of dancing and walking for hours in the desert, more accessible and functional drink options would be a valuable addition. Venue: ★★★★☆ The Las Vegas Motor Speedway remains one of the best-designed venues for a festival of this scale. Its expansive layout allowed for countless activities without ever feeling overwhelming. There were areas to dance, areas to explore, and places to rest, including shaded bleachers, grassy patches in the Bamboo Forest, and lounge zones hidden throughout Downtown EDC. The venue design encouraged flow, and although a lot of walking was unavoidable, navigating through crowds was generally smooth. Speakeasy-style pop-ups and side quests gave the space even more personality. There were interactive booths, performance art stations, hidden bars, and art cars that felt like their own mini parties. Every corner of the venue felt intentional, with something to discover around every turn. That said, there were a few logistical pinch-points. Certain walkways near Downtown EDC and the tunnels leading into VIP areas became heavily congested and could benefit from widening or rerouting in the future. Additionally, signage in areas like Kinetic Field was occasionally unclear, causing confusion between GA and VIP paths. One of the unexpected gems was Neon Garden. The high-tempo beats and consistently energized crowds made it one of the most enjoyable places to be all weekend. The VIP SkyDecks at Kinetic Field and Circuit Grounds were also highlights. With elevated viewing platforms, private bars, air-conditioned restrooms, and ample space to truly enjoy the show, they offered some of the best comfort-to-view ratios of any VIP festival experience out there. Safety presence throughout the festival was also handled with balance. Police and security were visible but not overbearing, allowing attendees to feel secure without dampening the vibe. Music: ★★★★☆ With hundreds of artists across every electronic subgenre, the music at EDC Las Vegas 2025 was both expansive and eclectic. From trance and house to dubstep, techno, hardstyle, and experimental bass, there was no shortage of variety. This year, many attendees found themselves diving into sets they hadn’t planned on seeing, discovering new artists and sounds at every turn. Among the weekend’s highlights was an anticipated B2B from ILLENIUM and SLANDER, which delivered a perfect blend of melodic emotion and huge drops, all enhanced by a stunning drone and fireworks show. Tiësto performed two very different yet equally impactful sets that reminded the crowd why he’s been a global headliner for over a decade. Kaskade also stood out, delivering a well-curated set that moved through deep house and progressive vibes, with beautiful visual synchronization. At Camp EDC, lesser-known acts held their own with intimate and high-energy sets that felt more like secret parties than festival filler. For the smaller stages, such as the Beatbox Art Car, artists like Water Spirit and Myles O’Neal took advantage of the opportunity to showcase their talent and curate amazing performances. While names like Levity left it all on stage, for others, it at times felt like something was missing. For example, some fans were disappointed by VOYD’s highly anticipated performance, noting a lack of his signature theatrics and even a premature ending. A recurring concern from attendees was the lack of originality in some performances. Several DJs played sets that felt a bit recycled or too similar to their club appearances. As other festivals begin to raise the bar by asking artists to debut exclusive sets or visuals, some EDC sets felt like missed opportunities for uniqueness. Still, the genre-specific layout of the stages and the overall musical range allowed attendees to tailor their weekend to their taste, which remains one of EDC’s biggest strengths. Overall: ★★★★☆ EDC VLas egas 2025 was a massive, multilayered experience that delivered on many of its promises. The vibes were nearly flawless, the crowd was welcoming, and the venue remained a playground of music and discovery. The diversity of music, the creativity of the environment, and high-quality VIP experiences made the festival feel alive. Still, there’s room for growth. Sound consistency, visibility of performers, and more original sets from artists could further elevate the event. Better non-alcoholic beverage options and minor improvements to venue flow would also go a long way in enhancing the attendee experience. But despite these critiques, the heart of EDC remains as strong as ever. It’s a place where the world comes together under the electric sky, united by sound, light, and the shared desire to feel something unforgettable. Whether you danced for three days straight or took breaks between sets to soak it all in, EDC delivered a weekend that won’t soon be forgotten. Featured Image Courtesy: Insomniac Events. The post Festival Report Card: EDC Las Vegas 2025 appeared first on EDM Maniac. View the full article

Every year, a migration of ravers, dreamers, and electronic music lovers makes its way to Las Vegas for Electric Daisy Carnival (EDC). Known as the crown jewel of North American EDM festivals, EDC Las Vegas is more than a party—it’s a massive celebration of sound, community, and creativity. With a reputation built on its commitment to Peace, Love, Unity, and Respect, the festival has earned a global following and continues to raise expectations. EDC is also widely known for the immersive music environment it builds at the Las Vegas Motor Speedway each year, featuring carnival rides, interactive art installations, secret stages, and a culture that emphasizes radical self-expression and inclusivity. It’s not just an event—it’s a pilgrimage for electronic music lovers around the world. EDC Las Vegas 2025 brought unforgettable moments and endless energy to a huge venue filled with sights, sounds, and stories. But while the magic was real, the weekend also revealed some challenges. Here’s how this year’s edition stacked up. Vibes: ★★★★☆ The spirit of EDC was alive and thriving in 2025. Crowd energy was overwhelmingly positive, with hundreds of thousands of strangers forming new friendships in real-time. Kandi exchanges, shared snacks, spontaneous hugs, and mutual encouragement were everywhere. Whether in GA, VIP, or backstage areas, the environment felt inclusive, respectful, and open. We didn’t see any major fights, hostility, or aggression. People danced with strangers, lifted each other up (literally and metaphorically), and created the shared feeling that makes EDC more than just a collection of stages. This was a people-powered success. Security was professional yet relaxed, helping keep the peace without an overbearing presence. Ground Control was especially commendable this year. Multiple attendees shared stories of witnessing Ground Control help individuals in distress, administer Narcan, and save lives without judgment. They moved through the venue like guardians—supportive, alert, and genuinely caring. Even interactions with artists felt personal. A few DJs were spotted chatting with fans and taking photos, which added to the sense that everyone—famous or not—was part of the same shared experience. The Marquee Skydeck at Kinetic Field and Circuit Grounds also brought great vibes. VIP attendees were dancing and making friends, and the energy was incredible all weekend. The elevated perspective of the Skydecks is also a sight to behold, offering unobstructed views of the stage and the crowd. Compared to other major festivals, EDC continues to foster one of the most genuine and unified atmospheres out there. It truly feels like you are in another world. The emotional safety, openness, and good intentions of the crowd played a massive role in making the weekend so memorable. Production: ★★★☆☆ EDC is synonymous with jaw-dropping visuals and cutting-edge stage design, and much of that held true in 2025. Kinetic Field stood out with a massive owl-inspired build, complete with moving wings, a glowing LED backdrop, and pyro synced to the music. The sheer size and grandeur of the stage made it the weekend’s visual centerpiece. Circuit Grounds offered a futuristic layout with an expansive perimeter and plenty of open space, making it one of the best stages for crowd movement and immersion. Fireworks lit up the sky every night in EDC’s famous nightly display, while drones formed complex animations above the crowd, adding another layer of wonder to headline performances. However, a major issue across multiple stages was the lack of large screens or monitors that would allow the audience to actually see the performing DJs. Unless you were in the front row or inside VIP areas, it was difficult to visually connect with the artists. This lack of visibility undercut the emotional energy of the performances and left many in GA feeling disconnected. At Cosmic Meadow, audio issues plagued the stage all weekend, including blown subwoofers and low volume levels. For a festival known as the biggest in North America, the sound inconsistency was noticeable. The smaller details, such as performers on stilts and walk-through light installations, helped sustain EDC’s immersive atmosphere, but the fundamentals—clear sound and artist visibility—could use additional refinement to match the festival’s reputation. Food & Beverage: ★★★☆☆ Food at EDC 2025 was solid overall, with vendors offering options that ranged from greasy comfort food to lighter fusion fare. The most popular options included Asian fusion bowls and poke-style meals, which we found to be a refreshing alternative to the usual fried offerings. These booths consistently drew long lines. In GA+, there were some added selections, but the real jump in quality came in VIP. VIP zones offered air-conditioned dining areas, shorter lines, and more curated options, including gourmet sliders, artisan flatbreads, and a dessert bar, featuring frozen treats made on the spot. These premium perks elevated the experience for those who opted in, and the difference in both comfort and food quality was clear. Beverage variety could use improvement. Alcoholic options were abundant, ranging from daiquiris to tequila-based cocktails, but non-alcoholic options were lacking. Beyond water refill stations, there were very few wellness beverages, such as cold-pressed juices or smoothies. Given the physical toll of dancing and walking for hours in the desert, more accessible and functional drink options would be a valuable addition. Venue: ★★★★☆ The Las Vegas Motor Speedway remains one of the best-designed venues for a festival of this scale. Its expansive layout allowed for countless activities without ever feeling overwhelming. There were areas to dance, areas to explore, and places to rest, including shaded bleachers, grassy patches in the Bamboo Forest, and lounge zones hidden throughout Downtown EDC. The venue design encouraged flow, and although a lot of walking was unavoidable, navigating through crowds was generally smooth. Speakeasy-style pop-ups and side quests gave the space even more personality. There were interactive booths, performance art stations, hidden bars, and art cars that felt like their own mini parties. Every corner of the venue felt intentional, with something to discover around every turn. That said, there were a few logistical pinch-points. Certain walkways near Downtown EDC and the tunnels leading into VIP areas became heavily congested and could benefit from widening or rerouting in the future. Additionally, signage in areas like Kinetic Field was occasionally unclear, causing confusion between GA and VIP paths. One of the unexpected gems was Neon Garden. The high-tempo beats and consistently energized crowds made it one of the most enjoyable places to be all weekend. The VIP SkyDecks at Kinetic Field and Circuit Grounds were also highlights. With elevated viewing platforms, private bars, air-conditioned restrooms, and ample space to truly enjoy the show, they offered some of the best comfort-to-view ratios of any VIP festival experience out there. Safety presence throughout the festival was also handled with balance. Police and security were visible but not overbearing, allowing attendees to feel secure without dampening the vibe. Music: ★★★★☆ With hundreds of artists across every electronic subgenre, the music at EDC Las Vegas 2025 was both expansive and eclectic. From trance and house to dubstep, techno, hardstyle, and experimental bass, there was no shortage of variety. This year, many attendees found themselves diving into sets they hadn’t planned on seeing, discovering new artists and sounds at every turn. Among the weekend’s highlights was an anticipated B2B from ILLENIUM and SLANDER, which delivered a perfect blend of melodic emotion and huge drops, all enhanced by a stunning drone and fireworks show. Tiësto performed two very different yet equally impactful sets that reminded the crowd why he’s been a global headliner for over a decade. Kaskade also stood out, delivering a well-curated set that moved through deep house and progressive vibes, with beautiful visual synchronization. At Camp EDC, lesser-known acts held their own with intimate and high-energy sets that felt more like secret parties than festival filler. For the smaller stages, such as the Beatbox Art Car, artists like Water Spirit and Myles O’Neal took advantage of the opportunity to showcase their talent and curate amazing performances. While names like Levity left it all on stage, for others, it at times felt like something was missing. For example, some fans were disappointed by VOYD’s highly anticipated performance, noting a lack of his signature theatrics and even a premature ending. A recurring concern from attendees was the lack of originality in some performances. Several DJs played sets that felt a bit recycled or too similar to their club appearances. As other festivals begin to raise the bar by asking artists to debut exclusive sets or visuals, some EDC sets felt like missed opportunities for uniqueness. Still, the genre-specific layout of the stages and the overall musical range allowed attendees to tailor their weekend to their taste, which remains one of EDC’s biggest strengths. Overall: ★★★★☆ EDC VLas egas 2025 was a massive, multilayered experience that delivered on many of its promises. The vibes were nearly flawless, the crowd was welcoming, and the venue remained a playground of music and discovery. The diversity of music, the creativity of the environment, and high-quality VIP experiences made the festival feel alive. Still, there’s room for growth. Sound consistency, visibility of performers, and more original sets from artists could further elevate the event. Better non-alcoholic beverage options and minor improvements to venue flow would also go a long way in enhancing the attendee experience. But despite these critiques, the heart of EDC remains as strong as ever. It’s a place where the world comes together under the electric sky, united by sound, light, and the shared desire to feel something unforgettable. Whether you danced for three days straight or took breaks between sets to soak it all in, EDC delivered a weekend that won’t soon be forgotten. Featured Image Courtesy: Insomniac Events. The post Festival Report Card: EDC Las Vegas 2025 appeared first on EDM Maniac. View the full article

PhaseOne returns with his sophomore album, TERRANOVA—a concept-driven project that redefines the fusion of metal and dubstep. The Australian producer pushes genre boundaries and opens an exciting new chapter in his artistic evolution. TERRANOVA took over a year to complete according to PhaseOne himself. “I didn’t want to make a collection of club bangers,” says PhaseOne. “I wanted to tell a story and create something cohesive that flows from beginning to end.” He elaborated further saying that there were “personal challenges and creative hurdles along the way, but I’m incredibly proud of the result. It’s more melodic than I expected, but still unmistakably a PhaseOne record.” A true concept album, TERRANOVA has a deeper meaning inside the music. Both sonically and visually, PhaseOne uses the LP as a platform to shed light on themes of growth, hope, environmental awareness and the darker side of human’s impact on earth. The high-octane list of collaborators includes Flowidus and MC Dread, Future Static, HVDES and SCRO among others. PhaseOne’s TERRANOVA album tour commences in June with a staggering 36 dates through the rest of 2025 and more to-be-announced at a later date. Tickets can be purchased here. Listen to the new album in full below. Featured image: Tessa Paisan The post PhaseOne releases new concept-driven album, TERRANOVA appeared first on Dancing Astronaut.

The Financial Supervisory Service (FSS) headquarters in Seoul. Photo Credit: Wikiwater2020 The trading-focused investigations into Hybe founder Bang Si-hyuk and other execs look to be intensifying. According to regional reports, authorities have conducted a raid of the K-pop giant’s Seoul headquarters. As things stand, we don’t know the precise extent of these investigations. However, it’s been nearly six months since local media first linked Bang to scrutiny concerning alleged private-equity side deals executed ahead of his company’s 2020 IPO. Evidently, this scrutiny isn’t letting up. Yesterday, we broke down the status of the reported allegations – and explored the situation’s possible impact on BTS’ full-group comeback. Long story short, the Financial Supervisory Service is reportedly considering an expedited referral of the Bang case to prosecutors. And a separate police investigation into the same matter is said to be ongoing as well. (Regarding all the “reportedly” and “is said to be” usages: Technically, Bang and the appropriate authorities have yet to comment publicly on the subject. Related details are trickling out through anonymous sources via South Korean outlets.) Not coincidentally, information about the initially mentioned Hybe HQ raid emerged on the heels of the media-fueled update on Bang’s case. According to the Korea Times, Seoul Southern District prosecutors searched Hybe’s office in connection with insider-trading allegations against a different exec. The higher-up, whose name remains undisclosed, is reportedly accused of pocketing roughly $175,000 in profits by capitalizing on knowledge of Hybe’s YG Plus investment plans in 2021. Unsurprisingly, the latter entity’s shares (KRX: 037270) spiked in value after Hybe purchased almost 18% of the business. Back to the allegations against Bang, per the Korea Herald, the Seoul Metropolitan Police Agency has submitted a distinct search-warrant request to prosecutors over the IPO-fraud claims. And while it probably doesn’t need saying, it’ll be worth keeping an eye out for this comparatively important raid and any adjacent revelations. Also more or less implied is that Hybe is cooperating with the investigations, regional outlets summed up. In the bigger picture, though the situation appears serious, it certainly isn’t without precedent. During 2024 alone, authorities arrested Kakao’s billionaire founder on stock-manipulation charges stemming from the SM Entertainment takeover battle – after raiding the main offices of both SM and Kakao in 2023. Meanwhile, YG founder and exec Yang Hyun-suk was indicted last year for allegedly failing to declare a pair of high-end wristwatches upon returning to Korea a decade prior. Bearing all that in mind, Hybe investors don’t seem too bothered at present. Shares (KRX: 352820) dipped about 2% during today’s trading but, at $193/₩266,000 a pop, are still up approximately 36% since 2025’s start. View the full article

Oliver Heldens has joined forces with the vocal talent of Julia Church to deliver their mesmerizing new track, ‘Ruins.’ Released today via the iconic Ministry of Sound imprint under Sony, the single is a masterclass in emotive electronic music, seamlessly blending Heldens’ signature sonic energy with Church’s soul-stirring vocal prowess. In ‘Ruins’, Heldens’ meticulously crafted production lays a foundation of melodic richness and irresistible groove, perfectly cradling Church’s evocative vocals. The result is a summer-infused anthem that possesses a rare depth, equally suited for euphoric festival crowds and introspective solo listening. The track delves into themes of finding beauty amidst vulnerability and the transformative power of growth after heartbreak, adding this into Oliver’s already extensive discography. “When I got the first demo version of this song from the brilliant Julia Church, it hit me right away, and I became determined to turn it into a massive dance anthem. Big pianos, big trancy lead synths, a big bassline, and even bigger vocals from Julia with deeply meaningful lyrics. It’s been amazing working with Julia and the other super-talented writers, Ollie Green and Franklin, and I’m thrilled how this turned into a modern dance smash, while we still kept such a timeless feel to it” Heldens says. Oliver Heldens’ influence on the electronic music landscape continues to be put on display. With over a decade of shaping the genre, he boasts an astounding 4 billion global streams and a reputation for electrifying performances at the world’s most prestigious festivals, including Coachella, EDC, Glastonbury, Lollapalooza, Tomorrowland, and Ultra. His consistent innovation and versatility have solidified his position as a leading figure, marked by high-profile collaborations with music icons like Nile Rodgers, Kylie Minogue, Tiesto, and David Guetta. Find Oliver’s full touring schedule down below: May 30: KüçükÇiftlik Park – İstanbul, Turkey May 31: Nameless Festival: Lake Como, Italy Jun 11: Ushuaïa – Ibiza, Spain Jun 22: City Sounds Festival – Luxembourg, Luxembourg Jun 28: Brooklyn Mirage – Brooklyn, NY Jun 28: The Edge: NY, NY July 03: Ushuaïa – Ibiza, Spain July 10: Airbeat One Festival – Neustadt-Glewe, Germany July 18: Tomorrowland – Boom, Belgium July 19: Parookaville – Weeze, Germany July 20: Ushuaïa – Ibiza, Spain July 26: Tomorrowland – Belgium, Belgium Aug 02: Sunrise Festival – Kołobrzeg, Poland Aug 10: ÎleSoniq – Montréal, QC Aug 12: BBC Radio 1 at Cafe del Mar: Malta Aug 15: Ambra Nights: San Teodoro, Sassari, Italy Aug 18: Ushuaia – Ibiza, Spain Aug 23: Mysteryland – Amsterdam, Netherlands Aug 24: Creamfields – Daresbury, United Kingdom Aug 26: Ushuaïa: Ibiza, Spain Aug 30: F1 Dutch Grand Prix – Zandvoort, Netherlands Sep 07: Ushuaïa: Ibiza, Spain *More TBA The post Oliver Heldens and Julia Church Release Captivating New Single ‘Ruins’ appeared first on EDMTunes.

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg. New music highlights from Dancing Astronaut’s Artists to Watch in 2025: Will Clarke – Burn This City (DREYA V Remix) After formally announcing her rebrand as DREYA V — previously MISS DRE — she’s back to remix what she described as one of her favorite tracks off of Will Clarke’s album, Midnight Mass. Released via Armada, DREYA V’s “Burn This City” remix comes as her first release under the new moniker and follows her original single, and debut release on MEDUZA’s AETERNA record label from earlier this year, “Light The Fire.” Y do I & Anyma – The End Of Genesys Y do I had yet to appear on 2025’s release scoreboard but their first time doing so could not have been more impactful release. Serving as the title track to Anyma’s The End Of Genesys album — which is also out in full as of May 30 — Y do I and Anyma’s collaboration soundtracked the opening moments of the latter’s historic run at Sphere Las Vegas at the end of 2024. And five months later, “The End Of Genesys” has arrived in all of its glory, with Y do I wholly reconfirming their Artist to Watch demonination. Aaron Hibell – S.O.S. A record over a year in the making, “S.O.S.” had originally debuted during Aaron Hibell‘s Selected Sessions set in Iceland, and it now arrives as his newest album single. Inspired by Radiohead’s “Everything In Its Right Place,” “S.O.S.” arrives on the heels of his Cercle Odyssey cut, “Odyssey,” which Hibell created as the soundtrack to the show of the same name. As for Hibell’s upcoming plans beyond music, he’s set to open for Ben Böhmer during Cercle’s stop in Paris. Riordan – Straight From The Underground Riordan is continuing a stellar release run in 2025 with his fourth delivery in the past five months, “Straight From The Underground.” Fresh off a date at EDC Las Vegas — where he played in primetime hours just a year after securing one of the opening slots of the festival — Riordan has undeniably built a case to be one of the most promising acts in the current house music landscape. _________________________________________________________________________________________ ARTBAT & MORTEN – Culture Following the massive success of their first collaboration with Bonn — which garnered over 20 million streams and became an instant festival staple — ARTBAT and Morten have reunited for a powerful “Hollow” sequel, “Culture.” Out now on Insomniac Records, the reunion continues a high-impact partnership between two global forces in dance music, with MORTEN bringing his signature mainstage-ready energy and ARTBAT delivering their unmistakable melodic edge. “Culture” has been a fixture in ARTBAT’s sets providing fan-favorite moments at Ultra Miami, Ultra Buenos Aires, EDC Las Vegas, and more. Discip – Raw Control To claim that Discip has been on a hot streak this past year would be a disservice to him. After delivering “Mind Games” back in April, Discip has returned with another undeniable live weapon, turning to Chris Lake’s Black Book Records for the delivery of “Raw Control.” And it’s easy to see why Discip’s latest caught Lake’s eye to become the latest label signing, with the aptly named release furthering his unmistakable production level. Mesto & Vluarr – At Night / Gemini Mesto and Vluarr are no collaborative strangers, with the two having already delivered a pair of crossovers dating back to 2022 with “Where Do We Go” and last year’s “Over Soon.” And in 2025, Mesto has reunited once more with the Dancing Astronaut Artist to Watch alumni to add to their musical lineage, returning to STMPD RECORDS for not one but two offerings. On the release’s A-Side, “At Night” — a live staple for both artists over the past few months — takes a grittier, hard-hitting approach while the B-Side “Gemini” opts for a lighthearted, melodic. touch Michael Bibi – Lil Freaky To celebrate a milestone 100 releases for Solid Grooves — and celebrating a decade since he and PAWSA co-founded the label — Michael Bibi has returned with “Lil Freaky,” his second release of 2025 and the lead single from the Solid Grooves Summer Sampler VA. Arriving just ahead of the crew’s summer takeover at DC10 Ibiza, the compilation brings together Solid Grooves’ core family, spanning from early contributors like Dennis Cruz and Reelow to rising stars shaping the label’s next chapter. With “Lil Freaky,” Bibi sets the tone for a project that honors a decade of dancefloor dominance while pushing full steam into the future. Featured image: Sphere Las Vegas The post Dancing Astronaut’s New Music Friday: Y do I & Anyma, Aaron Hibell, ARTBAT, Michael Bibi, and more (May 30, 2025) appeared first on Dancing Astronaut.

To most electronic music fans, Dutch producer Lodewijk Fluttert AKA Bakermat needs no introduction. His 2012 EP, Vandaag, sky-rocketed to the top of the charts across Europe and eventually went Platinum, consisting of an integrated sample of the I Have a Dream speech by Martin Luther King Jr. As for his 2020 single, Bainia, it currently holds a staggering half a billion streams on Spotify. READ MORE: “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears Combining his love of gospel, jazz, house and pop, Fluttert often collaborates with adept instrumentalists to bring an organic touch to electronic music and elevate his DJ sets. In 2014 he introduced the Bakermat live band, which included saxophonists and guitarists, and toured across Europe in partnership with Live Nation. He then went on to launch the Bakermat’s Circus in 2015, a live event which took Bakermat and artists from the likes of Robin Schulz to Don Diablo all over the world. In this Studio Files interview, MusicTech sits down with this DJ juggernaut to discuss everything from his latest studio set up in the Holland countryside, to the plugins that were essential to the making of his new album, Grace Note. Congratulations on the releaseGrace Note! It celebrates the two genres close to your heart, house and gospel – how do you feel like the two genres compliment each other as a producer? Both are about achieving euphoria through music. It’s a lot of major chords, pianos, strings, choirs and it’s all about build ups. So there’s lots to play with as a producer to try to achieve this feeling. I guess house music is almost the electronic equivalent of gospel in a way. How did going viral with the song Baiana make you shift your approach to releases? Did you find yourself wanting to follow the same formula? Definitely not. I think the good thing about ‘going viral’ is that you can never really control it or prepare for it. It just happens to stuff. All you can do is make the best music you possibly can and if you’re lucky someone will pick it up and put it in a video that will speak to more people. If that doesn’t happen, it’s not a disaster because you still made music to the best of your ability, and you can be proud of that. Tell us a bit about your studio. I’ve just moved my studio from the centre of Amsterdam to the countryside. I noticed that I was getting distracted quickly in an urban environment with a lot of noise and people walking in and out. When I work on music, I need to be able to focus completely on that and get into ‘my zone’. Now that I have a studio in the middle of a field I can really get there and my productivity is way higher. I use it mainly to come up with new ideas, sounds, loops and projects that can spark something in a later stage when I start writing and producing full songs. What’s your latest gear or plugin purchase? I’m all about virtual gear, so I barely have any outboard equipment. My latest buy is KClip because I discovered the advantages of clipping before limiting. Right now, I’m also really into Omnisphere, a synthesizer that I’ve owned for ages but never really did a deep dive into. The possibilities are endless with this thing. You can basically do anything with it, so I’m currently obsessed. What’s the best free plugin you own? I just upgraded Serum to Serum 2 for free and I’m very happy with it. The new presets are amazing and the possibilities are also pretty huge just like Omnisphere. I think this synth really comes close to Omnisphere with this new upgrade. I also like the stock plugins that you get for free when you buy Ableton. I use them for like 90% of the jobs. What’s been the biggest investment in your career/studio? My MacBook for sure. As it is the main hub now that drives everything, it’s worth going for the absolute best and latest one. I also don’t like working with external drives so I ordered the Pro with an 8TB internal hard drive. Not worrying about space and power is a luxury when making music and it won’t hold you back from using very awesome but extensive libraries like the spitfire ones. It’s worth every penny, and I think modern producers should never hold back on buying the most advanced and spacious computers to do their thing. I also have a fiberglass internet connection in my studio, even though it’s in a field. It’s a big investment but internet speed is a really big thing that you should never have to worry about when you’re in the zone. Sampling tracks has become a big part of your work – is there a process in choosing which songs you’d like to emulate? Where do you source many of these tracks? I have massive Spotify playlists that I play on shuffle. They are filled with old catalogues from legendary labels. It’s a mix of all world music, old soul and funk, gospel recordings and acapellas. I’m always searching for new samples. It’s like an automatic thing for me. Also YouTube is a great source of unreleased stuff — and Discogs. You’ve said that your music isn’t something built by machines. As a producer how have you struck the balance of the record coming from an organic, human-made place, but still using the technology needed to produce an album? Making music on a computer doesn’t mean it has to sound like it was made on a computer. I love keeping imperfections in or even adding them on purpose. In the end music is communication from human to human. So it’s nice for someone to hear that the music is made by another human, and humans are imperfect, not like computers. How do you see your sound and studio evolving in the next two years? I would love to work more out of the box (my laptop) and record more instruments with microphones; just to get that natural sound and imperfection in there a bit more. I always work hard to make my laptop-made stuff sound human but it could save me a lot of work if I just recorded a human, [laughs]. I’d love to sample more from vinyl, also. I feel like there’s a massive collection of unused samples still in the vinyl world. You just gotta find some, order them on Discogs and sample them from the player into your laptop. With everyone using Splice right now and sounding the same, this could be a huge winner. Do you have a dream piece of gear? I’d like to one day have an entire orchestra play parts that I can use it in my music. Obviously it’s a very big investment because a lot of people are needed to achieve something like that. Also a big choir would be really cool to work with, and a studio and engineers that know how to deal with recording such a thing. Apart from that, I have everything that makes me happy in my studio right now. What’s a music production myth you think needs debunking? Just in general that there are certain ‘ways’ and ‘rules’ in making music. If I see a video with the title “This is not how to use a compressor” I’m like: ‘Who are you to decide?’. I can use the compressor however I like if it creates an outcome that I like the sound of. There are no rules in music. Who gave you the biggest lesson in your career? Can you tell us about how it impacted you? My mother. I always show her my new music and her biggest lesson is that your music should always be surprising and remain interesting throughout. So don’t just repeat verse, chorus, verse, chorus but try to build in a bridge, prechorus or do something surprising to keep the listener entertained and interested. I love this because it just challenges you to not make a lazy record. Read more Studio Files interviews on MusicTech The post Bakermat: “I love keeping imperfections in a track — it’s nice for people to hear that the music is made by another human” appeared first on MusicTech. View the full article

Amidst a bustling festival season, electronic music fans are gearing up for live performances worldwide. However, those hoping to see Deborah de Luca at this year’s HARD Summer in Los Angeles will be disappointed. The acclaimed DJ has withdrawn from the popular event, citing concerns over the prominence of her name on the official lineup flyer. HARD Summer is known for its vibrant visuals and diverse font usage on promotional materials. This year’s flyer, however, became a point of contention for de Luca. Initially announced as a performer, her name was noticeably absent from a recently released update to the lineup. Social media quickly lit up with fans inquiring about her disappearance, particularly those who had already secured tickets with her performance in mind. Deborah de Luca addressed the situation directly via Instagram, stating, “…I’m very sorry Guys! But they put my name smaller than others, it was not dignified for my career… I asked to change it and they told me no. not it was my choice. I’m very sad but I’m sure it will be a crazy festival and you will have a lot of fun“. To mixed opinions, Deborah’s fans have blamed the festival for not listening to her requirements, while others poke fun at her behavior, citing it as “childish” and “unprofessional“. While socials continue to be on fire, the fact remains: de Luca will no longer be performing at the festival. HARD Summer is still scheduled for August 2nd and 3rd, featuring artists such as Crankdat, Dom Dolla, and Sara Landry. [H/T] We Rave You The post Deborah de Luca Drops HARD Summer Over Name Size On Flyer appeared first on EDMTunes.

MORTEN and ARTBAT are reuniting to present their exciting new collaboration, ‘Culture’, which has arrived on May 30, 2025 under the prominent Insomniac Records label. This dynamic track builds on the success of their previous hit single, ‘Hollow’, featuring the soulful vocals of Bonn, which made waves in the electronic music scene last year. ‘Culture’ delves into the realms of melodic house and techno, showcasing a focus on vibrant, dancefloor-ready energy that captures the essence of club culture. Listeners will become fans of the track by enjoying the intricate layers of sound, especially layers that feature undulating synth leads that ebb and flow. Furthermore, the track also has driving basslines that pulse with life, which complement those outstanding melodies. The growling lower frequencies add depth and intensity, while moody atmospherics envelop the track, creating an immersive experience. At the core of ‘Culture’ is an electrifying vocal hook that resonates powerfully, paying homage to the lively spirit of rave culture and ensuring it remains firmly in the minds of listeners as they move to its infectious rhythm. Click ‘Play’ on the Spotify link to stream ‘Culture by MORTEN and ARTBAT, a track that brings out euphoric bass that meshes really amazingly well with pulse-pounding synths that get people going to play the track addictively this coming summer. The post MORTEN and ARTBAT Provide Melodic Rhythms in ‘Culture’ appeared first on EDMTunes.

Picture a collaboration that crosses borders, a creative endeavour that transcends the limitations of geography and genre. On one side, you have the iconic Berlin-based Keinemusik and Boys Noize, bastions of the underground music scene. On the other, you have the sultry tones of Vinson, adding a touch of soulful charm. The result? An addictive track that dances on the edge of longing and raw electricity. And where, you might ask, was this musical masterpiece conceived? Partly in the heart of Berlin, amidst the thrumming energy of the city’s thriving music scene, and partly within the legendary Shangri-La Studios in Malibu. A place of musical alchemy and myth, where the walls are etched with the echoes of past legends and future hits. ‘Crazy For It,’ is available today HERE! Get ready for the next chapter of the Keinemusik phenomenon, just days ahead of the beginning of the summer season. We’ll keep an eye on it all to see if the boys lock in another year leading the charts of the beach parties and golden sunsets! ABOUT KEINEMUSIK: Keinemusik has been around since 2009. It has been named an existing friendship and linked interests of the four members – &ME, Adam Port, Rampa and Reznik. A more or less constant count of five releases per year has been released ever since, solely laid down by members of the crew. And a considerable number of label parties went down, not only in Berlin, but around all international focal points for electronic music. And surely, there’s plenty more where those came from. So see you soon in a record store or on a dancefloor in your area! Keinemusik is a network with the label as the pulse-pumping centre. Driven particularly by the spirit that moves the collective behind the imprint. The spirit to find your own agenda and let nobody get in the way. The spirit of refining House and Techno off the beaten path. Be it within their own tracks, within productions of other sorts, or with DJ sets. The spirit of recall value within record- and flyer-artworks and everything intermediate in word and image surrounding releases and parties. And the spirit of diversification – Rampa’s effect-gadget-venture TEILE being one example. Keinemusik’s own booking department, ‘Worldwide Dancing Club’, established in 2018, is another. ABOUT BOYS NOIZE: BOYS NOIZE (Alex Ridha) builds worlds, then builds bridges between them. Propelled by an infatuation with sonic invention and a prescience for subculture, the German-Iraqi artist, DJ and producer has developed a peerless practice that is both deeply informed by electronic music history and determinedly transcending conventions. As an international festival headliner and A-list producer, BOYS NOIZE embodies the transformation and expansion of 21st-century techno, house and electro into the current zeitgeist, and he has the GRAMMY win to prove it. Yet as a Berliner and lifelong DJ, he remains dedicated to the underground, regularly flexing the decks at techno meccas and experimenting through a multiplicity of multi-genre aliases. Some fans find BOYS NOIZE through his productions for A$AP ROCKY and FRANK OCEAN, or his film scores for OLIVER STONE’s “Snowden”; through his house hit “Mvinline”, or his collaborative projects OCTAVE MINDS and DOG BLOOD with SKRILLEX, as well as an EP and OFF-WHITE capsule collection with VIRGIL ABLOH; through his remixes for DAFT PUNK, YEAH YEAH YEAHs and DEPECHE MODE, his features with RICO NASTY, PUSSY RIOT and KELSEY LU, or reworks of SHYGIRL, SEGA BODEGA and SOPHIE; through this year’s blazing run of 140+ bpm techno tracks and remixes, or the massive “Fine Day Anthem” with SKRILLEX. BOYS NOIZE’s most important collaboration of all, however, is with the ravers that join him across the globe from basements to warehouses to the main stage. ABOUT VINSON: Brenton Vinson, also known as Vinson, is a recording artist, producer and songwriter from Detroit, Michigan, now based in Los Angeles, California. As a vocalist, rapper, and producer, his music integrates many influences found in Detroit’s rich musical history, from raw underground hip-hop, soul, house and techno. VINSON also draws inspiration from his family’s involvement in Detroit’s musical history, with one great uncle being the lead singer of the iconic Motown singing group “The Four Tops” and the other singing for both “The Falcons” and “The Contours”. His debut project, U and Me at 3:03, includes a blend of deep house, hip-hop and futuristic soul and was featured in the new and notable section of the Bandcamp.com homepage. He has performed in support of hip-hop and soul artists such as Ghostface Killah, Goapele, DUCKWRTH and more. Also on his resume are official showcase performances at both SXSW in Austin, Texas and AC3 in Atlanta, Georgia. In 2021, a remix EP of U and Me at 3:03 will showcase remixes from electronic music producers such as AshTreJinkins, Russell E.L. Butler and Benedek. VINSON plans to follow up this release with a project entitled “Loose Rap” in fall 2021, which will be a postmodern interpretation of both boom bap hip-hop and neo-soul genres. The post Keinemusik, Boys Noize & Vinson Team Up For ‘Crazy For It’ appeared first on EDMTunes.

Digital Ethos aka Charlie Quigley is a South Jersey based electronic music producer.He has already gotten support from the likes of Liquid Stranger, Rezz, and Space Jesus, to name a few. The ‘Digital Ethos Project’ derives from the collection of ideas and inspiration gathered from all genres of music, creating a new take on what we consider weird, experimental, and heavy. Digital Ethos has made a yearly habit appearing on HypnoVizion, first in 2023 with ‘Kill Em’ and again in 2024 with ‘FLIP THE TRACK’. ‘Get Busy’ continues that trend, pushing his signature into rawer, more rhythmic territory. The new single introduces warped percussive layers, grimy textures, and hard-hitting vocal samples, with a sharpened focus on sonic dimension. With ‘Get Busy’, Digital Ethos showcases the experimental architecture that sets his sound design apart. Listen here Digital Ethos has carved a unique lane with his ominous blend of experimental bass and hip-hop production. His originals have garnered the attention of labels like WAKAAN, Deadbeats, and Bassrush, and taken him to the stages of festivals like Electric Forest and Shambhala. Now with his third solo single on the label and collaboration with Rezz under his belt, Digital Ethos will once again join the labelhead on October 19 for her special Nightmare On Rezz Street 3 performance at Red Rocks Amphitheatre. The post Digital Ethos Return to HypnoVizion with ‘Get Busy’ appeared first on EDMTunes.

Quickly rising genre-defying producer and artist, Aaron Hibell released his first single of the year titled ‘s.o.s.’ today. This is the first single from his highly anticipated upcoming debut album releasing later this year. ‘s.o.s.’ is a sorrowful anthem full of cinematic elements big room textures, and a wild energy that’s just as expansive as it is emotional. Listen here. Aaron Hibell has had an incredible start to 2025 as he was included in Dancing Astronaut and EDMIdentity’s “Artist To Watch for 2025” lists. He has received support from artists like CamelPhat, Tiësto, Sara Landry and so many other heavy hitters in the dance scene. CamelPhat recently remixed his and Alex Wann’s single, ‘set me free’ while Tiësto has been playing Aaron’s tracks within his headline sets across the world. Sara Landry featured Aaron on her debut album Spiritual Driveby for their collaboration ‘Veni Vidi Vici.’ The post Aaron Hibell Releases Lead Single: ‘s.o.s.’ for Upcoming Album appeared first on EDMTunes.

Don Diablo and Nelly Furtado have teamed up for maybe the song of the summer. For the first time, Don and Grammy-winning Nelly Furtado are collaborating on a dance-pop track, ‘Doing Nothin.’ The house anthem is perfect for any sunny day and will put a smile on your face. Perfectly titled, I think we all would love some summer days of Doing Nothin. Nelly’s signature vocals bring life to the breaks. Don’s innovative production is on full display throughout, but particularly in the drops with a very catchy melody. Don Diablo, known for his innovative approach to electronic music, has been a formidable force in the dance music scene for over a decade. He took to Instagram to announce that this record has taken over a year to make. With hits like ‘On My Mind‘ and ‘Cutting Shapes,’ he has consistently pushed the boundaries of the genre, earning him a spot in the top 10 of DJ Mag’s Top 100 DJs list for several years. He collaborated and remixed a wide range of artists, including Dua Lipa, Justin Bieber, Gucci Mane, Ed Sheeran, Mark Ronson, Travis Barker, Miley Cyrus, Rihanna, Madonna, The Chainsmokers, Coldplay and many more. Beyond music, he is the creative lead for HEXAGON fashion. He has collaborated with Disney, Lucasfilm, Netflix, and Star Wars. With over 20 billion streams, 35 million albums sold worldwide, and multiple #1 hit singles, Nelly Furtado is an undisputed icon whose innovative songwriting shaped an era and transformed pop music. Her unique “Nelly sound” has earned her Grammy and Latin Grammy Awards, 10 x JUNO Awards, Multi-platinum certifications, and millions of fans around the world. The post Don Diablo & Nelly Furtado are ‘Doing Nothin’ On New Single appeared first on EDMTunes.

In a groundbreaking collaboration that blends the past, present, and future of bass music, dance music titan Seven Lions and rising genre-defying producer YDG join forces for the first time on the electrifying new single, ‘Man Down‘—out now on Ophelia Records. The track is a sonic rollercoaster that captures the essence of both artists’ distinctive styles with robotic wobbles, old school dubstep leads, and trance-inspired arpeggios, all anchored by the haunting, emotionally-charged vocals of Bella Renee. The result? A head-turning anthem that pushes the boundaries of melodic bass and experimental sound design. Seven Lions, the moniker of Jeff Montalvo, has long been revered as a pioneer of genre-blending in electronic music. Since his breakout remix of Above & Beyond’s ‘You Got To Go’ in 2012, he’s carved out a singular path—releasing genre-melting hits like ‘Strangers,’ ‘Rush Over Me,’ and ‘Need Your Love.’ With his 2022 debut album Beyond the Veil and high-profile collaborations through 2024, Seven Lions continues to evolve while headlining global stages like Red Rocks, Ultra Miami, and Electric Forest. Through Ophelia Records, he’s created a platform that not only champions melodic bass but also nurtures the next generation of genre-pushers. YDG, one of bass music’s most buzzed-about new talents, is experiencing a meteoric rise. With a sound that straddles dubstep, experimental bass, and viral remixes, he’s earned co-signs from heavyweights like Zeds Dead, John Summit, and DJ Diesel. His remix work—especially on ‘You & Me,’ Marshmello’s ‘Bad Boys,’ and the viral ‘Go Back’—has racked up millions of plays. Following a 23-stop YOU + ME Tour that sold out venues across the globe, YDG is cementing his place as both a studio wizard and a crowd-moving performer. On vocals, Bella Renee delivers an unforgettable performance. Known for her magnetic blend of sultry vocals, heavy-hitting bass, and raw, heartfelt lyrics, Bella has quickly become a force to be reckoned with. Since launching her project in 2021, she’s surpassed 50 million streams, earned features from EDM.com and Dancing Astronaut, and released on elite labels like Monstercat, Bassrush, and Dim Mak. Her upcoming drum and bass EP on Dim Mak marks a historic first for the label and positions her as a pioneering voice in the genre. The post Seven Lions & YDG Debut Collab: ‘Man Down’ feat. Bella Renee appeared first on EDMTunes.

Today, Palm Tree Crew, the entertainment, lifestyle, and hospitality platform co-founded by Kygo and his manager, Myles Shear, announces its strategic investment in Mary Lou’s, the lavish new hospitality concept that turned heads this winter in Palm Beach and is set to take on the Hamptons this summer. In connection with the investment, Palm Tree Crew and Mama Hospitality (the founding team behind Mary Lou’s) will form a holding company to capitalize on strategic opportunities for growth and expansion of the Mary Lou’s brand and IP. By investing in Mary Lou’s and its operating group Mama Hospitality, Palm Tree Crew provides the global platform and strategic infrastructure to continue scaling a brand already commanding attention through its creative conviction, late-night excellence, and experiential storytelling. Together, they’re shaping a new kind of concept-first hospitality company defined by cultural fluency, boundary-pushing vision, and cross-industry influence. Rarely does a hospitality concept bring an experience to its customers that is truly unique and fresh and we believe that Mama Hospitality has quickly been able to accomplish that. This partnership will allow Mary Lou’s to bring its concept to new markets and share this experience with customers looking for something authentic and new Myles Shear, co-founder of Palm Tree Crew Forged at the intersection of luxury lifestyle and marquee entertainment experiences, this investment signals the emergence of an evolved nightlife paradigm defined by pedigree, passion, and precision. By combining Mama Hospitality’s operational mastery, concept-driven execution and late-night acumen with Palm Tree Crew’s entertainment authority, cultural influence, and access to world-class talent, this partnership sets a new standard for hospitality—built to last, designed to disrupt, and poised to shape the cultural landscape of every market they enter. Mary Lou’s was conceived by hospitality visionaries Alex Melillo, Joe Cervasio, and Topher Grubb as a restaurant, cocktail lounge, and entertainment hub that defies conventional categories. Operated under Mama Hospitality, the brand has already demonstrated its strength as an incubator for original talent, genre-bending programming, and an immersive environment that keeps guests coming back. Since opening its doors in Palm Beach in January, with collaborators like SOFI TUKKER as Creative Entertainment Directors, Mary Lou’s has emerged as a fearless new player in the experiential hospitality space. The partnership with Palm Tree Crew truly felt like a natural alignment from the start – we share the same energy, ambition, and commitment to creating unforgettable moments.We each bring unique value to the table, and together, we create a powerful engine for delivering world-class experiences. At the end of the day, we’re both in the business of making memories, and this collaboration elevates our ability to do just that. We’re incredibly excited for what’s ahead and can’t wait for everyone to experience it. Alex Melillo, Co-Founder of Mary Lou’s and Mama Hospitality As part of this strategic partnership, Palm Tree Crew is coming in as a leading investor to support Mary Lou’s Palm Beach and help bring its newest concept – Mary Lou’s Montauk, opening this Summer – to life. With its original visionaries still actively shaping its trajectory, Mary Lou’s next chapter will be fueled by the same creative conviction and exacting standards that have positioned it as an explosive provocateur challenging the industry, powered by Palm Tree Crew at its side. Over the past two years, I’ve had a front-row seat to Palm Tree Crew’s exponential growth, consulting across a range of operational projects and working closely with the team at their festivals. Their commitment to elevating the guest experience is relentless, and what Kygo and Myles have built is genuinely rare: a hospitality ethos grounded in energy and intention. To now step into this next chapter together as their partner is surreal and truly a full-circle moment that I’m incredibly proud of. We’re excited to continue evolving our partnership to push the boundaries of guest relations and redefine what experience-led hospitality can look like at scale Joe Cervasio, Co-Founder/Managing Partner of Mary Lou’s and Mama Hospitality The investment is the latest milestone in a breakout year for Palm Tree Crew, which has expanded its presence across both the hospitality and entertainment sectors, including the launch of destination venues in Las Vegas, Miami and Orlando, and continued global growth of the Palm Tree Music Festival. As part of the deal, Palm Tree Crew and Mama Hospitality will launch a new holding company that will serve as the umbrella for Mary Lou’s and future concepts. Mary Lou’s will also act as the official nighttime hospitality counterpart to Palm Tree Crew’s iconic daytime festival presence, extending guest experiences into a full 360-degree cultural journey. For more information about Mary Lou’s, please visit here. For more information about Palm Tree Crew, please visit here. The post Kygo’s Palm Tree Crew Acquires Stake In Mary Lou’s to Usher In A New Era Of Hospitality & Nightlife appeared first on EDMTunes.

Tips hint at DJI releasing a new generation of vlogging cameras. The “Osmo Pocket 4” is set to be the first of its kind to feel the power of elite co-branding. This is a luxury that has been exclusive to OEM Drones. The DJI Osmo Pocket Series Recently, the Osmo Pocket 3 is the go-to solution to handheld 4k vlogging according to DJI. A vast majority of Youtube influencers agree. However, it’s time for the new generation of handheld vlogging devices to take the torch. The new Osmo Pocket 4 is marketed to be its highest exponent to its date. The gadget, allegedly, will be the first DJI ‘Action Camcorder’ with Hasselblad cameras, similar to the Mavic 4 Pro drone. The camcorder would then rival instruments such as the Leica-branded Insta360 Ace 2 Pro, with a similar premium co-branding. However, the Osmo Pocket 4 would not get the 100mp sensor the drone has. DJI’s expansion of the Hasselblad-improved devices is a possibility in the near future. The company is asserted to take over 75% stake in the Swedish camera maker. While we wait for this revolutionary device, though, the Pocket 3 is available for $799.99 on amazon. The post DJI And Hasselblad Could Be Launching Something Big appeared first on EDMTunes.

Internationally acclaimed producer, live electronic artist Monolink continues his prolific run of output in 2025 with ‘Avalanche‘. The powerful new single that blurs the line between club culture and cinematic storytelling. Released via Embassy One, the track arrives hot on the heels of the announcement of his third studio album, The Beauty Of It All (out September 26). ‘Avalanche’ is built on Monolink’s signature fusion of atmospheric production and emotive songwriting. ‘Avalanche’ feels like a slow-motion freefall through memory and feeling. Subtle synth work, intricate percussion, and haunting melodies create a soundscape that pulls you inward; reflective, rawand deeply immersive. His vocals drift through he mix like a ghost, grounded yet transcendent, as the track builds with restrained intensity. It’s dance music for twilight moments, where introspection and rhythm live side by side. The official music video, directed by Zoe Stiletano and Vasco Alexandre, deepens the track’s impact. It unfolds as an expressive, short film that eschews linear storytelling for something more fluid and emotive. Set in the early hours of the morning, as a city slowly begins to wake up, two individuals–a woman and a man–begin their separate journeys through quiet urban spaces. The city feels paused. Coinciding with the album release, Monolink has also just announced a major European tour for fall 2025, bringing The Beauty Of It All to life on stage in some of the continent’s most iconic venues. The post Monolink Drops New Single ‘Avalanche’ appeared first on EDMTunes.

Alex Cecil drops a high-energy track, ‘Hola Papi:’ releasing his newest production on Playero Records, he highlights his groove-heavy sound, underlining the creativity and technical skill behind his approach. Blending driving beats with playful details, ‘Hola Papi’ delivers a dancefloor-ready vibe – showcasing Alex Cecil‘s ability to fuse infectious energy with sophisticated sound design. Through a soundscape where balanced rhythms meet with seductive vocal hooks, ‘Hola Papi’ unfolds into a dynamic sonic journey, revealing atmospheric moments that seamlessly manage tension and release while maintaining an engaging flow throughout. As catchy melodic motifs and bassline progressions weave amongst the arrangement, intricate percussive textures uphold the crisp, sharp groove of the track, continuing to build momentum through breakdowns and drops. With synth work layering in as the track journeys on, integrating pads, risers, and bouncy lines into the mix, ‘Hola Papi’ develops an evolving sound, introducing Alex Cecil’s diverse sonic palette and showcasing his approach to blending rhythm, texture, and melody in a cohesive and engaging way. With a rich musical background, Alex Cecil continues to lean on his creative origins to craft work that feels fresh and unique. Refining a sonic identity with the aim to create music that resonates with listeners, he seeks to build connections through both his studio output and live performances – an approach he highlights further in this latest release. As his creative ambitions remain high, building off career highlights that include releasing on labels like 925 Music, RVDIOVCTIVE, and Deep Playa, and taking to iconic festival stages, such as Burning Man and Hideout Festival, Croatia, Alex Cecil maintains his momentum. Now, adding another track that captures his signature style to his discography, he once again invites genre enthusiasts to explore his approach, skill, and creativity – enveloping them in his sonic world through the soundscape of ‘Hola Papi.’ ‘Hola Papi’ is out now via Playero Records, available to stream and download across all major platforms. Make sure to keep up with Alex Cecil and his evolving journey by staying tuned for his upcoming releases, projects, and performances via social media. Listen and Buy ‘Hola Papi’ here: Alex Cecil Online   Instagram | Beatport | Spotify   Playero Records Online   Instagram | Beatport

Stepping back out with another Afro-Electronic production, IXYALA reveals ‘Canvas.’ Fresh from the release of his debut single, ‘AfroTech,’ a track that marked the first steps of his new project, the Producer and DJ aims to build momentum, seeking to establish a strong footing within the world of Electronic Music as he shares new music and starts to make a name for himself. With influences that range from underground Dance culture to the musical landscape of his heritage, IXYALA has been working to carve an identity where African flavours converge with Electronic production. Bringing a modern, yet deeply rich sound, he is building a discography where each release delivers something that feels fresh; rooted in the sounds that have shaped his journey, his music reflects an Artist with a clear sense of direction and vision for the road ahead. Through ‘Canvas,’ IXYALA offers another track highlighting his signature style and genre-blurring approach, carving a soundscape marked by hypnotic rhythms and considered sound design. From the steady beat to the pulsing, interlayered synths, the production evolves with intent; unfolding into an arrangement where melody and rhythm hold equal weight, the distinct sonic fusion that grounds IXYALA’s approach is on full display in ‘Canvas,’ delivering futuristic elements together with tribal infused details. As the spoken vocals layer on top of atmospheric pads, punchy low-end progressions, and percussive textures, the soundscape continues to develop its tapestry of sound, adding timbral richness with risers, industrial-sounding leads, and melodic motifs. A dynamic sonic journey that reveals new depths of IXYALA’s creativity, ‘Canvas’ arrives as a strong entry to his growing catalogue, seeing him maintaining his originality whilst still exploring the connection between his musical roots and the landscape of contemporary Electronic Music. As he embarks on this next phase of his artistry, IXYALA continues to balance skill with a pursuit of innovation; remaining committed in his approach, he seeks to uphold originality and establish an identity that stands out both for its sound and energy. So, with this single marking the newest glimpse into his creative vision, IXYALA invites listeners to discover his sound and listen now to his latest release, ‘Canvas,’ available to stream and download across platforms. Follow IXYALA via social media to stay updated on his upcoming releases and news. Stream and Buy ‘Canvas’ here: IXYALA Online  Spotify  | Instagram 

Sound Waves in Esmoriz will feature on its Main Stage 9 women who represent the present and future of techno and hard techno at all levels. We kick it off with two undisputed queens of the hard techno scene: Rebekah and Fatima Hajji. After years of relentless dedication, molding their craft like clay, they now rule the dance floors. Their style and their overwhelming personality mixed with a long career behind has taken the 2 DJs to all the biggest stages of the scene and promises their sets to be nothing short of legendary. From Rebekah, expect drops from another planet, pounding kicks that span the hard spectrum, and a final touch of hardcore intensity. Fatima Hajji, on the other hand, will dazzle with her technical prowess, three-channel mixes, clever transitions, and a track selection that never fails to ignite the crowd. From experience to youth. The scene has changed, and new talents have emerged, not only standing out for their music but also for their stage presence. This is the case of Cloudy, Novah and Jazzy. Three women who have recently made the leap to the big stage, but they don’t look like they’re slowing down. Cloudy is a complete artist, from four channels of schranz to a groove with bouncy touches typical of the 240KM/H label with whom she has a great relationship. Novah is the showman turned artist, and Jazzy is the visceral force that conquers with industrial hammer blows.