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Step into the shadows with Luca Draccar's The Dark Side, a four-track EP with pulsating techno and unfiltered energy. Draccar's latest EP is a plunge into industrial techno, built for the depths of underground raves. Across four tracks, the producer crafts a relentless sonic landscape where churning basslines and metallic textures collide, creating an experience that feels both hypnotic and menacing. Draccar’s strength lies in his ability to balance raw production with a sense of controlled chaos. The Dark Side builds both mood and impact, inviting listeners to lose themselves in its dark corridors. One of the project's standouts, "Reckless Flower," pulses with a vintage trance undercurrent, its shimmering arpeggios twisting through a fog of deep, rolling bass. It’s a track that distorts time, pulling listeners into its gravitational field of euphoric tension and release. On the other end of the spectrum, "Outlaws Division" veers into harder techno territory, with pounding kicks and eerie soundscapes that evoke the thrill of a clandestine warehouse party at its peak. It's another highlight of The Dark Side, out now. You can listen to The Dark Side below. Follow Luca Draccar:Web: lucadraccar.com Instagram: instagram.com/lucadraccar Facebook: facebook.com/draccarluca Spotify: tinyurl.com/yfvd2whp SoundCloud: soundcloud.com/lucadraccar YouTube: youtube.com/@lucadraccar Bandcamp: lucadraccar.bandcamp.com

Puglia’s Panorama Festival has locked in a red-hot house and techno lineup for 2025. The three-day event is back in Lecce, Italy, this August 14-16, where it will host performances from another run of the genre’s most formidable selectors at Cave del Luca, a 10,000-capacity venue perched on the ruins of an ancient limestone quarry in the heart of Salento, the coastal, Southernmost region of Italy’s “boot.” The picturesque setting will provide a backdrop for the sounds of renowned veterans, including Black Coffee, Damian Lazarus, Luciano, Solomun, and Italy’s own Marco Carola, sharing top billing with a class of today’s brightest stars, such as Peggy Gou, PAWSA, and Mochakk. They’ll be joined by a bevy of other rapidly rising artists from across clubland, including Moroccan selector and Deep House Bible founder Ahmed Spins, Miami-based stalwart Cole Knight, and underground-favorite duos Miguelle & Tons and Prospa, among others. Check out the full lineup below. In between the beats, visiting music lovers can spend their time trekking over the region’s rocky coastline to catch views of the Adriatic sea, marveling at Lecce’s baroque architecture, or relaxing by the beach. For more information or to purchase tickets, visit panorama-festival.it. Featured image courtesy: Panorama Festival. The post Italy’s Panorama Festival Drops Lineup For 2025 Return To Quarry Ruins appeared first on EDM Maniac. View the full article

Puglia’s Panorama Festival has locked in a red-hot house and techno lineup for 2025. The three-day event is back in Lecce, Italy, this August 14-16, where it will host performances from another run of the genre’s most formidable selectors at Cave del Luca, a 10,000-capacity venue perched on the ruins of an ancient limestone quarry in the heart of Salento, the coastal, Southernmost region of Italy’s “boot.” The picturesque setting will provide a backdrop for the sounds of renowned veterans, including Black Coffee, Damian Lazarus, Luciano, Solomun, and Italy’s own Marco Carola, sharing top billing with a class of today’s brightest stars, such as Peggy Gou, PAWSA, and Mochakk. They’ll be joined by a bevy of other rapidly rising artists from across clubland, including Moroccan selector and Deep House Bible founder Ahmed Spins, Miami-based stalwart Cole Knight, and underground-favorite duos Miguelle & Tons and Prospa, among others. Check out the full lineup below. In between the beats, visiting music lovers can spend their time trekking over the region’s rocky coastline to catch views of the Adriatic sea, marveling at Lecce’s baroque architecture, or relaxing by the beach. For more information or to purchase tickets, visit panorama-festival.it. Featured image courtesy: Panorama Festival. The post Italy’s Panorama Festival Drops Lineup For 2025 Return To Quarry Ruins appeared first on EDM Maniac. View the full article

Photo Credit: Raph_PH / CC by 2.0 Miley Cyrus opens up about a rare medical condition that contributes to her signature whiskey-soaked voice—and makes performing a challenge. In a recent appearance on Apple Music’s The Zane Lowe Show, Miley Cyrus revealed her struggles with a rare medical condition that contributes to the sound of her “ashtray” voice. The Grammy-winning singer has Reinke’s edema, a condition that causes swelling in the vocal chords and affects her vocal performance. “It’s part of my unique anatomy,” she said. “This is what I look like. So I have this very large polyp on my vocal chord, which is giving me a lot of the tone and texture that has made me who I am, but it’s extremely difficult to perform with, because it’s like running a marathon with ankle weights on.” Sometimes, she said, the condition even affects her voice in conversation. “When I’m talking, sometimes at the end of the day, I’ll call my mom, and she’ll go, ‘Oh, you sound like you’re talking through a radio.’ And that’s how you know I’m really tired, because it creates that ultimate vocal fry.” Lifestyle choices such as drinking and smoking can exacerbate the condition, but Cyrus clarified that she has had the condition for years—thus not habit caused. “Being 21 and staying up and drinking and smoking and partying after every show does not help, but also, in my case, it does not cause it,” she explained. “So my voice always sounded like this.” The star said she has opted against surgery due to the risk of losing her unique sound. “I’m not willing to sever it, because the chance of waking up from surgery and not sounding like myself is a probability.” The biggest side effect of the condition, says Cyrus, is that she must prioritize her vocal health—which means staying away from touring. “I put a tour together, like every other week, because I want to do it, but it would have to be in a way that is sustainable for me,” she said. “With what I got going on, like, I don’t lip sync. I sing live. And these songs are big.” Cyrus has previously opened up about the strain that touring can take on a person, even before she revealed her condition. “If you’re performing at a certain level of intensity and excellence, there should be an equal amount of recovery and rest,” she said on TikTok in 2023. “Having every day the relationship between you and other humans being ‘Subject’ and ‘Observer’ isn’t healthy for me, because it erases my humanity and my connection. And without my humanity, my connection, I can’t be a songwriter, which is my priority.” View the full article

Photo Credit: “GigaPump” by g3ox_em Stockholm-based label Savage Roar and Warner Music launch a new Roblox music integration deal in collaboration with The Gang Studios. Savage Roar, a Stockholm-based label operating at the intersection of music and gaming, has announced its first major release written specifically for Roblox, “GigaPump” by g3ox_em. The track will be integrated as the primary soundtrack in two of Roblox’s most popular experiences: Strongman Simulator and Sumo Wrestling Simulator. These two titles reach millions of Roblox players daily, offering a unique opportunity to embed music directly into the digital daily lives of players. With average play sessions exceeding 12 minutes, the integration becomes a seamless, meaningful part of how players experience and interact with the game. The launch is the result of a unique partnership with leading Roblox developer, The Gang Studios, with distribution of the track powered by Warner Music Group’s ADA to maximize global impact beyond the gaming ecosystem. This launch is further supported by influencer and community activations across TikTok, Instagram, and Discord, bringing the track and artist in front of millions of engaged players worldwide. Best known for his viral “GigaChad Theme,” which has amassed over a billion global impressions, g3ox_em extends his high-energy, meme-culture-infused sound into gaming. His previous accolades include placement on the official Fast & Furious: Drift Tape and a certified RIAA Gold Record. “Engagement has changed a lot the past years with platforms like Roblox and Minecraft. For those who want to stay ahead of their competition, you need to be bold and dare to try new things. We are proud to be pushing the boundaries of the future of engagement through initiatives like this,” says Håkan Frisk, Co-Founder and Head of Roblox Production at The Gang Studios. “Special recognition goes to Jonathan Gustavii, Director of Strategic Partnerships at The Gang Studios, who has been a driving force behind this project from day one.” “Gaming is one of the most powerful cultural channels for music distribution today. With this collaboration, we’re not just aiming to be seen—we want to be valuable to the player experience. Our goal is to integrate the music naturally, to enhance the gameplay and connect authentically with the audience. We want the music to feel like a core part of the world players already love,” says Gustav Käll, founder of Savage Roar and former Head of Gaming & Esports and Enter Records, at Universal Music Group. This launch marks the beginning of a long-term strategy for Savage Roar: to build culturally resonant bridges between the worlds of music, gaming, and digital community life. It’s the first step in Savage Roar’s mission to redefine how music lives, breathes, and thrives in the virtual worlds millions call home. View the full article

Photo Credit: Randee St. Nicholas Photography Executive Director of MusiCares Laura Segura has departed the role after five years, according to an email sent to staff by Recording Academy CEO Harvey Mason Jr. The abrupt departure was announced to staff over the Memorial Day weekend, while the Recording Academy itself is not responding to press inquiries about the exit. Reports of the memo called the exit a “key leadership transition” and stated that Segura is “no longer with MusiCares.” For now, Theresa Wolters, who previously served as the organization’s head of health and human services has stepped into the role of interim executive director. This change has already been reflected on the MusiCares website, which no longer lists Segura and now includes Wolters with her interim title. Neither the Recording Academy nor MusiCares have responded to requests for comment about the leadership change. A cursory glance at Laura Segura’s LinkedIn page shows it has not been updated to reflect this change. MusiCares was founded in 1989 as a charitable organization and has paid out over $100 million in relief to musicians and music executives. That includes more than $30 million in relief funds due to the COVID pandemic and more than $10 million in LA wildfire relief funds due to fires earlier this year. MusicCares raised $16 million through its Fire Relief campaign and its annual Persons of the Year gala, in which the Grateful Dead were honored. Before joining MusiCares, Segura served as Vice President of Membership and Industry Relations at the Recording Academy for seven years. She was named Pollstar’s “Women of Live” list in 2025 and appeared in their “Impact 50” list in 2021. She also received numerous name drops in Billboard’s “Women in Music Top Executive” list from 2020, 2022, and 2023. Segura is based in Santa Monica, California and is a Board Director at the Actors Fund Housing Development Corporation since January 2023. View the full article

Avi Sic has established herself as one of Chicago’s preeminent DJs and now she’s primed for her biggest year yet in 2025. Sic was recently announced to perform at the Chicago Pride Festival – set to take place Jun 21 – 22 in the Northalsted neighborhood of Chicago – as well as at Beyond Wonderland Chicago on June 7. Sic recently released “Down Low” with AK RENNY on HEXHIBITION. The original single climbed the Beatport charts, reaching as high as #13 on the Bass House chart. She also picked up some key editorial playlist support from Spotify with the track being featured on playlists like All New Dance and Nasty Bits. Sic has already shared the stage with a who’s who of dance music royalty, including support slots for Calvin Harris, RL Grime, Matroda and more. She’s also aligned with an impressive client list including Red Bull, Google, Nike and the Chicago Bulls where she serves as the official pregame DJ for the team. With upcoming dates at the Chicago Pride Festival and Beyond Wonderland Chicago, Avi Sic seems primed to continue the forward momentum through the summer and beyond. Featured image: c_barvisuals The post Avi Sic set to headline Chicago Pride Festival, perform at Beyond Wonderland appeared first on Dancing Astronaut.

Dubstep phenom Subtronics has announced a 360° performance at LA's famed Shrine Auditorium and Expo Hall, offering fans a chance to experience his high-intensity sound from every angle. The 360° DJ set, a rarity in Subtronics' touring repertoire, will place him in the center of the Shrine, surrounded on all sides by fans. The immersive configuration is expected to heighten the audiovisual experience, marrying his frenetic, heavy-hitting tracks with cutting-edge production design. The storied Shrine, a fixture of the city's live music scene since the 1920s, has hosted acts ranging from The Rolling Stones to Beyoncé. Subtronics' debut at the venue marks a significant moment for the Philly-based electronic music superstar, who recently released the first part of a new two-pronged album, Fibonacci Part 1: Oblivion. Fans can sign up for access to a June 4th pre-sale here. View the original article to see embedded media. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics TikTok: tiktok.com/@subtronics Facebook: facebook.com/subtronicsofficial Spotify: tinyurl.com/yupr7jmk

Photo Credit: Maryland GovPics / CC by 2.0 A high-profile dispute has erupted between former Def Jam exec Kevin Liles and rapper Lady Luck. Liles has accused the rapper of attempting to extort him to the tune of $30 million through threats. He also alleges Lady Luck threatened to publish a book containing “false and damaging allegations of sexual misconduct.” According to statements released by Liles, Lady Luck—real name Shanell Jones—and her legal team contacted him to demand a $30 million payment. They said without a payment, Liles would face a very public lawsuit and the release of a tell-all book accusing Liles of sexual assault and inappropriate conduct. Those allegations include claims that Liles ‘groomed’ Lady Luck when she signed to Def Jam in 1999 as a teenager. Other allegations include that Liles exposed himself to her and tried to force her to perform oral sex in his car. Liles has categorically denied all of the accusations levied against him, calling them “utterly false” and “pure fabrication. “None of this ever happened,” Liles said in a public statement. “Her threatened allegations are totally false. Rather than pay her and her legal team, I am publicly addressing what I view to be an extortion attempt.” “It seems Mrs. Jones hopes to leverage the current news environment to pressure me into writing an exorbitant check in order to avoid the negative publicity that will likely result from her false claims,” Liles continues. “I intend to vigorously fight any complaint she may file and will take whatever legal action is necessary against her and the attorneys who have participated in this attempted shakedown.” The statement was released on the website ‘LadyLucksOwnWords.com,’ which Liles appears to have created as an archive of communication with the rapper. It details how Liles gave her a chance with a record deal after hearing her on Hot 97 and contains numerous print and web interviews of Lady Luck discussing her relationship with the rap mogul. Liles argues that his relationship with her was always professional and supportive. He also notes her struggles, stating that her career did not reach the heights both she and Liles hoped she would achieve. Lady Luck later requested to be released from her Def Jam contract. Liles also pointed to a criminal background and referenced recent hardships, stating “I will not be extorted, nor will I pay a dollar to those that threaten to ruin my reputation.” Lady Luck and her legal representatives thus far have not responded to the detailed denials or the website. The dispute also comes at a time when Liles is seeking the dismissal of a sexual assault lawsuit stemming from his time at Def Jam in the early 2000s—though it’s unclear if that lawsuit is related. View the full article

President of Cerro Music Group, Andres Salce, takes on the lack of services available to artists in the Latin space — in A&R, label, distribution, management, booking, touring, and artist development. Now ‘filling the void,’ Cerro Music is seeing continuous growth since partnering with FUGA. The following recaps an interview with Andres Salce as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with. We consider ourselves an ally to the artists. Even though we act as their label, they’re more our partner than label service. Cerro Music Group is an independent, boutique 360 company. Andres Salce, explains, “We handle artists in the Latin space — working with them in A&R, label, distribution, management, booking, touring, and artist development.” Regarding the ‘solution-based approach’ Cerro brings to its artists, Salce says, “That’s one of our biggest assets that we’re very proud of — teaching artists how to become an expert in the music industry. The more knowledge we give them, the better artists they can be — the better business person they can be.” In the 90s, long before Cerro Music was born, Salce worked as a record promoter for an independent label. “Then I had to work for every major, all the way to 2009.” In its early days, Cerro Music Group operated as a consulting company for touring. “The Live Nations and the AEGs of the world were not staffed in the Latin Department. Touring has always been big, but never national.” According to Salce, every major venue was accepting artists coming into their city, but they didn’t have a Latin expert. “At that time, Cerro filled that void.” As the company and the rest of the music world transitioned to the digital world, Cerro Music Group ‘went full-time with touring and consulting, and took on artist development with new releases.” “At that time, Latin artists didn’t have any knowledge of how to develop their new releases. So, we kept evolving. We started acting as an agent or a liaison for the artists to bring them to an independent distributor.” However, Cerro soon identified a glitch in the existing system for artist management at independent distributors. “After we brought these artists to a distributor, we wound up doing the marketing — we wound up being responsible for their release. So we began looking for a simpler and more direct way to give independent artists that new team for them to move forward.” “Where did those artists go? The whole industry suddenly changed, and the artists had no team to help them get to where they wanted.” According to Salce, “There was no independent label in that space that was servicing their [Latin musicians’] needs.” “Latin music has always been here. We’ve always sold millions of albums. We didn’t have the same platforms to make the same global noise. Latin music has always brought the numbers, but didn’t have the data to back it up.” According to Salce, local artists from small countries like the Dominican Republic or Puerto Rico were releasing Latin hits that failed to transcend onto the global radar. That’s because Latin music was ‘measured differently.’ “We didn’t have the type of stats that we have available today. We didn’t have visualization with social media.” Salce says that the digital era has created a dynamic where everything exists at the same level. “Music is music now.” Today, Cerro Music identifies potential artist relationships based on two factors: musicians that need a ‘new home’ and exploring talent in an in-house studio. “We’ve been [looking for] artists in two ways. One is a relationship we built with an artist for years in the music industry, maybe acting as a promoter or being on tour with them. Now, they need our help with developing and growing the digital space.” “The other way is through a team of A&R producers that bring in talent. We have a studio that we feel a need for — and new artists are always looking for it. They can record and show the music.” Salce explains that their partnership with FUGA came at the right time and completely upscaled Cerro Music Group’s growth trajectory. “FUGA is very effective in providing us with analytics. [They’ve] given us a portal to look for ways to advance our music and the tools to maneuver ourselves to the same level as any major.” “With FUGA, we can now fully comply with every need an artist has — from studio, A&R, to label to distribution. Then we do everything else with marketing, artists, development, booking, and touring.” “Since we [partnered] with FUGA, we’ve seen continuous growth. FUGA is the missing piece that has allowed us to provide everything to artists fully. Whether it’s catalog, adding more artists, or releases .” Salce believes Cerro Music Group’s remarkable growth trajectory has allowed it to take the front lines with every label and corporation in the industry. “We see ourselves playing an important role in the industry.” About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here. View the full article

The Trump administration is firing back against a lawsuit filed by axed Register of Copyrights Shira Perlmutter. Photo Credit: Tabrez Syed An intensifying battle for USCO control: The Trump administration is firing back against the lawsuit filed by axed Register of Copyrights Shira Perlmutter. We covered that lawsuit (including a push for reinstatement) last week, and DMN Pro yesterday took an in-depth look at Perlmutter’s largely procedural action. Long story short, the former Copyright Office head maintains that the Library of Congress is part of the legislative, not the executive, branch. Consequently, per Perlmutter’s complaint, President Trump’s dismissal of Librarian of Congress Carla Hayden is “unlawful.” (Among other things, said Librarian is tasked with appointing the Register of Copyrights.) And in Perlmutter’s view, since Hayden’s firing is allegedly unlawful, the acting replacement (Deputy Attorney General Todd Blanche) lacks the authority to boot her (Perlmutter) at all. Perlmutter’s complaint contains several relief requests, the most noteworthy being a sought injunction declaring that she “may not be removed from her office as Register of Copyrights and Director of the U.S. Copyright Office, or in any way be treated as having been removed.” Enter the Trump administration’s initially highlighted opposition to Perlmutter’s requested restraining order. As described by the newer legal document, because the Library of Congress “is part of the Executive Branch and is subject to presidential control” under the Federal Vacancies Reform Act (FVRA), “[t]he President had the power to remove the Librarian and designate an acting replacement.” But even in the absence of the FVRA, “the President’s power to designate Mr. Blanche comes from the Constitution, not any statute,” per the defendants. Following the idea to its logical conclusion, Perlmutter’s firing was lawful, and the presiding judge should deny the restraining order motion, according to the Trump administration. “Because Mr. Blanche is properly serving as acting Librarian,” the legal text reads, “he had clear authority to remove the Register of Copyrights, as he did in designating Paul Perkins as acting Register. In addition, the President removed the Register directly—a removal that likewise is within his constitutional power where, as at that time, there is no Librarian.” On cue, Perlmutter’s legal team submitted a reply supporting the restraining order motion and opposing the defendants’ above-described arguments. In brief, the follow-up mainly builds on the existing central position that the executive branch lacks the authority to dismiss the Librarian. “Historical practice confirms that the President lacks any inherent authority to fill vacancies in principal offices,” the retort claims. “Because the FVRA does not confer authority on the President to appoint an officer to temporarily perform the functions of the Librarian of Congress, the President’s appointment of Mr. Blanche was ultra vires,” the filing proceeds. Suffice to say that it’ll be worth closely monitoring the courtroom confrontation – and especially the near-term trajectory of Perlmutter’s crack at reinstatement. As explored in detail by DMN Pro’s aforementioned report, while evidence points to longshot odds of Perlmutter’s taking the USCO reins once again, the music industry may still be able to record IP wins under the new Copyright Office guard. Also important is the “acting” nature of this guard; it remains to be seen who will serve as Librarian and Register on a permanent basis and when they’ll begin doing so. View the full article

Avicii's posthumous compilation album, Avicii Forever, has rocketed into Spotify's top five most-streamed albums of all-time, accumulating over 14 billion streams, according to data from Kworb. The achievement places the late Tim Bergling's work alongside contemporary giants including Bad Bunny's Un Verano Sin Ti, which maintains the top spot with nearly 19.6 billion streams. The Weeknd's Starboy and Ed Sheeran's ÷ round out the top three while Olivia Rodrigo's chart-topping debut, the teenage heartbreak masterclass SOUR, sits just ahead of the Avicii collection. Released May 16th via Interscope, the collection couples Bergling's defining catalog with "Let's Ride Away," a previously unreleased collaboration with Elle King. That track represents one of the EDM icon's final creative endeavors prior to his tragic 2018 death by suicide at the age of 28. It's worth noting that the songs featured on Avicii Forever had already amassed their streams individually prior to the compilation's release. While the streaming milestone is significant, it reflects the enduring popularity of the DJ's catalog more than a sudden surge tied to new content. To that end, what makes this ascent particularly striking isn't only the speed, but also what it reveals about how streaming platforms turn nostalgia into data points. The beat drops, and so do we—right back into feelings we didn't know we still had. You can listen to Avicii Forever below and find the collection on streaming platforms here. Follow Avicii:X: x.com/Avicii Instagram: instagram.com/avicii TikTok: tiktok.com/@aviciiofficial Facebook: facebook.com/avicii Spotify: tinyurl.com/3tkv6c2e

Nicole Moudaber is ushering in a bold new chapter of her illustrious career with the launch of a brand-new record label, MoodCollective, set to debut in June 2025. Known as one of the most influential forces in techno, Moudaber now turns her attention toward the vibrant worlds of house and tech-house with this exciting new venture. Celebrating over a decade of her renowned InTheMood brand, Moudaber is expanding her sonic palette, inviting fans into a different realm of her artistic expression. MoodCollective will spotlight timeless grooves, forward-thinking talent, and a more soulful, groove-driven side of electronic music. The imprint promises to be a space for both established and emerging artists to flourish, as Moudaber continues her mission of breaking boundaries and redefining underground music. “People know me for techno, but I’ve always played and loved all different genres. MoodCollective is my chance to create and explore the world of house and tech house further. It felt like the time was right for me to break down the genre barriers and create a new movement.” Nicole Moudaber To mark the launch, Moudaber will host the first official MoodCollective event on June 28 at the stunning EXE Beach in Bulgaria, just one day after the imprint’s first official release. She’ll be joined behind the decks by VLTRA, rising Sicilian tech-house stars and one of the label’s inaugural signees. Expect minimal beats, hypnotic grooves, and an electrifying atmosphere that will carry the party deep into the early hours. A trailblazer in every sense, Nicole Moudaber has built an empire that includes her MOOD Records label, globally syndicated In The Mood radio show, and appearances at the world’s top festivals and clubs. With MoodCollective, she proves once again why she remains at the forefront of dance music innovation—not just the Queen of Techno, but a true Queen of Music. The post Nicole Moudaber Launches a New Tech-House Label appeared first on EDMTunes.

Tomorrowland is continuing its festival magic in print with “The Odes of Orbyz,” the third fantasy adventure novel from dance music giant’s The Book of Wisdom novel series. As anticipation builds for Tomorrowland’s return to Boom, Belgium, this July, “The Odes Of Orbyz” hit the festival’s online store last week, and tells the origin story of the famously immersive event’s 2025 theme, “ORBYZ.” Once they’ve arrived at Tomorrowland’s 9,000-acre festival site at De Schorre Park, attendees will recognize key elements and imagery from the book at the festival, including Tomorrowland’s world-famous mainstage. Last year’s novel, “The Spirit of Life,” foretold the stage’s botanical vibes in 2024. Dreamed up by Tomorrowland’s in-house creative team, “The Odes of Orbyz” is set in the icy underground city of Nymbuz, and follows Tybla, an indigenous warrior who must fight to save her home when melting glaciers expose it to the evils of the outside world, according to a press release. The more than 300-page limited-edition hardback novel also features festival artwork, an illustrated glossary, and two maps of Tomorrowland’s fictional ORBYZ realm. Tomorrowland Belgium will return to Boom across two weekends this summer, July 18-20 and July 25-27, with performances from John Summit, Anyma, Eric Prydz, Swedish House Mafia, Charlotte de Witte, Armin van Buuren, Martin Garrix, Vintage Culture, and hundreds more DJs. For more information about “The Odes of Orbyz” or to purchase the book, visit store.tomorrowland.com/pages/books. Featured image courtesy: Tomorrowland. The post Tomorrowland Publishes Third Fantasy Novel, “The Odes of Orbyz” appeared first on EDM Maniac. View the full article

Tomorrowland is continuing its festival magic in print with “The Odes of Orbyz,” the third fantasy adventure novel from dance music giant’s The Book of Wisdom novel series. As anticipation builds for Tomorrowland’s return to Boom, Belgium, this July, “The Odes Of Orbyz” hit the festival’s online store last week, and tells the origin story of the famously immersive event’s 2025 theme, “ORBYZ.” Once they’ve arrived at Tomorrowland’s 9,000-acre festival site at De Schorre Park, attendees will recognize key elements and imagery from the book at the festival, including Tomorrowland’s world-famous mainstage. Last year’s novel, “The Spirit of Life,” foretold the stage’s botanical vibes in 2024. Dreamed up by Tomorrowland’s in-house creative team, “The Odes of Orbyz” is set in the icy underground city of Nymbuz, and follows Tybla, an indigenous warrior who must fight to save her home when melting glaciers expose it to the evils of the outside world, according to a press release. The more than 300-page limited-edition hardback novel also features festival artwork, an illustrated glossary, and two maps of Tomorrowland’s fictional ORBYZ realm. Tomorrowland Belgium will return to Boom across two weekends this summer, July 18-20 and July 25-27, with performances from John Summit, Anyma, Eric Prydz, Swedish House Mafia, Charlotte de Witte, Armin van Buuren, Martin Garrix, Vintage Culture, and hundreds more DJs. For more information about “The Odes of Orbyz” or to purchase the book, visit store.tomorrowland.com/pages/books. Featured image courtesy: Tomorrowland. The post Tomorrowland Publishes Third Fantasy Novel, “The Odes of Orbyz” appeared first on EDM Maniac. View the full article

Waves has launched an AI-powered text-to-sound engine called ILLUGEN, and it’s capable of making unique sounds from specific and incredibly weird prompts. The new tool is available as a subscription-only app as of current, with three tiers (basic, premium, and pro) available, and prices starting at $7.99 per month. This model is an interesting choice, given Waves’ previous u-turn on making its plugins available through subscription plans only after significant backlash. READ MORE: Waves’ Curves AQ is the “world’s first autonomous EQ plugin” Those who do fancy signing up can simply feed ILLUGEN a text prompt, pick from their favourite of three generated sounds, and then simply drag and drop it into their DAW. Examples provided on the Waves website suggest your prompts can be as specific as “a snail’s journey scored with synths”, or “disco beat played by robots that are 20 percent funky and 80 percent malfunctioning”. As ILLUGEN is rather new, some of its functions remain pretty straightforward – it currently doesn’t fully support musical keys and scales, and though you can still request them, Waves says it can’t guarantee precise results at this time. ILLUGEN also only works in a 4/4 time signature right now. You can find out more in the video below: Some questions have already been raised as to how copyright works if you were to use these sounds in your music, and as to how ILLUGEN’s AI model was trained. Waves has stated that the model was trained “exclusively on documented, legally owned material”, and that ethical AI development is a “top priority” for the brand. It also notes that users of ILLUGEN own the rights to use the samples they generate in their own creative work, such as music, sound design, games, or films. However, “you may not repackage or resell the samples as standalone sound libraries, nor use them to train other AI models”. To find out more about ILLUGEN (including answers to a list of FAQs) or subscribe, you can head over to Waves. The post Waves’ ILLUGEN text-to-sound engine can create sounds nobody has heard before using ultra-specific prompts – here’s how it works appeared first on MusicTech. View the full article

Egzod is back with a new alias, Merage, launching the project with his debut single "Replay." Known for his cinematic bass music, the DJ and producer isn’t new to high-stakes electronic production. But with Merage, he's swapped the dramatic peaks and valleys for the whiplash rush of drum & bass. Out now via Monstercat, "Replay" is a storm of kinetic percussion and self-sabotage, with lyrics that hit like a Red Bull laced with regret: “My head’s a mess, I’m out of luck / I guess I’m lost when you’re around." Like any great drum & bass track, it doesn’t wallow, but sprints. There’s power in the propulsion, especially in the drop, a cathartic release mirroring the strength we all conjure when emotionally respawning—just to get wrecked again. You can listen to "Replay" below and find the new single on streaming platforms here. Follow Merage:X: x.com/meragesound Instagram: instagram.com/meragesound TikTok: tiktok.com/@meragesound Facebook: facebook.com/meragesound Spotify: tinyurl.com/yc3e3stw

Hidden behind a faux bait-and-tackle storefront in Palm Beach, one of the most audacious nightlife experiments in recent memory now has the backing of some of dance music’s most influential artists. Kygo’s Palm Tree Crew has officially acquired a stake in Mary Lou’s, the lavish hospitality concept that’s quickly become Palm Beach’s most enigmatic and buzzed-about nightlife haunt. Founded by hospitality innovators Alex Melillo, Joe Cervasio and Topher Grubb, Mary Lou’s is now poised to take its brand beyond South Florida. With Kygo's lifestyle empire at its side, the concept is slated to debut in Montauk this summer, the first step in a wider expansion. “The partnership with Palm Tree Crew truly felt like a natural alignment from the start—we share the same energy, ambition and commitment to creating unforgettable moments,” said Alex Melillo, co-founder of Mary Lou’s and Mama Hospitality. “We each bring unique value to the table, and together, we create a powerful engine for delivering world-class experiences. At the end of the day, we’re both in the business of making memories, and this collaboration elevates our ability to do just that." c/o Press Since its grand "Black Tie Surrealism Affair" opening in January, Mary Lou’s has added star power to its creative braintrust, naming two-time Grammy nominees SOFI TUKKER as Creative Entertainment Directors alongside chart-topping duo The Chainsmokers. They've each taken an active role in shaping the venue’s acoustics and programming, reinforcing its identity as a performance-first destination built for, and by, artists. Palm Tree Crew’s backing offers Mary Lou’s expanded reach and strategic alignment with a lifestyle brand that's already making waves across Miami, Orlando and most recently, Las Vegas. "Rarely does a hospitality concept bring an experience to its customers that is truly unique and fresh, and we believe that Mama Hospitality has quickly been able to accomplish that," added Myles Shear, co-founder of Palm Tree Crew. "This partnership will allow Mary Lou's to bring its concept to new markets and share this experience with customers looking for something authentic and new." Palm Tree Crew and Mama Hospitality are set to launch a new holding company for Mary Lou's and future concepts. The brand will also serve as the "official nighttime hospitality counterpart" to Palm Tree Crew's daytime festival properties, per a press release.

Airbnb is ready to move into one of the world's most influential festival properties, Lollapalooza, after unveiling its first-ever global live music partnership. Offering fans artist-hosted moments beyond the stage, the collaboration will see Airbnb Experiences integrated directly into Lollapalooza events in Berlin, Mumbai, São Paulo and the brand's flagship festival in Chicago. Guests will be able to book fan experiences, such as backstage tours, photography masterclasses and secret performances, some curated by Lollapalooza performing artists. At the kickoff in Berlin, surging DJ and producer BUNT. is slated to host a performance in a hidden location on the festival's grounds, available to Airbnb users who book through a special portal scheduled to open June 5th. Launching in July at Lollapalooza Berlin, the initiative signals a new frontier for Airbnb, which is doubling down on experiences at a time when live music tourism is reaching unprecedented levels. "Fans are traveling the world to see the artists they love, and festivals like Lollapalooza are leading that demand," said Michael Rapino, CEO of Live Nation Entertainment, which owns and operates Lollapalooza. “Partnering with Airbnb helps us make those trips even more memorable for fans, connecting them to the culture and community around the music that makes each festival unforgettable.” Originally launched in 2016 as an add-on to lodging, Airbnb Experiences is now being reintroduced with a bolder vision, Airbnb Originals. These are experiences in a class uniquely their own, designed to foster cultural connection through music, art and food, anchored by "the world's greatest icons across music, film, TV, art, sports, and more," according to the company.

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In an age where concert entry constitutes little more than a digital barcode, it feels like music fans have lost a once crucial part of their connection to a favourite artist. With e-tickets deleted the morning after and print-outs often primed for the trash, it’s a sad development – especially for those who, like this writer, have actively kept gig and festival tickets archived in a folder for the past decade and a half. For avid gig-goer Nathan Flaskett, who has also collected signed albums and posters for many years, his ticket stub collection (which recently went viral on TikTok) is full of nostalgia. “I like to look back at memories I’ve had over the years,” he says, “even just to keep track of who I’ve seen because it’s easy to forget.” READ MORE: Will GTA 6 change the way gamers discover music? Having kept a physical record of these memories, and particularly the variety of gigs he attended — from Justin Bieber to Bring Me The Horizon —makes him feel connected to artists he grew up as a fan of. It also often prompts him to get back into certain artists that he feels he’s grown out of. “I may see the ticket and think, ‘I’ve really got to listen to them, it’s been forever,’” he says. With most tickets now being digital, Flaskett feels that the art of ticket stubs has been truly lost – especially when it comes to festivals. “I remember Reading 2015; I have a ticket and it’s pristine. I know you still get wristbands, but they get dirty. There’s nothing quite like a ticket you can keep.” In a 2023 article, journalist Scott-Ryan Abt observed this unfortunate change, suggesting that two things are now “missing from the concert experience and not coming back”. Ticket stubs and cheap t-shirts, he argued, were once “the evidence that it actually happened and that you were there. But advances in technology insist that there is a better, more efficient way”, he added. “As a result, we are missing something without the physical paper tickets that used to be a part of going to a show.” With all this in mind, it seems unfathomable to think that concert tickets were once treated like pieces of art — a timeless collectable, even — by the biggest bands of the 60s, 70s and 80s, including Led Zeppelin, Motörhead, The Grateful Dead and The Beatles. “It’s actually pretty tragic,” says Blaise Hayward, a Canadian artist who has lived and worked in New York since 1996. His recent online art collection, Tickets Please, chronicles some of the most iconic gig tickets ever printed. Full of colour, character and personality, these are items that a collector would be ecstatic to own. An avid music fan and admirer of fonts and graphic design, Hayward began making his collection in March 2023. The inspiration? He walked by Irving Plaza concert hall in New York and noticed groups of music fans heading into a concert, flashing their phones. “It made me start to reminisce about my youth,” the 60-year-old photographer and sculptor recalls. “I began thinking about how I cherished my stubs as a teenager.” During his youth, he’d purchase tickets at a physical outlet, keep them safe in a scrapbook and pin them on a wall. “It was all part and parcel of the experience,” he enthuses; “you would treat them like gold and make sure they were very secure in a pocket and want to go home to put them somewhere safe so you wouldn’t lose them”. Around the same time, a friend lent him some ticket stubs to photograph, and Hayward’s “labour of love” quickly escalated into an official project. Curated from a number of music memorabilia websites, eBay, private collectors and word of mouth, he describes himself as “pretty selective” when sourcing tickets, adding that he “doesn’t always buy the first one I see”. Some, he says, have proved elusive, such as The Last Waltz, though he does have Japanese tickets and one for a Russian Nine Inch Nails gig among his collection. With Tickets Please now spanning 1964-2015 and including artists as wide-ranging as Miles Davis, Frank Sinatra, Lady Gaga and Beyoncé, he hopes to have a ticket from every country. While his ambition for “music and authenticity” is unending, Hayward finds it “a shame [that] it went from beautiful ticket stubs to terrible-looking QR codes”. But why? Hayward thinks that while environmentalists would be happy that paper and harmful inks are no longer being used, the main reason is likely band economics. “I think it’s a cost-cutting measure, and it’s just moved with the times that we live in now – everything is digital and on your phone,” he says. “[Artist] management would probably say, ‘Why do we want to spend $50,000 on printing these tickets if we can just do it on a QR code? It’s lost money?’ But I don’t think they’re thinking it through.” Hayward also feels that bands have missed out on an artistic aspect of their livelihood. “Ticket stubs allowed bands to stretch their artistic muscles, brand themselves and have fun with it,” he considers, citing that groups would collaborate with artists to work on the graphic design. “They’re all out of business, and no one’s doing it anymore.” Now, the only band Hayward is aware of that still issues physical tickets (“with stunning designs”) are American rockers Phish, who send tickets via post (for a small fee) for use at the point of entry. LP Giobbi, meanwhile, focuses on physical concert programmes as opposed to tickets. The electronic artist hopes her handwritten, beautifully designed creations, which outline what to expect at her gigs, will have a similar impact to Phish’s stubs. “I grew up playing in high school bands, and there was always a programme handed out so people could get excited about certain parts or know where to go to the bathroom during others,” she says. The idea with her programmes is for her audiences to have “an open mind and be ready to go on a journey”. Beyond that, she hopes her fans will want to keep them. “I definitely wanted people to walk away with something to remember the show by,” she says. “I used to love collecting concert tickets, so maybe this can be that for them…” With plans for a book and gallery shows to present his Tickets Please collection in different ways, Hayward is optimistic about a potential return to the golden age of ticket stubs. “It would take a popular younger artist of the current generation — Taylor Swift, or Post Malone, or Billie Eilish — to come in and say, ‘We are now going to be issuing the coolest tickets’ to start the ball rolling. And I guarantee, if one of them did it, others would follow suit, and it could be a rejuvenation of the entire concept.” Crucially, Hayward’s confident that “their fans would go absolutely bonkers for them”. He adds that the merchandising opportunities are endless: “they could take the art they do for the ticket and print it on hoodies, t-shirts, beanies, keychains and coffee cups”. However, Ticketmaster, which offers the option of souvenir tickets at the point of purchase, argues that it’s already on the way there. Having first launched souvenir tickets in 2021 at Sheffield Arena, they have since been rolled out across hundreds of events, covering everything from music and comedy to sport, family shows and theatre. “These are collectable versions of traditional paper tickets that fans can keep as a memento after the show,” a Ticketmaster spokesperson tells MusicTech, adding that these are “especially popular” for milestone gigs or special one-off performances. “We’re the only ticketing agent offering this kind of souvenir in the marketplace,” they said – “it’s a simple, unique way for artists and event partners to add a personal touch to their fans, giving them a special way to remember the moment forever”. Ticketmaster feels that feedback on these souvenir tickets has been extremely positive —“We’ve seen great uptake so far, and fans love having something tangible to remember the event by” — but not everyone seems to have been impressed by what they receive in the post. In a Reddit thread from three years ago, a concert-goer branded the souvenir ticket he ordered for metal band Ghost’s Manchester show as “bog standard”. He added: “when they eventually turned up, they looked like the tickets that we would have originally received pre-Ticketmaster-app.” Concluding the post, he said: “Absolutely would not do it again”. Having paid £3 to commemorate their first ever gig experience, a third buyer said their souvenir ticket for Conan Gray was “just paper with a shiny stamp on it. I thought it was going to look much more special,” they added. Ticketmaster’s efforts are certainly positive steps towards a more artistic ticketing experience, but the current offer to customers is a far cry from the eye-popping stubs of the past. Savvy tech companies seem to have noticed this fandom-led gap in the market in recent years, with the likes of Tixologi offering attendees the chance to ‘immortalise their tickets as a unique printed memento’ in the form of a non-fungible token (NFT) — a term that, frankly, may elicit a groan from many readers. But Tixologi is optimistic: “We don’t offer hard copy tickets today, but our tickets are digital collectables that live on forever as a memory of the event,” Asher Weiss, co-founder and CEO of Tixologi, told Forbes in 2023. Weiss added that the original idea for Tixologi came from fans and attendees missing the collectable aspect of the ticket. “We have found a way to bring that back in a mostly digitally-ticketed world and give attendees something to hold onto for years to come,” he told Forbes. “Today, our tickets can include special imagery from the event, and in the future will include event highlights, videos, songs, and partner offers…We see this as the rebirth of ticket stubs, but better.” In a 2023 article for NFTnow, journalist Langston Thomas seemingly backed this claim, arguing that NFT tickets are actually the future of live events. Crucially, Thomas suggested there are benefits for both parties. “Issuers can keep a more in-depth record of attendance numbers by utilising the blockchain as a ledger, and then send out notices, host surprise giveaways and create token-gated sites and services,” they said. Some might question the ethics of such data-mining, but Thomas adds that “NFT tickets grant holders access to exclusive experiences, including fan clubs made up only of holders of similar NFT tickets”. Also in 2023, Mixmag argued that the adoption of NFT ticketing was “inevitable for music festivals”, citing EXIT in Serbia as the first large-scale festival (bar Coachella) to employ the technology. One of the main advantages, it said, is “the potential to create a sense of exclusivity and reward for dedicated fans”, with the ability to add perks such as backstage passes, meet-and-greets or exclusive merchandise to the digital collectible. Perhaps younger music fans and new artists are unaware of what came before — “I’ve had people completely unaware that ticket stubs ever existed”, Hayward says disheartenedly — but there’s no denying the longevity and sense of connection that comes from physical tickets. In fact, a scan on Etsy reveals several homemade tickets for Sabrina Carpenter, Jeff Lynne’s ELO, Busted and more with different designs that fans can snap up to commemorate her BST Hyde Park show in London this July. They’re unofficial and fan-made, but the attention to detail is very impressive, and it’s easy to imagine fans purchasing them as keepsakes of an unforgettable concert. If artists and labels start paying attention, the comeback of physical stubs might not just be wishful thinking — it could be the return of a merch goldmine. Check out Blaise Hayward’s Tickets Please collection at blaisehayward.com The post The Lost Art of the Ticket Stub — and its Futuristic Revival appeared first on MusicTech. View the full article

Kygo is leading a world tour that defies ordinary, and his upcoming May 30, 2025 show in Dubai is set to continue that tradition of deep emotional connection. The journey is not just about music—it’s about memory, creativity, and the shared experience of thousands. The world tour’s first leg began in earnest in September 2024, but it was the electrifying performance at the Hollywood Bowl in Los Angeles on October 17, 2024, that captured the hearts of fans. The sold-out crowd witnessed something both intimate and grand as the stage lit up under the city’s night sky. The atmosphere was magical. Kygo delivered unforgettable live versions of his hits, including “Stargazing” and “Firestone,” with the support of talented artists—a spectacle that will soon be featured in the concert film Kygo: Back at the Bowl. Yet, what fans remembered most was not the visuals or the scale, but the moments in between. The stillness. The silences that lingered before the drops. The way the piano keys resonated through a crowd of thousands. Kygo’s willingness to step away from the decks, allowing the music to breathe, created a rare connection with the audience. “He pauses between tracks, and you can feel the room shift,” one attendee said. “It’s like he’s giving you space to feel something real.” From Los Angeles, the tour continued through cities like Toronto, Berlin, and Las Vegas, each stop adding new emotional weight and reaffirming Kygo’s unique ability to do more than entertain—he restores, connects, and inspires. A fan recalls, “It wasn’t the biggest show I’ve seen. It was just the one that stayed with me.” Online, fans have called his recent performances euphoric, life-changing, and healing. The emotional tone of Kygo’s music has deepened in 2025—more reflective, slower, and more honest. Palm Tree Beach Club: A New Home For The Crew That depth found a new home on May 3rd with the opening of Palm Tree Beach Club in Las Vegas. Created with Tao Group Hospitality, the 60,000-square-foot venue transformed the MGM Grand into a tropical escape. Saltwater pools, private villas, and polished production gave it more than daylife energy—it gave it presence. The launch felt more like a red carpet than a pool party. Sydney Sweeney, Jessica Alba, J Balvin, MGK, and Alesso showed up. But when Kygo took the stage, the focus snapped back to the music. He delivered a full-sensory set layered with cinematic sweeps and live percussion. Ava Max appeared for “Whatever,” joined by Justin Jesso, Parson James, and Victoria Nadine. Their vocals cut through the desert air with warmth and depth. As one guest said, “Kygo doesn’t just perform—he narrates your emotions back to you in real time.” Palm Tree Beach Club is more than a party destination. It is a reflection of Kygo’s artistic transformation—bigger, braver, and deeply immersive. Kygo continues to elevate the tour with a highly anticipated show set to take over Dubai at Coca-Cola Arena on May 30, 2025. May 30: Kygo in Dubai is More Than a Show or Tour Stop Dubai does not come with the nostalgia of Los Angeles or the buzz of Las Vegas. It offers something rarer—intention. A show led by Kygo in Dubai sets the stage for a performance filled with nuance, intention, and emotional release. Scheduled for May 30th, 2025 at Coca-Cola Arena, the stop is expected to become a spiritual pause in the tour’s momentum. “Kygo in the mega-city of Dubai sounds absolutely iconic”, a fan shares. Across the Middle East, fans are treating this as more than a concert. They are planning outfits, booking travel, and revisiting footage from past shows. The buzz is not built on hype alone. It is built on trust. Kygo in Dubai will deliver one of his most impactful performances yet—and fans feel it coming ahead of the show. What To Expect Inside The Experience: Kygo at Coca-Cola Arena Dubai Dubai will host a Kygo show that blends cinematic production with raw intimacy—a rare combination in mainstream electronic music. Coca-Cola Arena, a fully indoor venue, will be transformed into a space of immersive sound and elegant restraint. Expect LED displays, CO2 effects, lasers, and confetti—all perfectly timed with Kygo’s signature DJ set and piano moments. For fans seeking something elevated, the Live Lounge offers a 21+ experience with fast-track entry, gourmet bites, an open bar, and a private DJ set. The Live Lounge Upgrade priced at $82 (AED 299) can be booked here. Ticket tiers begin at $68 (AED 249), ranging to $150 (AED 549), with Fan Pit and Platinum Standing bringing fans closest to the energy. Seated options also deliver sharp views and strong acoustics. The venue stands out for its commitment to accessibility. As a Certified Autism Center, Coca-Cola Arena offers sensory rooms, trained staff, and participation in the Hidden Disabilities Sunflower initiative. This is not just production. It is purpose. And it is ready for Kygo. Looking Ahead: What Comes After The Kygo Dubai Show The show in Dubai represents a full-circle moment for Kygo, whose journey from festival DJ to emotional architect is now complete. This is also his first time back to the city since his 2017 show. But the tour continues. Summer appearances are locked for Ushuaïa Ibiza and Palm Tree Beach Club Las Vegas, alongside artists like Tiësto, Zedd, Fisher, and Chris Lake under the Palm Tree Crew banner. Later this year, Kygo: Back at the Bowl will reach movie screens worldwide, letting fans relive—or discover—the Hollywood Bowl’s emotional magic. Each show has built toward something bigger, but none with the gravity of Dubai. This upcoming show on May 30 marks a turning point. As the piano echoes across Coca-Cola Arena and laser lights flicker above the crowd, one truth becomes clear: this is not just another stop. It is the moment the story shifts. The post Kygo Gives Dubai His Most Beautiful Show Yet—and Fans Know It appeared first on EDMNOMAD. View the full article

The DJ legend, Calvin Harris, and Liverpool FC ironically have an entertaining past together. Which has all led to Harris performing on the Liverpool FC Bus during the parade celebrating Liverpool clinching the 24-25 Premier League Title. The team captain took it upon himself this year to contact Harris to ask, or politely demand that he join the team for this victory. Surprisingly, this is Calvin Harris’ second time doing this. Harris first did it in 2022 when the Reds won the Carabao Cup and Emirates FA Cup. Harris commented on his hazy memory about how he ended up there the first time. “This started with Andy Robertson,” Harris said. “I can’t remember how we first got chatting, I genuinely can’t remember that. It must have been some kind of Instagram thing, I probably liked one of his pictures or something like that.” “Then, I was travelling, it was Liverpool against Newcastle at St. James’ in 2022, and we bumped into each other, they were flying somewhere, and we bumped into each other. Andy was like, ‘Do you fancy doing the parade?’ I went, ‘I suppose so!’” Harris has always been a fan of Liverpool FC, but their bond started when his song One Kiss featuring Dua Lipa became the team’s anthem and celebratory tune since she performed it ahead of the Champions League final against Real Madrid in Kyiv in 2018. Calvin Harris said, “It feels like it’s the most unlikely football song, a little sort of happy female vocal! I love it, it’s amazing.” The post Calvin Harris DJs On Liverpool FC Bus During Victory Parade appeared first on EDMTunes.

Internationally renowned broadcaster, author, DJ, and cultural powerhouse Annie Mac is bringing her iconic Before Midnight to The Warehouse Project for the very first time this autumn on Saturday 6th September, taking over the Concourse at Depot Mayfield. Following the success of her Before Midnight launch in 2022, Annie Mac continues to reshape the music scene by offering early-evening dance events for those who want the thrill of world-class DJ performances without the late-night hours. Before Midnight is the perfect fit for dance music lovers who may feel that traditional late club nights aren’t for them. Known for championing female and LGBTQ+ artists, Annie’s mission is to create safe, welcoming environments where everyone feels empowered to dance and connect. Both Manchester and London shows promise an unforgettable night of expertly curated music, bringing in unparalleled energy that only Annie Mac can. Commenting on her debut Before Midnight at The Warehouse Project, a venue where she has frequented for many years, Annie Mac said: “What I love most about Concourse is that the DJ booth is right in the heart of the dancefloor – you’re not up on a stage, you’re surrounded by the crowd. It creates this amazing, condensed energy where everyone’s facing each other, connecting, and dancing together rather than staring at a stage. That’s what makes a rave – the people, the atmosphere, that sense of being part of something bigger than yourself.” Annie Mac will headline the Before Midnight show at The Warehouse Project on Saturday 6th September with supports to be announced in the coming weeks. Pre-sale ticket sales go live on Thursday 29th May from 10am. General ticket sales go live on Friday 30th May from 10am. The post Annie Mac Announces Iconic “Before Midnight” Show at The Warehouse Project This Autumn appeared first on Electric Mode.

BARKER reveals a brand-new addition to his discography, striking back with ‘My Heartbeat’ via London Sound Academy. Having kept to a consistent release schedule, the DJ and Producer continues to display creative energy, focus, and originality through his work on the Electronic Music scene, with this newest single coming as the latest reflection. Known for a sound that sits between Tech House and Bass House, the sonic identity he is carving continues to capture the attention of genre fans, seeing him pave a journey where passion, creativity, and commitment converge. Following tracks like ‘WTF’ and ‘Space,’ BARKER’s newest single, ‘My Heartbeat,’ upholds the distinct sound that has become his signature; with its groove-heavy soundscape, the track offers a high-impact, vibrant listening experience, designed in a way that captures his vision all whilst highlighting the forward-thinking approach behind his work. Steadied by a pounding beat, the track unfolds in a precise and considered way, revealing a unique arrangement as lively details, dynamic percussion, and synth pads join the mix. As a crisp male vocal line layers in over the instrumental, the track moves forward with expansive energy, evolving with the addition of jazzy chordal motifs, uplifting melodies, risers, and a grooving low-end. The result is a funky yet sophisticated production that once again sees BARKER offer listeners an engaging journey, one suited for both the dancefloors of his DJ sets and the playlists of House lovers worldwide. A Producer and DJ who remains motivated, BARKER is continuing to release music where listeners can experience his signature style and immerse themselves in a world of refreshing energy. As he puts forward ‘My Heartbeat,’ he further aligns himself with the list of Artists to watch out for within the genre today, presenting a track that builds on his creativity and reaffirms the exciting direction his journey is heading. With determination on his side, BARKER is paving a path that will no doubt lead to more unique music, whether through his studio output or from behind the decks, so be sure to stay tuned and follow him across social media for the latest updates and news. Listen and Buy ‘My Heartbeat’ here. BARKER Online  Instagram | Spotify   | Beatport London Sound Academy Online  Instagram | Website   | Soundcloud