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Apple has unveiled surprise updates to Logic Pro for macOS and iPad, with Logic Pro 11.2 and Logic Pro for iPad 2.2. New features include an enhanced Stem Splitter, Learn MIDI for iPad, a ChatGPT integration and a revamped feature that you probably never knew existed. 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 The new versions of Logic Pro are out now and available for current owners to update to immediately. But, before you head over to the App Store and click download, here’s a rundown of what you’re in for. Logic Pro’s Stem Splitter gets an upgrade Stem separation, once considered an impossibility, has made its way into Logic Pro and other DAWs such as FL Studio, much to the joy of many producers. However, Apple has gone even further with its Stem Splitter in Logic Pro 11.2 with improved audio fidelity and added support for guitar and piano stems. Now, you can separate a track by up to six stem tracks: Vocals, Drums, Bass, Guitar, Piano and Other. The new submix feature also lets you export any part of the audio you want. That means you can easily extract an acapella, a bassline or other part to study or remix — just get permission to use the sample if you intend to release anything. Flashback Capture records even when you forget to hit record Did you know that in earlier versions of Logic Pro, you could restore MIDI performances when you forgot to hit record? It was previously called Capture Recording and was supposedly a mystery to myriad Logic users. Now, it’s in plain sight as Flashback Capture and comes with a few extra handy features. Flashback Capture lets you recover any audio and MIDI performances with a click, even if you forgot to hit record. The new Cycle mode also captures multiple takes and automatically organises them into a take folder. Note that you’ll need to have a track armed with audio or MIDI signals coming through for Flashback Capture to pick it up. This is available on both Logic Pro for macOS and for iPad, and will surely be a boon to many producers. Who hasn’t forgot to hit record when making some magic at least once? Learn MIDI comes to Logic Pro for iPad 2.2 At last, the Learn MIDI feature arrives on Logic Pro for iPad. Now, you can easily map custom parameters to your MIDI controllers, letting you get hands-on with plugins, virtual instruments and other parameters in Logic. A new interface for the feature makes this a breeze, too. Easy. New Sound Packs for electronic music Apple has added a few new Sound Packs to the Logic Pro library on Mac and iPad. This includes over 400 samples for drum ‘n’ bass genres in the Dancefloor Rush packl; a progressive metal Sound Pack with Tosin Abasi; and Magnetic Imperfections, which brings “the raw, unpolished essence of analogue tape,” according to Apple. ChatGPT in Logic Pro…? One of the minor additions to Logic Pro 11.2 is the integration of Apple’s ChatGPT-powered Writing Tools into Logic’s notepad. This is to help producers explore musical ideas for song lyrics, chords, and generate other notes one might need. In addition, Undo History is now saved within each project, and you can now send MIDI Clock data to Ableton Link. Elsewhere, Apple’s DAW sees tweaks to the Logic Mixer, Smart Tempo, Step Sequencer, and more. How much does Logic Pro 11.2 and Logic Pro for iPad 2.2 cost? For current Logic Pro owners, the upgrade path is free for both Logic Pro 11.2 and Logic Pro for iPad 2.2. If you’re not an owner of Logic Pro, the price is £199/$199 for the macOS version — note that it’s not available on Windows, Linux, or any other desktop OS. Logic Pro for iPad 2.2 is sold on a subscription basis at £5/$5 per month or £50/$50 per year. Is Logic Pro any good? In short, yes. Logic Pro is one of the world’s leading DAWs and is used by countless professionals. MusicTech checked out Logic Pro for macOS and Logic Pro for iPad last year, both of which were reviewed favourably. There are competitive alternatives, for sure, and your decision on a DAW will ultimately come down to your personal needs, but we certainly recommend it as a consideration. Speaking on Logic Pro 11, we said: “Logic Pro offers an unbeatable combination of features and value.” In our review of Logic Pro 2 for iPad, we said: “Logic for iPad is powerful enough that you really can use it for end-to-end music production, entirely on its own.” Learn more at apple.com The post Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know appeared first on MusicTech. View the full article

We are giving away to one lucky winner, a double entry pass for two people to this years Mallorca Live Festival taking place in Calvià on June 12, 13. The winner will be drawn Sunday 1st June, just enough time to arrange your flights and accomodation. To enter, tag yourself and the one friend you’d like to join you, on our facebook page or our instagram The Balearic Islands’biggest and most important music event, Mallorca Live Festival, has unveiled the full lineup for its eighth edition at a press conference in Madrid. Taking place in Calvià on June 12, 13, and 14, Mallorca Live will feature major international and Spanish artists including Massive Attack, Iggy Pop, Suede, Nathy Peluso, Bad Gyal, Rigoberta Bandini, Antònia Font, and Dorian, amongst others. Mallorca Live CEO Álvaro Martínez said: “Since our inception, we’ve understood that the festival goes far beyond music. The event positions the island as a cultural destination and promotes the music industry, and it’s a project we’re currently working on based on three pillars: sustainability, tradition, and quality of experience. We continue working to generate the lowest environmental impact on the destination, to showcase Mallorca’s culture and tradition, and to offer the best experience with improvements within the venue for our attendees, a local, national, and international audience with a high cultural level who love to travel, attracted by music and to enjoy the experience.” Full lineup for eighth edition Among the latest additions is the legendary New York band and emblem of American psychedelia, Mercury Rev whowill perform on Saturday, June 14th. Also joining the festival’s final day is an energetic show by DJ and producer duo Elyella and Mallorcan band Go Cactus. Friday 13th will see Galician electro-punk act Grande Amore, Ibizan cumbia band Flor d’Higuera, Swedish band The Family Men and Argentinian artist Maximiliano Calvo take to the stage. Ibizan band Niños Raros and young Palma-based artist Jordan Boyd will perform on Thursday the 12th. The young Malaga-born artist Anadie is also confirmed for the Radio 3 Stage lineup after being chosen by the listeners of the Hoy Empieza Todo program. La Plaza Electronic stage La Plaza Electronic Stage is a space to create a community where some of the most current DJs and producers from different parts of the globe, will make the audience dance with their eclectic sets, ranging from house to techno, through Afro Tech or Turkish psychedelia. Already announced artists include Carlita, Chloé Caillet, Desiree, Kilimanjaro, Tsha and Tripolism, and other names such as Aqutie, Gina Jeanz, Mystery Affair and Yahaira. The decks will also spin with a Mallorcan accent from Discontrol and Enric Ricone B2B Un Southnormal and Senda Fatal from Madrid. La Plaza Electronic Stage completes its lineup with renowned Ecuadorian producer and electronic pioneer Nicola Cruz set to headline Thursday 12th, along with the already confirmed Gina Jeanz and the recently added artists Aroop Roy, Jane Fitz, Brolorizo, Radioactive Man, and local artists Melohman B2B Los del Ficus. On Friday 13th, Argentine multidisciplinary artist Lourdes Lourdes will perform on Saturday 14th and Tony Caballeros completes the electronic lineup. Music and art come together at Mallorca Live Year after year, the festival organizers have made a significant commitment to positioning the event as a cultural hallmark of the island of Mallorca, based on providing attendees with the best experience after their visit to the festival. Music and art come together in this eighth edition to showcase the island’s culture and traditions on the Balearic Islands Government – Mallorca stage. This stage will feature the signature of Mallorcan designer Pablo Erroz, who recently made the prestigious Forbes magazine’s list of “the most creative in the business world in 2025” and is the only islander to hold this title. “It is an honor to be part of the new MLF stage design, a project I admire for its ability to reinvent itself, its roots in the island, as well as its commitment to culture, music, and now also design.” said Erroz “The brand is currently experiencing a moment of maximum transversality and exploration of new paths, which makes this creative challenge even more inspiring and exciting, coupled with the fact that I am working alongside a team that fosters great connections from the island to the world.” In addition to the festival, the in-person professional conference will return on May 30 at Es Baluard Museu d’Art Contemporani in Palma, serving as a meeting point for music industry professionals. Panel topics and speakers will be announced soon. OFF Mallorca Live is a program of parallel activities, taking music beyond the Calvià with five special events in unique settings across the island. More info coming soon. Mobility and Sustainability Plan The Mallorcan festival will continue its successful mobility plan this year, using a shuttle bus service to transport festivalgoers from different parts of the island and promoting environmental responsibility. This plan and the sustainability measures adopted by Mallorca Live Festival in 2024, was recently recognized at the prestigious Iberian Festival Awards, where the festival won the national award for Contribution to Sustainability. Travel and Accommodation Packages To improve the transportation and accommodation offering for all attendees from the Iberian Peninsula and other countries, the festival is once again launching special packages this year that include accommodation and a 3-day festival pass from €300 and the option to add a flight to the package. All information about the different special packages can be found on the Logitravel website, allowing you to choose the experience that best suits your needs. Tickets The last 3-day passes and day tickets are on sale from €63 on the festival website www.mallorcalivefestival.com and the official ticket office Entradas.com The post Win a double pass to Mallorca Live Festival appeared first on Decoded Magazine.

Aubrey Fry · Burn the Witch (Aubrey Fry & abandoned technologies Interpretation) (FREE DOWNLOAD) Aubrey Fry has joined forces with close friend Al Ashford to deliver a reimagined version of Radiohead’s 2016 track “Burn the Witch.” This marks the first release under their new collaborative alias: abandoned technologies. Together, they’ve been crafting a boundary-pushing album that refuses to be confined by genre. The concept? Fusing obsolete music tech with modern production techniques to create something completely unpredictable and raw. This is just a glimpse into the sonic world they’re building — expect the unexpected. Availbale to download here The post FREE DOWNLOAD – Aubrey Fry & Al Ashford reimagined version of Radiohead’s “Burn the Witch.” appeared first on Decoded Magazine.

Chinois loves to thank, celebrate and unite island locals, authorities, businesses, workers and visitors with its free hugely popular open-air party at Ibiza Port, with world-class DJs on the decks. PORTSIDE, 6pm-midnight, is all about inclusion, celebrating the White Isle, its sense of community, its magic spirit… It’s Chinois’ free gift to the island each summer. This will be the third year of this beloved party, celebrating the legacy of Ibiza’s old town and a true homage to the island and its spirit. Chinois and 3x PORTSIDE regular Luciano, Chinois residents and SAGA foundersBedouin, hypnotic French talent Adassiya, and local hero Bruz will soundtrack your dancing. Danny Whittle, Chinois Ibiza Brand Director: ‘PORTSIDE has now become a much-anticipated annual opportunity for us to honour the community of Ibiza, the locals, the music scene, and all the people who make the island so special, with an incredible free party. It’s such a meaningful event for us at Chinois, and for the incredible DJs joining us, whilst also powering the local businesses in the Port. It’s always a really special day. Thanks to the Mayor, Town Hall and Port Authority for making this happen.’Chinois would like especially to thank Ibiza Town Council, Balearic Islands Port Authority, Ibiza Port Neighbours and Businesses Association, La Marina de IbizaBusinesses Association, Callede la Virgen Business Association, and Es Pratet Residents Association. Bedouin says: ‘Playing PORTSIDE is something special…right in the heart of Ibiza, open-air, free for everyone. We’re really looking forward to sharing this huge moment with everyone before kicking off our SAGA residency just a few weeks later’The party continues after the Port at Chinois, a stone’s throw away at the Marina from 23:30, where you’ll get a second chance to see Luciano and Bedouin, this time in Chinois’ intimate club setting. Also on the lineup are fellow French producers Dorian Craft B2B Baron, and London-born Cameron Jack. The post Chinois Ibiza Presents PORTSIDE on Sunday 1 st June The Third Year of their Beloved Open – Air Party at Ibiza Port With Luciano, Bedouin, Adassiya and More appeared first on Electric Mode.

With her label Serial Disc Touchers steadily carving out its own lane, Grace Dahl steps into the spotlight with its third release, ‘I Want To Dance’. Coveted by fans as a frequent closer in her sets, the track now lands in the SDT Recordings catalogue, capturing the stripped-back yet confident ethos that has come to define GraceDahl’s beloved sound. Hit the floor on May 28 when the new single lands on streaming services everywhere. Powered by a chugging rhythm and Dahl’s own looping vocal hook, ‘I Want To Dance’ wastes no time making its presence known. It’s a mature club track at heart, stripped back yet entirely self-assured. Subtle tension building synths concoct a sonic atmosphere that evokes long bouts wandering through both haze and strobes. Teetering on 135bpm, the resulting tune is an infectious House groover, likely to work its way into your mental soundtrack without any intention of leaving. Arriving just days before her performance at Soenda Festival in Utrecht, the release follows a run of acclaimed shows, including a Boiler Room set that has etched the Dutch talent as one of the scene’s current must-see acts.With ‘I Want To Dance’ set for a May 28 release, it’s time to forgo deeper meaning and simply find your way to the dance floor. Grace Dahl has emerged as one of the most exciting names in the circuit, with a flair for emotive, high energy techno. It combines emotional depth with an infectious high energy, creating a sound that resonates on both a personal and a collective level. Born in Budapest, Hungary and spending her early childhood in Spain before eventually settling in Amsterdam, her upbringing was as colourful as it was diverse. With a Hungarian Father and Finnish Mother deeply immersed in the European rave scene of the 1990s, it seems that her path was almost predestined. As a child, some of her earliest memories are watching her father playing records at home, being entranced by what was happening on the turntable and coming out of the speakers. From the very beginning she had a burning passion for music that was only fueled and enhanced by her colourful and diverse upbringing. Grace’s career began at 18, cutting her teeth at clubs and venues around Amsterdam. She soon became a resident at the iconic Vault Sessions party series, solidifying her reputation as a rising star. Since then she has gone on to play some of the most revered venues and festivals around the world, including Berghain, Awakenings, Boiler Room and Stone TechnoFestival. Her production journey began in 2018 with her first release on Coincidence Records aspart of a VA compilation, followed by her debut solo EP, Dark Side of Desire, on Khazad Records. Since then she has appeared on high-profile imprints such as Amelie Lens’sExhale and* Frenzy Recordings, further cementing her place among techno’s elite talents.Her productions are a balance of powerfully weighted percussion and rich, immersive soundscapes.In 2024 Grace launched her very own label Serial Disc Touchers (SDT Recordings),which is a testament to her vision of fostering high-quality, boundary-free music. Since then the label has already released two projects and boasts a roster of talented artists, including Alec Dienaar, Julian Muller, François X, and Onyvaa. The post Techno Star Grace Dahl Unleashes ‘I Want To Dance’ On SDT Recordings appeared first on Electric Mode.

Vision Open Air returns to Ex Macella Milano on Saturday, May 24, 2025, with Keinemusik co-founder &ME headlining a four-hour set. The Berlin-based artist lands in Milan following appearances at Coachella, AlUla in Saudi Arabia, and ahead of upcoming shows in New York, London, Ibiza, and Berlin. A defining force in contemporary house and techno, &ME has been central to Keinemusik’s rise as one of the most influential collectives in global electronic music. Since launching in 2009, the crew, made up of four DJs, a graphic designer, and a painter, has reshaped dancefloor dynamics with standout releases like “The Rapture Pt.III,” “Say What”and “Thandaza.” Joining &ME are US selector Airrica, fresh from Time Warp Germany and a summer date at Hï Ibiza, and Rimaye, the rising French-German talent with growing international traction after sets in Miami and beyond. Following the open-air session at Ex Macella, the night continues at Amnesia Milano for the official Vision aftershow and Amnesia’s season-closing party. Find Out More & Follow https://amnesiamilano.com/ The post &ME Leads Vision Open Air at Ex Macella Milano appeared first on Electric Mode.

Single-channel models: $699 / € 749 / £629 Dual-channel models: $1199 / €1299 / £1159 warmaudio.com Warm Audio’s WA76 compressor/limiter has been performing stellar dynamic control duties in studios worldwide since its launch way back in the before-times of 2014. Indeed, your MusicTech correspondent here was one of the first to sing its praises; so much so, I bought a pair of them. READ MORE: Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors? Now, WA head honcho Bryce Young and his team have expanded the range to include four new models. Two of them are inspired by traditional mono 1176s, while the other two have two channels. Of course, all of the WA76s are based upon the classic Urei 1176, launched in 1967 and revised several times throughout the 1970s and beyond. The WA76-A (mono) and A2 (stereo) emulate the sound and style of the original ‘67 ‘Blue Stripe’ model, while the WA76-D and D2 mimic the ‘Blackface’ Rev D version from the early 70s. As the mono and stereo units of each model share the same sonic signature, I asked to check out the single-channel WA76-A and the dual-channel WA76-D2. Both models are referred to as a Limiting Amplifier on the facia; however, the ‘Blue Stripe’ A model is described as a vintage-voiced discrete FET compressor, while Rev D is a clean gain discrete compressor. In practice, this means A models offer the more obviously coloured, harmoniously saturated and aggressive performance of the original late 60s units. It’s a gloriously vintage vibe that seems to beef up audio processed through it, much like the early solid-state consoles of the era. By contrast, D revisions sound cleaner, more transparent and, significantly, operate with less self-noise. It’s those attributes that made original Rev D units so revered from the mid-70s onwards, yet with modern ultra-clean recording mediums, the more characterful Blue Stripes are enjoying a resurgence in popularity. Internally, each model has ‘built-to-vintage-spec’ input and output transformers from CineMag, with the Blackface models incorporating a lower-noise preamp stage. For those unfamiliar with the classic mono 1176 design, these latest single-channel incarnations feature all the dynamic control of historic units, while incorporating extra features to facilitate modern recording practice. As ever, there are rotary controls for Input and Output as well as Attack and Release. Four push buttons allow the selection of compression ratios (4:1, 8:1, 12:1 and 20:1) and of course, the famous ‘all buttons in’ mode that engineers love for a smashed drum sound, for example. New to these units are selectable 10 kΩ input impedance, to better match for modern interfaces, a variable sidechain high-pass filter that operates between 30-300 Hz and a Wet/Dry mix control, which is particularly useful for parallel compression when using heavier compression. A large back-lit VU meter shows either gain reduction or output level (+8 dB or +4 dB), while around the back, Input and Output can be used with either XLR or balanced jack cables. Stereo Link sockets and External Sidechain Access (for the single-channel units only) are also located there. Dual-channel versions manage to squeeze two channels into the same-sized 2U chassis as the mono models, so if space saving is important, this is a great cost-effective way to get stereo 1176 dynamic control without using up double the rack space required for a linked mono pair. There are three ways these two-channel models can be configured, two of them for stereo use and the third for dual-mono use on two separate sources. As there are no external side-chaining options available on these models, the way the compressor works with stereo or dual-mono signals is controlled by a toggle switch on the front panel. In standard stereo mode, the compressor reacts as you would expect, providing even compression determined by the fastest attack and slowest release settings. With the A>AB mode engaged, the left channel also controls the response times of the right channel. A/B mode is for dual mono processing, however as there is only one set of ratio controls on the unit, you can’t select different compression ratios for each mono source, although you can of course set the response times to suit the separate input signals as well as independently adjust the input and output levels. Used on a variety of mono and stereo signals, each model works to its own strengths. Although the Blue Stripe is a little noisier in operation, it does impart a real, classic analogue sound, thickening things up and adding unique sonic colour even with little (or no) compression taking place. Dialling up the input gain injects a lovely touch of saturation that mimics that slightly overdriven sound often heard on recordings from the late 60s. For tracking electric guitars, bass and hard-edged vocals, Bluey is hard to beat if you want hot, gritty glue. It’s also brilliant at breathing life into digital synth sounds that might otherwise appear flat and sterile. On the other hand, Rev D is more transparent, but without losing any of the grippy compression characteristics I love about ‘76 type units. It does add a noticeable degree of analogue thickening to audio and, if you drive the unit hard with high input levels, welcome harmonic distortion provides a larger-than-life sound. Used on a stereo drum bus, the sound pumps rhythmically, with little self-noise even at extreme compression levels. Here, the Wet/Dry control comes into its own, allowing for a continuously variable blend so that you can precisely achieve the right amount of parallel compression without the need to set up additional channels. This is a wonderful feature not available on vintage units. Both the WA76-A and WA76-D (mono or dual-channel) exhibit the classic compression characteristics we all love about this type of unit. The many available response times that can be dialled in makes them fantastic dynamic controllers that can handle any audio signal with ease. If you’re after an unmistakable vintage sound with bags of character and don’t mind a touch of extraneous noise, the Blue Stripe ‘A’ models are the ones to seek out. For a cleaner, less coloured and slightly more ‘hi-fi’ sound that still possesses that authentic ‘76 style from the mid-1970s, the Rev D models are hard to beat. Warm Audio’s superb build quality and value for money is a given these days, so the additional flexibility of switchable impedance, high-pass filter and the Wet/Dry control makes either version a must-hear audition choice if you’re in the market for a classic 1176-style compressor. Key features Analogue, discrete FET design 100% wet/dry control Impedance switch (600 kΩ or 10 kΩ) 30 Hz – 300 Hz high-pass filter Active bypass 2 stereo linking jacks (mono unit only) External sidechain input and output (mono unit only) The post Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors to date? appeared first on MusicTech. View the full article

Emerging Scottish producer and singer-songwriter Possibly Jamie is making waves with the release of his captivating new EP, “Erotic and Mostly Empty.” This powerful body of work fearlessly explores themes of apathy and emotional fatigue, diving deep into the complexities of modern life. Jamie’s recent focus singles, “Want” and “DNR,” serve as poignant previews, vividly capturing the essence of disillusionment, struggle, and indecision. At the heart of this collection lies a raw introspection on topics of apathy, romantic disconnection, and the nuances of modern masculinity. Therefore, making it an essential listen for anyone navigating these turbulent emotions. I have observed that in Possibly Jamie’s work, lyrical authenticity holds equal importance to his groundbreaking fusion of art-pop and experimental electronic sounds. Immersing myself in the “Erotic, Mostly Empty” EP reveals a rich tapestry of musical diversity. This is complemented by bold narratives that delve into queerness, modern masculinity, and the complexities of romantic relationships. This EP not only showcases his innovative artistry but also challenges listeners to reflect on contemporary themes with striking clarity and depth. “Tuesday, Pity Sex” is a striking track that I’ve been eager to explore in the blog. Its electro-pop style stands in contrast to the more experimental sounds typically associated with Possibly Jamie. Yet it also successfully carves out its own distinct lane. Jamie’s characteristic speak-sing delivery brings an engaging layer to the song, effectively amplifying its poignant narrative. The lyrics delve deeply into the emotional landscape of intimacy. Moreover, showcasing the hollow routines that can easily ensnare individuals in a cycle of superficial connections. This haunting exploration of intimacy devoid of true meaning resonates on multiple levels. Thus making it a compelling listen that prompts reflection long after the final notes fade away. Jamie’s music could very well be seen as an enriching experience for all of us. Bursting with daring hooks that challenge us to take a chance, these energetic pop bops break free from conventional formulas. Moreover, the EP “Erotic and Mostly Empty” is not just bold and self-assured; it’s unapologetically blunt. This creates a powerful sense of empowerment for Jamie’s listeners, making the urge to hit replay not just strong but utterly irresistible. Listen/stream “Erotic and Mostly Empty” HERE Connect with Possibly Jamie X: https://x.com/possiblyjamie Instagram:https://www.instagram.com/possiblypossiblyjamie/ The post Listen to “Erotic, and Mostly Empty” EP by Possibly Jamie appeared first on EQ Music Blog. View the full article

International Dutch DJ, Sam Feldt, just released his second full-length album, Time After Time – a deeply personal and genre-evolving project that blends his signature tropical house roots with a bold new direction he calls Future Tropical. Listen here. The album features collaborations with major artists like Anitta, JVKE, Justin Jesso, and Parson James, and explores themes of personal growth, fatherhood, and seizing the moment. With over 10 billion streams, 8.5 million monthly Spotify listeners, and global performances ranking him among the top Dutch acts internationally, Sam’s story continues to evolve—musically and personally. “My early career was characterized by tropical house sounds, and as I entered my 30s, I fully committed to Developing a new evolution of the sound, which I call Future Tropical. For Time After Time I’ve teamed up with Some incredible artists who have become personal Friends, and together, we’ve created something that celebrates my roots while also breaking new ground.” — Sam Feldt Sam Feldt, born Sammy Renders, is a renowned Dutch DJ, producer, and entrepreneur, celebrated for reshaping tropical house with hits like ‘Show Me Love’. His music, known for its melodic richness, often features diverse collaborations, showcasing his explorative approach. Beyond the decks, Sam is a visionary in the business world. He founded Fangage, a platform for artists to connect with fans, and launched Heartfeldt Records, emphasizing talent development. Beyond the music, Sam is also a successful entrepreneur and he leads the Heartfeldt Foundation, which is expanding in 2025 through a partnership with the United Nations, linking sustainability with the power of music. His entrepreneurial spirit extends to Hello World Investments, focusing on innovative startups, especially in sustainability and technology. He’s also a respected speaker, sharing insights on music, technology, and sustainability at global events. Balancing a successful career with a personal life, Sam is a role model in using his platform for positive change, blending musical talent with social responsibility and innovation. His journey is a testament to the power of artistry intertwined with entrepreneurial acumen and philanthropy. The post Sam Feldt Releases Sophomore Album, Time After Time appeared first on EDMTunes.

Debuted at Ultra Miami, the infectious collab is now available via STMPD RCRDS & Casablanca Records/Republic Records. Dutch superstar DJ and producer Martin Garrix has officially teamed up with pop sensation Lauv for their long-awaited new single, ‘MAD’. Released via STMPD RCRDS and Casablanca Records/Republic Records, the electrifying track is poised to become a defining sound of the summer. First previewed to thousands of fans during Garrix’s headlining set at Ultra Music Festival Miami, ‘MAD’ has been gaining traction ever since, thanks to its addictive drop, dancefloor-ready energy, and emotionally charged lyrics. It’s an undeniable fusion of Garrix’s euphoric production and Lauv’s signature introspective songwriting. “Martin and I have been friends for years, and it’s so amazing to finally have a record together – what an inspiring DJ, producer, songwriter, and human” -Lauv The single comes alongside an emotionally resonant music video directed by Mathias Norman, showcasing a visual narrative that matches the raw vulnerability and euphoric highs of the track. Garrix Continues His 2025 Takeover ‘MAD’ follows Garrix’s recent collaborations with Arijit Singh, including ‘Angels for Each Other‘—his first-ever vocal performance on one of his own tracks—and ‘Weightless‘. Both releases signal Garrix’s growing range and fearless experimentation with his sonic identity. Garrix also wrapped up an explosive weekend in Las Vegas, playing at OMNIA, TAO Beach Club, and headlining EDC, solidifying his place among the most in-demand DJs on the planet. Looking ahead, he’s set to make history in June as the first artist to perform three nights at the Los Angeles State Historic Park—selling out 40,000 tickets in record time and adding a third date due to overwhelming demand. He also sold out two back-to-back shows at the iconic Red Rocks Amphitheater in Colorado this October. With ‘MAD’, Martin Garrix continues to push boundaries, merging pop and dance in a way that resonates worldwide. As festival season heats up, this collaboration with Lauv is already proving to be the soundtrack of summer 2025. Listen to ‘MAD’ now. Watch the official music video, and stay tuned for more Garrix tour dates and festival announcements coming soon. The post Martin Garrix & Lauv Join Forces for New Summer Anthem ‘MAD’ appeared first on EDMTunes.

Miami-based producer and DJ Julian Sacheli, who is also part of the duo Black V Neck, has released a new single called ‘Be Alone’ for Dirtybird’s 20th anniversary. This is the first solo release of Julian Sacheli in eight years, following Black V Neck’s track ‘Check My Brain’. ‘Be Alone’ is a double meaning title that marks a new chapter in the electrifying career of Julian Sacheli. The track shows his growth as an artist and highlights elements that set his sound apart from Black V Neck. It features melodic patterns, unique deep-tech beats, and clear percussion. The track is built around a thoughtful vocal sample that portrays loneliness as a way to escape. Additionally, this track offers a deeper, more personal perspective in the artist’s solo work. Click ‘Play’ on the Spotify link below to stream the track, it will allow all to deeply feel the melodies and deep soundscapes that are perfect for any kind of setting. ‘Be Alone’ marks a significant mark in the solo career of Julian Sacheli Julian Sacheli has been active in the house music scene since 2008. His career began with the influence of his DJ father. He started producing music on Ableton and playing vinyl records by age 12. He continued to perform and release music while in high school. In 2017, he co-founded Black V Neck with Ian Beato. The duo gained recognition for their sound and performances at major festivals such as Coachella, Ultra, and EDC. Now, in 2025, Julian Sacheli is launching his solo career with the release of ‘Be Alone’. Everyone can stream ‘Be Alone’ on all platforms. To receive updates on Dirtybird releases, events, merchandise, and more, please sign up through the provided link. The post Julian Sacheli Highlights Percussive Melodies in ‘Be Alone’ appeared first on EDMTunes.

Simina Grigoriu had recently released her remix out on Phuture Wax Records, and it is her own spin on Tom Wax’s track, ‘The Sound of the Future’. Known for her sharp techno and catchy beats, she really shows why she’s a big name in the music scene. In her remix, you’ll hear tight percussion and a deep bassline. Simina strips the original track down to its basics and builds it back up with cool rhythms, modulated synths, and effects that crank up the tension. The result is a driving track that’s perfect for late-night dance floors. It’s energetic and has a great vibe, making it just right for dark clubs. The remix of ‘The Sound of the Future’ by Simina Grigoriu is a great modern take on a classic dance track This remix is actually her second for Tom Wax; her first one was the 2023 rework of ‘Plur’, which she did with Dr. Motte. In fact, that track helped solidify her reputation for blending skillful production with dancefloor energy. For the past ten years, Simina’s carved out a unique space in the techno world. Her sound is both thought-provoking and physical. As the founder of Kuukou Records, she promotes fresh music from well-known and up-and-coming artists, creating a lineup that reflects her passion for powerful, well-crafted techno. To summarize about her remix of ‘The Sound of the Future’, it is a great piece of music that stands out in her growing body of work. It pays homage to the original while turning it into a modern club anthem. For Simina Grigoriu, her dedication to quality and creativity on her remix of ‘The Sound of the Future’ is truly shaping the future of techno. The post Simina Grigoriu Unleashed Remix of ‘The Sound of the Future’ appeared first on EDMTunes.

Every October since 2013, the Amsterdam Dance Event (ADE) has occurred in venues across the city. The event is five days long, and the week’s highlight is always held on the Saturday of ADE—the big names and icons of EDM roll in on Saturday for the Amsterdam Music Festival (AMF). AMF is being held this year on October 25, 2025. Taking over the Johan Cruijff Arena, they turn it into a massive nightclub, filling it with 40,000 fans ready to dance the night away. Performing on the decks this year are returning legends and new faces that might surprise you. Two heavyweight fan favorites leading the pack are Armin van Buuren and Hardwell. Joining them for their first AMF appearance are Afrojack and Gregor Salto, who will premiere together as AfroSalto. AMF is breaking new ground this year by branching out beyond its signature EDM sound with a broad spectrum of music and artists. So, to complete their 2025 lineup for a wider range of genres, you will hear sets from John Summit, Sara Landry, KI/KI, Miss Monique, MORTEN, Oliver Heldens, and Sub Zero Project. The event has an early access option at 7:30 PM, with a pre-show experience starting at 8:00 PM. Otherwise, regular access will be at 9:00 PM. The regular show begins at 9:00 PM and ends at 6:00 AM. Tickets start at €99, and you’ll have the option to choose between five different ticket types. You can secure your ticket at amf-festival.com. The post Amsterdam Music Festival Announces Killer Lineup appeared first on EDMTunes.

After announcing the initial lineup, Miami’s favorite genre-mashing festival just got even bigger. III Points Festival returns to Mana Wynwood on October 17–18, 2025, and the newly revealed Phase Two lineup brings even more heat to an already stacked bill. Known for bridging underground electronic culture with mainstream appeal, III Points continues to carve its own lane in the U.S. festival circuit. Among the Phase Two additions are genre-defying R&B artist Tinashe, the cosmic funk stylings of Thundercat, and futuristic pop duo Magdalena Bay, bringing some Miami hometown flavor back to the stage. Punk meets power with Amyl and the Sniffers, while hardcore gets its due with Baltimore heavyweights Turnstile. Representing the LGBTQ+ movement with fierce bars and presence, Villano Antillano also joins the fold. These artists now join the likes of Peggy Gou, Sean Paul, Michael Bibi, Dom Dolla, Black Coffee, and Bicep, who are set to deliver their CHROMA A/V DJ set. It’s a kaleidoscopic lineup that ranges from jungle, house, and techno to pop, punk, reggaeton, and experimental soul. The festival also revealed a staggering number of B2B sets, underscoring its commitment to one-of-a-kind performances. Highlights include: Mau P B2B Seth Troxler Goldie B2B Nia Archives Ben Sterling B2B Josh Baker Chloé Caillet B2B Prospa DJ Tennis B2B Luke Alessi Beltran B2B ChaseWest INVT B2B Coffintexts DJ Plead B2B Jonny From Space Fifi B2B Phiphi Jubilee B2B SEL.6 and many more on the local and underground stages With visual arts, immersive installations, and cutting-edge production in tow, III Points continues to blur the lines between underground culture and mainstream impact. The 2025 edition promises to be a genre-melting celebration in one of the most dynamic cities in the world. Phase II is on sale tomorrow at 1:11pm ET for an $11.11 deposit on the official website! The post III Points Unveils Phase Two Lineup With Eclectic Additions From Tinashe To Thundercat appeared first on EDMTunes.

Photo Credit: MILLION DOLLAZ WORTH OF GAME / CC by 3.0 President Trump pardons rapper YoungBoy Never Broke Again, who was sentenced last year to 23 months in prison for possession of firearms as a felon. YoungBoy Never Broke Again had also been given 60 months of probation and was released from federal custody in March. Since then, he has been under home confinement. The rapper recently announced a headlining US tour, which is set to kick off in September. “I want to thank President Trump for granting me a pardon and giving me the opportunity to keep building—as a man, as a father, and as an artist,” said YoungBoy Never Broke Again, who was born Kentrell DeSean Gaulden, and is also known as NBA YoungBoy. “This moment means a lot. It opens the door to a future I’ve worked hard for and I am fully prepared to step into this.” The rapper’s tour agent, Andrew Lieber, said in a statement to The New York Times: “He’s a fully free man now, with no travel restrictions. The world is at his fingertips.” Trump also pardoned a slew of high-profile Republicans and other supporters, donors, and friends, with the influence of Alice Marie Johnson, whom the president pardoned back in 2020. Trump has recently dubbed Johnson his “pardon czar.” Among those pardoned in the latest round were Todd and Julie Chrisley of the reality show “Chrisley Knows Best,” who were convicted of conspiring to defraud banks in the Atlanta area. He also pardoned James Callahan, a New York union leader who pleaded guilty for failing to report $315,000 in gifts from an advertising firm. Further, he pardoned former Connecticut governor John Rowland, a Republican who served from 1995 to 2004. Rowland was sentenced to 30 months in federal prison for charges related to concealing his involvement in two federal election campaigns. The president also pardoned Michael Grimm, a New York Republican who resigned from Congress after being convicted of tax fraud. Army Lt. Mark Bradshaw, convicted in 2022 of reporting to work without undergoing a COVID-19 test, was also pardoned. Trump also commuted the sentence of Larry Hoover, a former Chicago gang leader serving a life sentence at Colorado’s supermax prison. Hoover was first imprisoned in connection with a 1973 murder, and was convicted of running a criminal enterprise in 1998. In 2021, Trump pardoned Lil Wayne and commuted Kodak Black’s federal prison sentence before he left office. To celebrate his pardon, Lil Wayne released the song “Ain’t Got Time.” View the full article

Photo Credit: Chris Daughtry, lead singer of Daughtry, by Luis Blanco / CC by 2.0 Gebbia Media has acquired Big Machine Rock from Hybe America. The roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and more. Gebbia Media, a subsidiary of Siebert Financial Corp., has acquired Big Machine Rock, the rock imprint of Big Machine Label Group, which has played a major role in shaping the future of modern rock. The acquisition marks a new chapter in Gebbia Media’s rapid ascent within the music and media industries, where the company is focused on building an artist-first platform that blends creative storytelling with strategic investment. Big Machine Rock’s current roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and Ryan Perdz, among others. “Growing up with incredible music by iconic artists like Led Zeppelin, Van Halen, and The Doors, I recognize the importance of bringing rock to a new generation of listeners and fans, who are ready to embrace it,” says David Gebbia, CEO of Gebbia Media. “Big Machine Rock embodies the Gebbia Media approach: bold, cross-generational, and deeply in touch with the culture. This acquisition allows us to further our mission of empowering artists through investment in robust catalogs and cross-platform expansion.” GM Heather Luke-Husong has led the label’s all-female team to achieve multiple No. 1 singles and Platinum-certified records in just a few years, making the indie-spirited imprint one of the most exciting labels to watch in the rock space. Big Machine Rock has become a home for dynamic, genre-defiant acts whose influences stretch beyond traditional rock into country, alt, and metal, earning praise for its innovative approach and loyal artist base. Under Gebbia Media’s leadership, the label will prioritize artist development, immersive storytelling, and cross-platform visibility, meeting fans where they most are: onstage, online, and embedded in culture. “This acquisition marks another step in Siebert’s commitment to innovating at the intersection of Finance and Culture. By bringing Big Machine Rock into the Gebbia Media portfolio, we’re aligning visionary talent with the resources and stability of a diversified financial platform, ensuring long-term growth and cultural impact,” says John J. Gebbia, CEO of Siebert Financial. The move follows Siebert’s strategic partnership with GAMMA and L.A. Reid LLC for the breakout group SIMIEN, building on Gebbia Media’s growing partnership with global artist and entrepreneur Akon. As part of the agreement, Scott Borchetta, founder of Big Machine Label Group, will continue to oversee operations and join the advisory board of Siebert Financial, parent company of Gebbia Media. Borchetta’s track record guiding dozens of top selling artists like Riley Green, Thomas Rhett, Reba, Dolly Parton, Taylor Swift, Sheryl Crow, Florida Georgia Line, and so many more, brings immediate strategic depth to Siebert’s expansion into media and entertainment, making him an invaluable addition to its advisory board. Artists currently signed to Big Machine Rock will remain part of the label’s roster and will benefit from expanded resources, promotional capabilities, and global reach. View the full article

Photo Credit: United Musicians and Allied Workers (UMAW) Today the NYC Council voted to pass Resolution 368, which calls for fair pay for artists in music streaming. The council also endorsed the passage of the Living Wage for Musicians Act introduced in the U.S. Congress in 2024. “I’m thrilled the New York City Council has passed my Resolution 368 today, in support of the Living Wage for Musicians Act. In the music capital of the world, artists deserve fair pay and dignity,” shared Council Member Shahana Hanif. “As streaming platforms pay artists less than a third of a penny per play, this is a critical step toward making our city more affordable for working musicians to living and creating music here.” The Living Wage for Musicians Act would finally ensure that artists are fairly compensated for their work on streaming services by creating a new streaming royalty paid directly to artists. The new royalty would be an additional revenue stream on top of artists’ existing royalties. The Act was originally introduced by Congresswoman Rashida Tlaib and former Congressman Jamaal Bowman, and was developed in collaboration with musician advocacy organization United Musicians and Allied Workers (UMAW). The Resolution was introduced by Council Member Shahana Hanif and was cosponsored by Council Members De La Rosa, Ossé, Rivera, Menin, Cabán, Brannan, Louis, Brewer, Riley, Farías, and Bottcher. “UMAW thanks Council Member Hanif and all the Council Members who voted for thos resolution for standing with NYC’s music community,” adds UMAW organizer and musician Joey La Neve DeFrancesco. “This is a huge win for NYC musicians, and musicians across the country. It proves once again that when artists stand together united, we can fight and we can win. We still have a lot of work to do to win fair pay in streaming, but this is a big step forward.” “Over 14,000 musicians operate in our city, but still make below minimum wage while generating billions for this sector of the entertainment industry,” adds Council Member Carmen De La Rosa, Chair of the Committee on Civil Service and Labor. “The Living Wage for Musicians Act is a lifeline for musicians who must rely on an exploitative royalty structure to make ends meet and uplifts a vibrant workforce that deserve to be paid fairly for their art and talent.” “The New York City Council taking this action shows that fair pay in streaming and the Living Wage for Musicians Act is an idea with popular support, and one that politicians can get behind. Music benefits everybody, but streaming is not benefiting musicians – the LWMA is a straightforward solution to that widely acknowledged problem,” said UMAW organizer and musician Damon Krukowski. View the full article

You raved, you roamed, you reunited with thousands of beautiful strangers. Now it’s time to give your body, brain, and soul a much-needed recharge. As a former Division I college athlete, a corrective exercise specialist, and a longtime raver, I’m spilling all the secrets on how to properly recover after an incredible weekend under the electric sky at EDC Las Vegas 2025. These slept-on but science-backed recovery tips will help you not just bounce back, but actually level up from the experience. Heal your body, honor your mind, and keep the beat in your heart going strong. Read on to unlock the most underrated ways to recover from EDC Las Vegas 2025. 1. Rehydrate like your life depends on it Three days in the desert heat combined with dancing for 10+ hours each night means your body has likely lost a lot of water and electrolytes. Dehydration impacts your energy levels, cognitive function, mood, and even your immune system. Rehydrating with more than just water—think coconut water, electrolyte packets, or hydration IVs—helps restore your body’s balance quickly. If you’re DIY-ing it, a pinch of salt, lemon juice, and honey in a big glass of water can work wonders. 2. Have a sleep debt recovery plan You can’t undo a weekend of poor sleep with just one massive nap. In fact, oversleeping can leave you groggy and further mess with your sleep cycle. A better strategy is to go to bed 60–90 minutes earlier than usual for several days to help your body reset gradually. Prioritize high-quality sleep prep, such as avoiding screens before bed, sleeping in a dark room, taking magnesium or drinking calming tea, and a stretching or massage gun routine to wind down. 3. Embrace the Wim Hof Method Studies show cold plunges and cryotherapy can reduce inflammation, increase dopamine, and boost circulation and immune response. After a weekend of overstimulation and physical exhaustion, cold therapy gives your nervous system a hard reset. Just two to five minutes in an ice bath can provide benefits for days—even a simple cold shower can help. 4. Digital detox Your screen time from filming sets, sharing stories, and tagging friends was likely at an all-time high. Constant digital engagement overstimulates the brain, disrupts sleep, and spikes cortisol (your stress hormone). Taking 24 hours off your phone, especially from social media, lets your mind recalibrate. 5. Sound detox You’ve had non-stop music for breakfast, lunch, and dinner. Now, give your brain the gift of silence. Noise pollution increases cortisol and mental fatigue, so spending a few hours with no music, no background shows, and maybe even noise-canceling headphones can be incredibly restorative. If you do need some sound, listen to binaural beats or nature sounds to gently induce a more relaxed state. 6. Eat the rainbow Your body is in serious recovery mode, and high-quality nutrients are essential for healing muscles, restoring energy, and rebalancing hormones. Colorful fruits and veggies are packed with antioxidants, vitamins, and fiber that help repair oxidative damage from physical stress. Focus on whole foods such as berries, leafy greens, lean proteins, and omega-3-rich fats like salmon or avocado. Avoid processed snacks that can trigger inflammation and sluggishness. 7. Talk it out What you experienced wasn’t just a party—it was emotionally taxing, socially intense, and possibly even spiritually moving. Post-festival depression is real. You’ve left a peak state of connection and returned to “normal” life. Processing it with friends, journaling, or even talking to a therapist can make a world of difference. Think of it as closing the loop on your experience instead of leaving it floating and unresolved in your nervous system. 8. Sun therapy After being awake at night and sleeping (or trying to) during the day, your circadian rhythm is probably wrecked. Getting early morning sun exposure helps your body produce serotonin and regulate melatonin, which in turn improves your sleep cycle and mood. Just 20 to 30 minutes outside without sunglasses can reset your internal clock. For bonus benefits, walk barefoot on natural ground—a practice called grounding, which some research suggests may reduce inflammation and stress. 9. Move your body (gently) You might be tempted to crash on the couch for 48 hours straight, but light movement actually helps you recover faster. Gentle exercise boosts circulation, promotes lymphatic drainage, and releases endorphins to fight off post-festival blues. A 20-minute walk, restorative yoga session, or some light stretching will help you feel more human again, without exhausting your already-taxed body. 10. Reconnect to nature You spent the weekend in a manufactured wonderland, now balance it with something raw and the natural beauty of the earth. Go to a park, hike a trail, or sit by the ocean. Spending time in nature has been shown to reduce stress hormones, improve focus, and boost your immune system. It also reminds you that even outside of the rave, you’re part of something bigger. 11. Plan your next adventure (yes, already) One of the best ways to combat the post-EDC slump is to have something else on the horizon. Looking forward to something can boost dopamine and keep you motivated. Psychology calls it the “anticipation effect.” Whether it’s another festival, a camping trip, or even just a dinner with friends, giving yourself another event goal helps you keep that electric energy flowing. EDC might be over, but your journey isn’t. EDC Las Vegas is magic—but magic takes energy. These recovery tools will help you not just bounce back, but actually level up from the experience. Heal your body, honor your mind, and continue forging healthy habits that will support your passion for music. Featured Image Courtesy: Insomniac Events. The post 11 Ways to Recover from the Best Festival Weekend of Your Life: EDC Las Vegas 2025 appeared first on EDM Maniac. View the full article

You raved, you roamed, you reunited with thousands of beautiful strangers. Now it’s time to give your body, brain, and soul a much-needed recharge. As a former Division I college athlete, a corrective exercise specialist, and a longtime raver, I’m spilling all the secrets on how to properly recover after an incredible weekend under the electric sky at EDC Las Vegas 2025. These slept-on but science-backed recovery tips will help you not just bounce back, but actually level up from the experience. Heal your body, honor your mind, and keep the beat in your heart going strong. Read on to unlock the most underrated ways to recover from EDC Las Vegas 2025. 1. Rehydrate like your life depends on it Three days in the desert heat combined with dancing for 10+ hours each night means your body has likely lost a lot of water and electrolytes. Dehydration impacts your energy levels, cognitive function, mood, and even your immune system. Rehydrating with more than just water—think coconut water, electrolyte packets, or hydration IVs—helps restore your body’s balance quickly. If you’re DIY-ing it, a pinch of salt, lemon juice, and honey in a big glass of water can work wonders. 2. Have a sleep debt recovery plan You can’t undo a weekend of poor sleep with just one massive nap. In fact, oversleeping can leave you groggy and further mess with your sleep cycle. A better strategy is to go to bed 60–90 minutes earlier than usual for several days to help your body reset gradually. Prioritize high-quality sleep prep, such as avoiding screens before bed, sleeping in a dark room, taking magnesium or drinking calming tea, and a stretching or massage gun routine to wind down. 3. Embrace the Wim Hof Method Studies show cold plunges and cryotherapy can reduce inflammation, increase dopamine, and boost circulation and immune response. After a weekend of overstimulation and physical exhaustion, cold therapy gives your nervous system a hard reset. Just two to five minutes in an ice bath can provide benefits for days—even a simple cold shower can help. 4. Digital detox Your screen time from filming sets, sharing stories, and tagging friends was likely at an all-time high. Constant digital engagement overstimulates the brain, disrupts sleep, and spikes cortisol (your stress hormone). Taking 24 hours off your phone, especially from social media, lets your mind recalibrate. 5. Sound detox You’ve had non-stop music for breakfast, lunch, and dinner. Now, give your brain the gift of silence. Noise pollution increases cortisol and mental fatigue, so spending a few hours with no music, no background shows, and maybe even noise-canceling headphones can be incredibly restorative. If you do need some sound, listen to binaural beats or nature sounds to gently induce a more relaxed state. 6. Eat the rainbow Your body is in serious recovery mode, and high-quality nutrients are essential for healing muscles, restoring energy, and rebalancing hormones. Colorful fruits and veggies are packed with antioxidants, vitamins, and fiber that help repair oxidative damage from physical stress. Focus on whole foods such as berries, leafy greens, lean proteins, and omega-3-rich fats like salmon or avocado. Avoid processed snacks that can trigger inflammation and sluggishness. 7. Talk it out What you experienced wasn’t just a party—it was emotionally taxing, socially intense, and possibly even spiritually moving. Post-festival depression is real. You’ve left a peak state of connection and returned to “normal” life. Processing it with friends, journaling, or even talking to a therapist can make a world of difference. Think of it as closing the loop on your experience instead of leaving it floating and unresolved in your nervous system. 8. Sun therapy After being awake at night and sleeping (or trying to) during the day, your circadian rhythm is probably wrecked. Getting early morning sun exposure helps your body produce serotonin and regulate melatonin, which in turn improves your sleep cycle and mood. Just 20 to 30 minutes outside without sunglasses can reset your internal clock. For bonus benefits, walk barefoot on natural ground—a practice called grounding, which some research suggests may reduce inflammation and stress. 9. Move your body (gently) You might be tempted to crash on the couch for 48 hours straight, but light movement actually helps you recover faster. Gentle exercise boosts circulation, promotes lymphatic drainage, and releases endorphins to fight off post-festival blues. A 20-minute walk, restorative yoga session, or some light stretching will help you feel more human again, without exhausting your already-taxed body. 10. Reconnect to nature You spent the weekend in a manufactured wonderland, now balance it with something raw and the natural beauty of the earth. Go to a park, hike a trail, or sit by the ocean. Spending time in nature has been shown to reduce stress hormones, improve focus, and boost your immune system. It also reminds you that even outside of the rave, you’re part of something bigger. 11. Plan your next adventure (yes, already) One of the best ways to combat the post-EDC slump is to have something else on the horizon. Looking forward to something can boost dopamine and keep you motivated. Psychology calls it the “anticipation effect.” Whether it’s another festival, a camping trip, or even just a dinner with friends, giving yourself another event goal helps you keep that electric energy flowing. EDC might be over, but your journey isn’t. EDC Las Vegas is magic—but magic takes energy. These recovery tools will help you not just bounce back, but actually level up from the experience. Heal your body, honor your mind, and continue forging healthy habits that will support your passion for music. Featured Image Courtesy: Insomniac Events. The post 11 Ways to Recover from the Best Festival Weekend of Your Life: EDC Las Vegas 2025 appeared first on EDM Maniac. View the full article

We recently sat down with one of the leaders of the Organic & Progressive sounds for a friendly chat. It’s always a pleasure to welcome the highest level of artistry to this space. In the last year we’ve had countless interviews with some of the best acts in the world of Dance music. And today is no exception. We had the opportunity to have a profound talk with a guy who’s been soundtracking our afternoons for a long time now (proof here). His name? Wassu. With a career spanning well over a decade, Wassu has positioned himself atop the New York House scene year after year. And with his first-ever release on Beatport, the Fabiani EP, being published by no other than the prestigious Where The Heart Is, you know his tunes have equalled quality from very early on. Subsequent — and frequent — appearances on labels such as Anjunadeep, The Soundgarden, Silk, and DAYS like NIGHTS, can only further confirm that statement. In fact, his latest release, ‘Star Safari‘ alongside HAUMS, was carefully selected by Lee Burridge as track seven of the recent Spring Sampler compilation of his All Day I Dream imprint. Painted in his signature shade of groove, Wassu’s contribution to the album is one of its standout tunes. And this is only one of a handful of bombs he’s unveiled lately. So, all of this to say, an interview was well overdue. And we made it come true. So, if you’re looking to read about Wassu’s ways when producing, how he got to where he currently is, his take on social media as marketing, and much, much more, don’t take your eyes off the page, for we bring you our latest chat with the one and only Wassu. The Interview (Please note, the bolded text represents a question, while the paragraph(s) following it represent Wassu’s answers.) Firstly, huge congrats on the release of Star Safari! Thanks! Would you mind sharing a bit of a story with us as to how the track came about? Sure. So, Brandon (HAUMS) actually sent me an idea, I think this was two to three years ago at this point. He sent me the idea of the track with honestly a lot of the main parts filled out, but I think it was just a 16-bar or 32-bar loop or something. And once I heard it, the first label that I immediately thought of was All Day I Dream. It had the synthy elements, the big climax at the drop and the big synth stab that you hear. He asked me to collaborate on it, and it was a no-brainer for me because I knew exactly where I wanted to take the record and what destination I had in mind specifically for the song. So I think that was 2023. And then I finished and arranged it pretty quickly and sent it to Lee at the end of that year. Again, Brandon (HAUMS) already had the sauce in his idea, and it was just a matter of putting the pieces of the puzzle together, adding some ear candy, and arranging it out to make a hit. I see. Well, this happened a while ago, but if you still recall things about its production, were there any unconventional or straight up weird production techniques used while making this track? Nothing in particular, I don’t think. Although I have started going into parallel compression again with my drums, I think that was the first track where, instead of using Gullfoss on my master chain, I was using the Gullfoss master plugin on my master chain. So I think that made a difference as well. But no, not in particular. I’d say just parallel compression. And the break, I think the break is really interesting because it’s just so long and there’s so much tension in there, leading into the drop, all the little things in terms of automation, gain staging and everything, is just really important and what makes the track take off right when the drop hits. Now more of a general question, are there any artists you would credit that influenced your sound up to this point? It could also be non-Electronic, by the way. Oh, yeah, definitely. Guy J for one, for sure. He’s probably my favorite producer and DJ at the moment. Also love what Tim Green’s doing on the Organic side of things. In terms of stuff outside of the genre, John Mayer is somebody that I really, really love. Looking forward to seeing him again sometime soon. I actually saw him with my parents in the fall of 2023, and that forever changed my perspective on music. Nils Frahm is another one that I saw in May of 2023 for the first time. I’m actually going with my girlfriend to the same venue to see him again two years later — in a couple of weeks, the second week of May. Obviously, Lee’s done such a great thing with the label and he’s always been one of my favorites (for over the last decade). Those are my main influences right now, I would say. I don’t think you’re surprised by any of that. No, but I am pleased to know about Guy J because, well, for one, he’s a bit of my reference as well, but also because he’s my best friend Rama’s number one DJ too. Back to the song, what does it feel like to work with All Day I Dream? We’re aware this is not your first song released with them. I think Lee is very inclusive. I think the staff are also very inclusive as well. It’s kind of corny of me to say this, but it’s just one big family. It’s not that big of a community, I think, whereas you have other labels that have just so many artists on their roster, it’s somewhat hard to have that family-community-like feeling amongst one another. But I think the biggest thing that you have to realize with All Day I Dream, specifically, if you do want to end up working with them, is that you really need to be patient sometimes. Lee’s doing everything. He’s managing a very busy tour schedule, and he’s also running the label, and he’s also A&Ring for the label as well. Sometimes it could be the case where he says he wants to sign something, and you might have to wait a year or two before it even comes out. He’s a man of his word. He releases really good music, and I think he values people who prefer to be exclusive with him and trust him with his music, if that makes sense. Patience is key. I don’t think you’re surprised by that either. No, it’s kind of the standard process with a bunch of labels today, but I love to know ADID inside is just how ADID feels from the outside: a tightly-knit label. On to another question: what would you say is a signature element that is a must in every single track of yours? Maybe something evident, like some snare or something, or maybe something abstract, but what makes a track a proper Wassu track? That’s tough, because I try to do things differently with each project. I do have a sound, I think. I think the arrangements are all very similar. That’s one thing that’s somewhat consistent, but I always like to try and do different things with each project. I would say the drums all sound pretty similar. I like to include a lot of loops, but in addition to that, I like to include a drum rack on top of it, where it’s a matter of anywhere from six, seven, eight percussion hits that I arrange and sequence out over the course of either four or eight bars that repeat throughout the project. I don’t know if there’s one specific thing. I try to include a lot of hooks in something that’s memorable, so people hit that replay button on the record, but I don’t think there’s one specific… I mean, that might be a question for you! Oh, we’re switching roles then! [laughs] I would say the percussion. Probably the drums. The percussion and the groove that you have are pretty unique. I wouldn’t be able to pinpoint what, but the combination of everything sounds very good. I think it’s the mix. Could be that my mixdowns are pretty much the same across every track too. Yeah, that could be because whenever I’m listening in the car and I play Spotify on shuffle mode, I know when a track is yours when it pops up. I guess the percussion is the giveaway. What’s your approach to making music? What’s your process when you sit down in the studio and just decide to start a song from scratch? It depends, but usually I like to start with some sort of chord progression or atmosphere or melody. I usually start with everything melodic first. I think a chord progression is a really good place to start, even if you’re not using it throughout the project, because then from there you can take the root note of each chord, model your bassline after that, and come up with a rhythm on your bassline. Obviously, you can’t just throw loops on top of one another and call it a groovy record. Everything has to work. Think of a band. When you have a band, you have a trumpet playing certain notes, and maybe there’s some call and response with them playing when the pianist plays or when the xylophone plays. Everything has to work in sync and work off one another. Based on the rhythm that you select for your bassline and your piano chords, you can then build your drums and your groove around the rhythm of those atmospheric and musical elements as well. I think more often than not, I start with just a basic chord progression, iterate off of that chord progression, whether that’s sevenths, ninths, suspended fourths, inverting the chords to make them more interesting. Then from there, building the bassline around that and then the groove. I guess I do start my tracks all pretty similarly these days. I get it. Do you often use — or do you ever use — these premade loops that packs come with? I definitely do. Yeah, I’m not saying I don’t, but it’s just you have to be careful sometimes because you can chop them up or you can transient shape them so that they fit the groove a little better. That’s why it’s good to work with rolling basslines, which are just 16th note bass lines that are continuous, because pretty much any groove can fit within them. But if you have something that’s more rhythmic or syncopated, then you have to be more careful in terms of how you place your percussion hits and whatnot, because it might just start sounding a bit too cluttered if you just end up using too many loops. I used to do that all the time. I used to only do loops, and now I’m gravitating towards using fewer loops and using my own drum sequencing because I have just a little bit more control over where things go, if that makes sense. Yeah, it definitely makes sense. That’s one of my mistakes as well when producing. I start with percussion and then I try to fill the space with loops, but often I overfill the space. I think that’s a big thing with new producers, they just use loops, and they think the more loops, the better. When I first started in 2016, 2017, my tracks were as many as 90 to 95 different channels. Now I think this one was no more than 50. Cool. Do you remember a time in your career when you first had a feeling while producing, that you had something truly magical in your hands, that you were making in that moment? Yes. ‘Messages’. When I wrote the song ‘Messages’ in 2018. It was either that or ‘Within Me’ with Mimi Page. It’s a good sign when you have an 8-bar, 16-bar loop and you’re just singing. It’s kind of a blessing and a curse because you keep playing it over in your head. You keep playing it on the computer because it just sounds so good. You have to finish it, right? You have to execute it and arrange it out. But I think that’s a good sign of when you have something special. Those two songs are the first ones that I felt that thing you describe, and ‘Like You’ too. The three of those were all written right around the same time, summer and fall of 2018, where for each individual track, ‘Like You’, ‘Within Me’, ‘Messages’, I definitely felt that I had something special in the making. Woah, that was a quick answer. I’ve never had someone answer so quickly. ‘Messages’ is what sticks out to me. Also, when I wrote the lead for ‘Like You’ as well, that little plucky lead, obviously Tom sang the vocals on top of it, but I knew right then and there that that was something special that we had. We’re coming up on seven years since we wrote that song, which is just insane. That’s crazy! Now, out of everything that has come to you via your music career, what’s one thing you didn’t expect would happen and surprised you for the good? COVID. That’s a good question. I would say COVID, man, because that’s how my relationship with Tony [McGuinness] developed, because he started supporting my music during the pandemic streams, and then I was able to get his contact information through Tom [Marsh]. I started sending music to him directly, and I don’t think that would have been the case if COVID had never happened. Same with Dave Dresden. Tim Green, too. That’s another one, because I started doing some sessions with him, too, during COVID. I just think it slowed the world down a little bit and gave me that opportunity to reach across the line and connect with some of these bigger artists. Let’s be real. If things were just normal throughout those, call it three or four years, I don’t think I would have had the opportunity to really meet them, let alone develop a relationship with them. I mean, it sucked. It definitely sucked not going out and doing anything, but I think it gave me opportunities that I wouldn’t have had otherwise. I also had to overcome a few things, but it’s weird. It is an interesting time to look back upon. I know this is a tough one, but if you had to pick your favourite track or tracks from your discography, which ones would it be? I’d pick ‘Ben & Caroline’ because that one’s named after my deceased cousin. She passed away four years ago to ovarian cancer. She fought it for about three or so years, with her widow, Ben Olsen. I wrote it when she was still very much alive and fighting the good fight. And it’s just such an emotional piece, and I really put everything into it. And there’s actually a sample from her voice in the breakdown there as well. And it’s still something that I play to this day. It’s a fond memory that I have of her that I will cherish for the rest of my life. So I’d probably go with that one. Which is also a really beautiful job that you did, because that outlives her now. That’s the beauty of music. Yeah, it’s just crazy that it was four years ago now, you know, just wild time crazy. COVID made time fly so much faster, I guess. I’m so sorry to hear that, man. She fought for three entire years. It was a tough time, but she was a real fighter. If I could give you a hug, but we’re… we’re a couple miles away. It’s all good man, all good. Well, we’re aware that music is not your only job, unlike many of the artists we often talk to. What do you do outside the Dance world? How have you been able to juggle both lives? I work in software sales and finance specifically. I’m in the office two to three days a week in the city. It sometimes can be quite a lot because, you know, I’ll end up going to bed really late because I really only have the opportunity to work on music from the hours of, like, 6:30 PM to, 12, or 1 AM. And then on top of that, I have a very serious running hobby. So, you know, that takes up at least an hour to an hour and a half of my time every single day. So I think it’s just about balance. I run outside without my phone. Sometimes I don’t even listen to music at all, where I can just decompress and let my mind roam for those 60 to 90 minutes, I think it’s helpful. Running really keeps my sanity in balancing both because honestly, sometimes I do feel really burnt out. When I go home to Richmond, my childhood place, it’s just so quiet and so slow that you can actually hear yourself think and allow yourself to unplug and fully relax. It’s really hard to do that in New York these days. So I have to find a way to make that happen. Running is certainly helpful, and having Liberty State Park right outside my doorstep is a good way to unplug. Thank you. Now, have you ever regretted living life the hard way? I mean, most people just survive off of the nine-to-five and call it a day, but you keep pushing after the office to pursue a further goal. Have you ever had doubts about that decision? Yeah, definitely. I think everyone has, right? Life is just not necessarily a straight line, whether it’s pursuits in corporate America or music or any sort of performing arts. More often than not, you’re taking three steps forward and sometimes four steps back or two steps forward and one step back. Success is not a straight line from point A to point B. There’s ups and downs, as is with anything in life. So, yeah, those doubts definitely creep into my head. And I think you just got to take a step back. I’m not doing this to be famous or to be a public figure. I’m doing this because I think writing music and being in front of my laptop with this view is so therapeutic, as is being on a dancefloor and playing my music and testing it to hundreds, if not thousands of people. It’s a very therapeutic thing and it’s something that not every person has the opportunity to do. So I think you have to cherish those moments, take the small wins when you can and just keep moving forward. Well, it’s a cold world out there in the music industry. It’s so brutal. You have to weed out the genuine people out from the ones that are only trying to benefit from you. And I think having a healthy balance between your network of music professionals that you’re close with versus, you know, your regular folks that have known you from the get-go, when you first started getting into this. Having that balance is important. Would you say there’s a magical formula to getting your music heard by the right people? Is there a way to “cut the line”, to get professional sounding music and also sign to labels? Yes, I think the power of the record label is not as strong as it is now as it was, call it 10, 15 years ago. And I think the big reason for that is social media. There was a survey that came out. I forget who published it, but basically, if you look 10, 15 years ago, people were discovering new music via guest mixes or SoundCloud or free downloads, that channel. And now, the most popular way in which people are identifying and discovering new unreleased music is via TikTok. I think that’s why you have the boom of influencers these days, because the Instagram algorithm or the TikTok algorithm favors them to become a public figure. So I’d say, use that to your advantage. Obviously, focus on the music. If the music isn’t good, it’s not necessarily going to take off on socials, but you’re seeing a lot more independent artists now because they realize that the best way to promote their music is on social media, and they have free autonomy to push and promote the release as they see fit. I don’t think it’s a shortcut per se, but if you’re consistent on social media and you keep pushing your music and you keep focusing on making good quality music, then the rest will kind of take care of itself. It’s a long journey. For some people it’s shorter than for others, but usually it’s quite a long journey. Again, social media is super important nowadays. You could create a dummy TikTok account, make a really good song, build the right hype around it, and it could take off out of nowhere basically. It’s a blessing and a curse. Social media is. But having that tool disposable at your fingertips is something that we didn’t have back in the 2000s or the 90s, you had to go out, you had to network, you had to play, you had to be professional, you had to get your music heard live and in person versus, you know, I could just record a TikTok in my freaking living room here and there could be a chance that tens of thousands of people could hear it or watch that video. Sometimes all it takes is a raccoon spinning in circles. [Laughs] Second to last question. If you could go back in time, say 10 years, five years, any amount of years you’d find interesting, and meet your past self, what would you tell your younger self? Were you worrying about something that wasn’t really necessary? Hmm. I would say start the production journey earlier. Like, “Why not start now?”. And maybe, I feel like everyone says this, but slow down on the partying. I was in my early to mid twenties at that time. But I think I could have slowed down the partying a little bit and focused more on my career, whether that’s my corporate career or music. I don’t think I really, really started dabbling in making music until 2016. So nine years ago now. I did have interest in starting when I was in college around 2012 and 2013, but I just continued DJing, I never actually sat down and downloaded a copy of Logic until 2016. So I probably would have shifted my priorities a little. But hey, we’re only young once. Oh, and the other thing I would mention is, don’t worry about labels so much. I used to even do that right before COVID, call it 2018, 2019. But now I just think that’s kind of stupid. I think you should just focus on writing really good music, developing relationships, putting yourself out there, meeting people, networking, and the rest will take care of itself rather than the mentality of “I need to sign on this label by this time, and I need to do X, Y, and Z”. Looking back, I think that’s just silly. You should focus on writing good quality music and you should just focus on being the best possible version of yourself. Especially with social media, as I mentioned before, you don’t necessarily need a label nowadays. I mean, look at Rinzen with his Nelly Furtado bootleg, right? He just made it on a whim. He was just bullshitting around, and posted it as a free download. And then he made it happen as an official label release. It just goes to show the power of the internet. It does. I mentioned the ‘Pedro’ thing a while ago and yeah, that actually turned official too. And Raffaella Carra is the greatest Italian pop singer of all time. And she passed away in 2018, if I remember correctly. And so the ‘Pedro’ case is super powerful, because she was not even alive to approve it. It was her surviving team. Well, final question then. How do you see yourself in a few years? What do you wish will be your legacy as Wassu? What do you want people to remember you by? Oh, that’s hard. Just as a down to Earth, corporate America working DJ and producer, just trying to live his life through his passion project and pursue his dream of playing his music to dance floors worldwide, which I’ve had the opportunity of doing so in China, India, Mexico, the States, obviously Canada, Europe, and Amsterdam, among other places. So just like continuing to live that dream and while balancing a busy personal life and a busy corporate career as well. I think you don’t necessarily have to live this glorified Instagram, social-media-pushed career as a DJ, the lifestyle shoved in your face at all times of the day. It’s not always perfect and beautiful like that. There’s plenty of artists out there that are juggling both music and something more ordinary. And I just want to reiterate to people that it’s OK to be doing both. And, you know, it allows you to use your corporate career to finance and pursue the life that you want. I think that’s how I want to be remembered. Well, that’s beautiful. That’s unconventional as well. Thank you so much. Although I lied. I have one last question. What can we, and the world, expect from Wassu in the coming months? What’s starting to appear over the horizon? Well, I’ll keep my lips shut for the most part for that surprise factor, but I’ll be playing all over the States soon, starting with New York, San Francisco and San Diego. Some weeks ago I played Tulum, too, so maybe, just maybe, I’ll be back again later in the season. And regarding releases, I have close to 15 tracks lined up, coming on major record labels. The first one is coming sooner than you think! 15?! That’s phenomenal. Also impressive. We’ll definitely keep our eyes peeled. Well, that’s a wrap! -End of interview- Final Words Well, that was fun. Thank you so much Wassu for the warm chat. I love it when, during calls like this, the conversation gets to a point where it doesn’t feel like an interview anymore, and it’s instead just an exchange, a deep dive into endless topics but with an angle that doesn’t really put pressure on the situation. Hopefully the time comes soon when I’ll see this lad somewhere around the world and catch up again. Genuinely such a cool laid-back dude. And for all of you looking to build a career in the music industry, I think we can learn a thing or two about Wassu’s approach to balancing a dayjob with production. Re-read this piece a couple of times whenever you’re feeling a bit under, see if it helps. It’s surely helped me. The post [INTERVIEW] Wassu Talks Juggling Careers, Latest ADID Release, Networking, And More appeared first on EDMTunes.

(l to r) Warner Chappell France senior A&R exec Valentin Zucca, Bob Sinclar, and Warner Chappell France MD Matthieu Tessier. Photo Credit: Warner Music Bob Sinclar (real name Christophe Le Friant), the DJ behind perennial dance hit “World Hold On,” has inked a global admin and sub-publishing deal with Warner Chappell. The publisher and the Paris-born “dance legend” announced their agreement today. As described by those parties, the tie-up extends to north of “350 works written or composed by Sinclar, and published or co-published by Mighty Bop Sessions.” Besides the aforementioned “World Hold On” – which released in 2006 and has racked up somewhere in the ballpark of one billion Spotify streams across all versions – these efforts include “Love Generation,” “The Beat Goes On,” and “Rock This Party (Everybody Dance Now),” to name a few. “I’m very excited about this new journey with Warner Chappell Music,” added 56-year-old Sinclar, who last week dropped a new EP via his Yellow Productions label. “Their entire team has been incredibly motivated and I’m sure we will do great things together!” And in remarks of his own, Warner Chappell France A&R higher-up Valentin Zucca touted Sinclar as “representative of the French Touch.” “Bob Sinclar is a fervent representative of the French Touch, a true tastemaker who has always made a point of crossing borders,” indicated the six-year Warner Chappell exec, whose company scored a deal with Diplo one month back. “His music, and what he did for the dance culture, had a major influence on a whole generation of listeners and artists.” Rounding out the remarks, Warner Chappell France MD Matthieu Tessier summed up: “Warner Chappell Music is proud to become his publishing partner and to represent worldwide such an iconic catalog.” In the bigger picture, Warner Chappell’s Sinclar signing represents the latest in a long line of moves in and around the evidently lucrative dance space. During the past year or so, said moves have included Reservoir’s acquisition of the U.K.’s New State (complete with a massive recorded catalog) and Create Music’s purchase of 50% of Enhanced Music. Meanwhile, Believe last year bought 25% of Global Records, with not-so-subtle plans to build the Romanian label into “a global leader in dance music.” And Armada Music’s BEAT continues to close all manner of investments. In March, for instance, the self-billed “world’s first dance music investment company” confirmed it’d acquired “a large portion of masters from Tiga.” View the full article

As he continues to mount his comeback, GRiZ is teaming up with Wooli to give their collaborative track, “Chaos Theory,” its long-awaited official release. The pair of bass heavyweights announced on social media today that the coveted ID will arrive this Friday, May 30, after nearly a year of waiting since Wooli began teasing the high-flying dubstep tune in his live sets. Featuring a custom vocal from Overwatch and Assassin’s Creed voice actor Boris Hiestand, “Chaos Theory” lands as a cinematic merger of GRiZ’s famous funk and Wooli’s earth-rattling sound design, complete with a virtuosic electric guitar opening, cool saxophone, and an explosive auditory assault of textured rhythms and oscillating basslines. It’s also sure to be a highly anticipated centerpiece of GRiZ’s return to the live stage at his own Valley of the Seven Stars festival in Arlington, Virginia, this October, ending the Detroit-raised, Denver-based artist’s two-year performance hiatus. A week later, the comeback run will continue with two “Re:Connect” arena shows in Chicago and San Francisco, respectively. Coinciding with the festival announcement, GRiZ shared his first post-hiatus studio release, GEMiNI, in March. The four-track EP features tunes such as “Take Me Home,” with Grabbitz, and “2-step Nassau.” Check out a preview of GRiZ and Wooli’s new single, “Chaos Theory,” in the post below, and stream the track once it drops on May 30. Featured image courtesy: Press. Credit: Jason Siegel / Ty Barch. The post GRiZ To Continue Comeback With In-Demand Wooli Collab, “Chaos Theory” appeared first on EDM Maniac. View the full article

The New York City Council on Tuesday passed a resolution endorsing federal legislation that would create new royalty payments for musicians whose work generates billions in revenue but leaves many earning below minimum wage. Resolution 368, introduced by Council Member Shahana Hanif, supports the Living Wage for Musicians Act, which would establish additional streaming royalties paid directly to artists on top of their existing compensation. The federal bill was originally introduced by Representative Rashida Tlaib and former Representative Jamaal Bowman in collaboration with United Musicians and Allied Workers (UMAW). With a coalition of independent music producers, songwriters and other industry workers, UMAW has taken direct aim at major streaming platforms, organizing high-profile lobbying efforts since its 2020 inception to demand fairer compensation models from companies like Spotify and Apple Music. Through sustained public pressure and grassroots mobilization, the advocacy group has catalyzed a broader reckoning over the value of music labor in the digital age. "In the music capital of the world, artists deserve fair pay and dignity," Hanif said in a press release. "As streaming platforms pay artists less than a third of a penny per play, this is a critical step toward making our city more affordable for working musicians to continue living and creating music here." New York City Council Member c/o Joey La Neve DeFrancesco Joey La Neve DeFrancesco, a musician and UMAW organizer, called the resolution "a huge win for NYC musicians" that demonstrates how collective action can drive change in the industry. "From here, we will aim to have similar resolutions passed in other cities, and use this momentum to gain co-sponsors and reintroduce the bill in Congress, and to pass it," DeFrancesco said in an emailed statement provided to EDM.com. "We still have a lot of work to do, but passing this Resolution in the biggest city in the US is a huge step." The coalition's goal, DeFrancesco tells us, is "for the new royalty to equal at least a penny per stream, in addition to existing royalties." UMAW in 2020 unsuccessfully launched a vigorous campaign, "Justice at Spotify," calling for the company to remit penny-per-stream payouts to artists. The group at the time organized a series of worldwide protests hosted outside Spotify offices in 15 cities before the streaming giant refused their demands. Spotify in late-April reported that its premium subscriber base grew by five million in Q1. The company's earnings report also revealed a record-high quarterly operating income of €509 million as its total revenue ballooned 15% year-over-year to €4.2 billion. The company's stock is up a staggering 670% since late-2022, according to The Motley Fool. Council Member Carmen De La Rosa, who chairs the Committee on Civil Service and Labor, further highlighted the economic disparity facing New York City's estimated 14,000 musicians. "The Living Wage for Musicians Act is a lifeline for musicians who must rely on an exploitative royalty structure to make ends meet," she said, "and uplifts a vibrant workforce that deserves to be paid fairly for their art and talent."

A live performance from Metallica, which has achieved 20x Platinum certification with The Black Album. Photo Credit: Raph_PH Metallica’s self-titled 1991 album (aka The Black Album) has officially moved 20 million units in the U.S., achieving 20x Platinum certification – and 2x Diamond certification – in the process. The Recording Industry Association of America (RIAA) officially logged those certifications today, a couple months short of the 34th anniversary of Metallica’s release. Unsurprisingly, given that the 12-track effort debuted as the CD era was picking up steam, a substantial portion of its sales derived from physical units shipped during the prior century. However, The Black Album – including “Enter Sandman” and “Nothing Else Matters” – continues to ride a wave of consumption success in the streaming era. Certified 12x Platinum in late 1999, Metallica achieved 15x Platinum certification in November 2009 and 16x in December 2012 before cracking double Diamond today. (Of course, the project’s recent sales aren’t confined to digital. The remastered 30th anniversary edition of The Black Album definitely contributed to the total, including but not solely with a $240 boxset that remains available for purchase on Metallica’s website.) Thanks to today’s milestone, Metallica is now close to ranking among the top-10 bestselling albums in U.S. history. As things stand, the work is sharing the 12th spot with Green Day’s Dookie (1994), behind a handful of releases from Billy Joel, the Beatles, AC/DC, the Eagles, and other decidedly well-established legacy acts. Meanwhile, the RIAA today confirmed 8x Platinum certification for Metallica’s Master of Puppets (1986), which initially made its way into the Platinum category 37 years ago en route to hitting 6x Platinum in 2003. Taken as a whole, these and different commercial feats tie back to still-strong fan interest for Metallica, which is on the road as part of its M72 World Tour. Currently proceeding through the States, the concert series will arrive in Oceania later in 2025 before a number of European stops (non-presale tickets will become available this Friday) take place in 2026. (Already touring with Metallica, Pantera will also play the M72 Tour’s European leg, the group recently announced.) With ample superfan support comes the opportunity to move ultra-VIP packages. Passes for the “Nothing Else Matters” Snake Pit Experience, offering meet-and-greet opportunities as well as a variety of other perks, are priced at an astonishing $4,400 a pop not including fees, Metallica’s website shows. Per the same source, the band has sold through the ultra-expensive passes (which are presumably far more resistant to scalping than their non-VIP counterparts) for several dates. View the full article

Photo Credit: World Red Eye DJ Alesso headlined the grand opening of downtown Miami’s Worldcenter, a $6 billion retail, dining, and entertainment hub. Miami’s downtown lit up as global superstar DJ Alesso headlined a massive open-air block party celebrating the grand opening of Miami Worldcenter, the city’s new 27-acre, $6 billion retail, dining, and entertainment hub. Thousands turned out for the high-energy show, which transformed Miami Worldcenter’s streets into a full-sensory experience with fireworks, lasers, CO2 blasts, and live performers. The evening also featured live performances by Shaggy and country star Lee Greenwood. Greenwood’s rendition of “God Bless the USA” was accompanied by a dramatic Red Bull base jumper stunt from the top of the 60-story Paramount Miami Worldcenter tower. Miami’s own DJ Irie served as MC throughout the night, keeping the crowd hyped between acts. The free concert, co-hosted by DJ Scotty B, included performances by Flo Rida and Nicky Jam, as well as a fireworks spectacular, laser light show, special effects, confetti storm, and more. Guests could also enjoy food and beverage tastings from immersive street activations hosted by dozens of retail and dining tenants now open at Miami Worldcenter. Culinary showcases included Maple & Ash, Sixty Vines, Earls Kitchen + Bar, Serafina, Go Greek Yogurt, Sweet Paris Creperie & Cafe, and Starbucks. Additionally, local favorites Juvia, Brasserie Laurel, Chug’s Express, and El Vecino Cigar & Cocktail Bar provided a further diverse mix of global flavors and formats. Positioned within walking distance of Miami’s top cultural and entertainment landmarks, including Perez Art Museum Miami (PAMM), the Frost Museum of Science, the Adrienne Arsht Center, and the Kaseya Center—home of the Miami Heat—Miami Worldcenter is downtown’s new heartbeat. During the course of the multi-phase development, Miami Worldcenter plans to bring over 11,000 residential units to market. Several luxury apartments and condominium towers are already completed, with thousands of additional units actively under construction or in planning. On the hospitality front, more than 1,100 hotel rooms are expected across the site, with the CitizenM Miami Worldcenter Hotel now open and additional hospitality destinations slated to debut in future phases. Miami Worldcenter’s Grand Opening Celebration was presented by Openbank by Santander, a new digital bank that’s “simple, secure, and powered by a top global bank.” Ray-Ban was the official eyewear provider, while CitizenM was the preferred partner hotel, and Rentyl Resorts was the official hospitality sponsor. Official beverage sponsors Lucky Strike and E11even Vodka further elevated the experience, alongside Nestle, who provided complementary Essentia Ionized Alkaline Water for guests. View the full article