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Should music stay out of politics? Should every protest anthem blow your mind? And is it really fair to expect a chart-topping banger to double as a political manifesto? Anthony Fantano, host of The Needle Drop and one of the internet’s most influential music critics, says no – and thinks our expectations around political music might be the real problem. READ MORE: “It would basically kill the AI industry overnight”: Nick Clegg thinks asking artists for use permission is a bad thing “I think advocating that art should avoid any topic generally speaking, like broadly speaking, is just kind of lame,” says Fantano on a recent episode of Joshua Citarella’s Doomscroll podcast. But that doesn’t mean political music gets a free pass. Fantano argues that while injecting big ideas into your art is a good thing, it’s also incredibly hard to pull off – especially when fans expect deep ideology and catchy hooks in the same breath. “Making political art is difficult because not only does that require you to put yourself in a position where you’re saying or advocating for something that you know may automatically turn off,” he explains. “But also in terms of the people that do actually agree with you… you’re faced with the difficulty of putting it in such a way where it’s said well and advocated for well and doesn’t come across as just like some dumb sloganeering.” In short, it’s tough to strike the right balance. Fantano adds that even when an artist and their fans share the same worldview, disappointment can still set in if the message doesn’t go deep enough. “There’s a lot of people that have the expectation that… even though this band may align with me ideologically, they didn’t say anything that blew my mind or caused me to have a revelation… which I feel is kind of an unfair expectation especially if you are somebody who’s politically well read.” His advice? Don’t expect a three-minute track to change your life: “We have to kind of like set our expectations a little bit when it comes to a song,” says Fantano. “It’s not a political dissertation. It’s not an article. It’s not a think piece. Not every song is going to be like System of a Down’s Prison Song where they’re rattling off statistics or whatever.” Watch the full interview below. The post Anthony Fantano on politics in music: “Advocating that art should avoid any topic generally speaking is just lame” appeared first on MusicTech. View the full article

Loco Dice has played the biggest clubs in the world, collaborated with legends, and just dropped a new album packed with stars like Skrillex, Carl Cox and Marco Carola. But in 2025, even he’s at the mercy of the algorithm. Speaking to Billboard about his latest project Purple Jam, the German DJ and producer shares how making great music is only half the battle – getting people to actually hear it is the real challenge. READ MORE: “It’s our job to question the algorithms”: Jaden Smith on experimenting with release methods Asked what success for Purple Jam looks like, Dice says, “That a lot of people get this album. These days it’s not like you put it in the record store and people know… These days we are driven by algorithm, so we’re kind of screwed.” “If we are lucky, we get in your ‘for you’ page. If we are not lucky, you find out a year later, or never.” The harsh reality, Dice explains, is that even in front of a packed dance floor, the artist often goes unseen. “[At live sets] maybe 20% of people know [who I am], but for sure 50% don’t care,” he says. “They just come because you’re a badass DJ, or because the party is great. So this is the difficulty, and that’s why, when you ask what is success for the album, it’s that everybody gets a chance to listen to and appreciate it.” According to Loco, the deluge of new music across digital platforms has also made “finding good music” an uphill task. “There’s too much music. I’m flooded with music on WhatsApp, iMessage, Instagram here, there. I can’t follow up anymore,” says the DJ. “Then you spend like, four hours of your time and don’t find one track. It’s kind of demotivating.” “Everybody’s trying to do the copy/paste or trying to pick up samples that you played live. It’s devastating. For me this is the most challenging part – finding the right artist, sent to me through the right channel, music that I can play it, release, or just get inspired by to make more music out of it.” The post “If artists are lucky, we get in your ‘For You’ page”: Loco Dice on the harsh truth of modern music discovery appeared first on MusicTech. View the full article

I had eagerly anticipated the recent release of the recent Autoheart track “Sad Divide,” and they certainly did not disappoint. Furthermore, this LGBTQIA+ alt-pop outfit is following up the exciting momentum with the announcement of their highly anticipated fourth studio album, “Heartlands“. (Set to drop on August 15th via their own O/R Records through AWAL). In addition to this thrilling news, they’ve also unveiled plans for an extensive North American tour kicking off on September 5th. And for their devoted UK “Heartheads,” there’s no need to worry—the band has just revealed three UK dates! ON SALE NOW HERE 10th October – “Rebellion,” Manchester 11th October – “Oslo”, London (SOLD OUT) 12th October – “Dingwalls”, London Amid a flurry of exhilarating new updates, Autoheart is thrilled to unveil “Baby Bird,” the second single from the highly anticipated album “Heartlands.” This alt-pop anthem radiates infectious energy, featuring a driving beat and soaring melodies that create an atmosphere of empowerment and joy. Lyrically, it delves into themes of resilience and self-discovery. And furthermore, maintains the profound depth and introspection that fans of the band have come to cherish. Speaking about the single, the band explain: “’Baby Bird’ is about surviving yourself. It’s about learning not to fear the fall – or even if you do, doing it anyway – and trusting that even if you f*** it up, given time, you’ll find your way again.” In these new songs, the band masterfully showcases their lyrical vulnerability, creating a powerful connection with listeners. Their emotive songwriting radiates a profound sense of melancholy, resulting in an intricately composed listening experience. Yet, Autoheart has returned with an exhilarating sound that breathes fresh energy into their music. Thus propelling them to a thrilling new peak in their career. I can always count on Autoheart to fill my ears with earworm-worthy melodies and heart-pounding harmonies. With “Baby Bird,” I find that the musical styling of this track aligns particularly well with the distinctive and ethereal qualities of MARINA‘s work. Moreover, featuring shimmering synths and poignant lyrics that explore themes of vulnerability and self-discovery. However, I recognize that my comparison may be wide of the mark. Since Autoheart has a unique flair that sets them apart in the indie pop landscape. haring some insight on “Heartlands,” Autoheart guitarist Barney JC. says… “This time, we’ve worn our influences on our sleeves—R.E.M., Alanis, Tori, Sheryl… and British bands like The Cure, Tears for Fears, Eurythmics. There’s another world too: indie artists like Ani DiFranco, Liz Phair, Kristin Hersh—outsiders like us. Connect with Autoheart X: https://x.com/Autoheart Instagram:https://www.instagram.com/autoheartvision/ The post Listen to “Baby Bird” by Autoheart appeared first on EQ Music Blog. View the full article

Photo Credit: Paolo Villanueva / CC by 2.0 CGL, the company behind the biggest tours, such as Taylor Swift and Beyoncé, announces a controlling investment from Providence Equity Partners. GCL, a worldwide leader in live events logistics, has announced a strategic investment from Providence Equity Partners. The private equity firm has significant experience investing in and supporting companies in the entertainment and media sectors. Providence will become the majority shareholder of CGL, and ATL Partners, the current majority owner, will retain a minority equity stake in the company. GCL will continue to be led by President and CEO Daniel Rosenthal, with global headquarters in New York. The transaction is still subject to customary closing conditions. The financial terms of the transaction were not disclosed, though The Wall Street Journal reports it was more than $1 billion. Founded in 1978, GCL is the world’s premier logistical provider in its sectors, operating in service-sensitive live events and luxury goods markets. GCL completes more than 10,000 projects annually in over 160 countries and enables some of the world’s biggest live music tours—including Taylor Swift’s record-breaking Eras tour. “GCL is a very special company supported by an incredible family of employees, customers, and partners across its global network. Providence’s commitment validates our customer focus and growth strategy and will expand our capabilities further in the years ahead,” said Daniel Rosenthal, GCL President and CEO. “The Providence team’s proven track record and depth of relationships in our end markets make them the ideal partner for the next chapter of serving our customers. I’m also extremely grateful to the team at ATL Partners for their deep passion to propel our growth strategy. Under ATL’s active stewardship during the last seven years, GCL has successfully expanded into several adjacent verticals and is the clear market leader in live events and luxury goods logistics.” “For nearly 50 years, GCL has earned the trust of the world’s biggest names in the live events sector and established a leading position in all of the end markets it serves,” said Scott Marimow, Managing Director at Providence. “We have a deep appreciation for and understanding of the business, especially given our long history of investing in entertainment and sports. We look forward to partnering with Dan and the entire GCL team to help capitalize on organic and inorganic growth opportunities ahead.” Providence has nearly three decades of experience investing in and creating value at a wide range of companies in the live event space. These include Ambassador Theatre Group, Major League Soccer, Sweetwater, Yankees Entertainment and Sports Network, and World Triathlon Corporation. “Since ATL invested in GCL in 2018, GCL has transformed itself into a premier business focused on the high growth live event and luxury goods markets,” added Sanjay Arora, a Partner at ATL Partners. “Dan and his management team have positioned the company well for its next phase of growth by expanding into new verticals, adding operational capabilities, and executing strategic acquisitions. We look forward to supporting the next step in GCL’s journey alongside Providence and the GCL management team.” Jefferies LLC, J.P. Morgan, Securities LLC, and Moelis & Company LLC served as financial advisors, while Gibson, Dunn & Crutcher LLP served as legal advisor to GCL. Harris Williams served as financial advisor and Kirkland & Ellis LLP served as legal advisor to Providence. View the full article

Photo Credit: Radu Lin The New York City Council is set to vote tomorrow on Resolution 368, which expresses the city’s support for the federal Living Wage for Musicians Act. Resolution 368 is sponsored by a coalition of council members including Shahana K. Hanif, Chi A. Osse, Carlina Rivera, Julie Menin, Tiffany Cabán, Justin Brannan, Rita Joseph Louis, Gale Brewer, Kevin Riley, and Amanda Farias. The resolution calls on Congress to pass and for the President to sign the Living Wage for Musicians Act introduced in the U.S. House in 2024. The United Musicians and Allied Workers (UMAW) group is the driving force behind the campaign for the act. It has organized events and petitions urging the NYC council to pass this resolution, highlighting the urgent need for fair compensation in the streaming era. The act has also received support from other labor and music advocacy organizations, which reflects their broad concern over the economic precarity introduced with the advent of AI. Streaming now accounts for 84% of total recorded music revenue in the United States. Paid subscription services generated over $10 billion in revenue for 2022. Yet artists often receive as little as $0.0033 per stream, meaning an artist would need the equivalent of 800,000 monthly streams for a musician to earn the equivalent of a $15-per hour full-time job. With over 14,000 working musicians in NYC that face economic insecurity as AI becomes a larger part of the streaming puzzle. “I’m thrilled the New York City Council is set to pass my Resolution 368, in support of the Living Wage for Musicians Act. In the music capital of the world, artists deserve fair pay and dignity,” said Council Member Shahana Hanif. “As streaming platforms pay artists less than a third of a penny per play, this will be a critical step toward making our city more affordable for working musicians to continue living and creating music here.” “The New York City Council taking this action shows that 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. The Living Wage for Musicians Act proposes a new royalty structure, setting a minimum payout of one cent per stream. It would tax non-subscription streaming revenue and add a fee to subscriptions, distributing the funds through a non-profit to artists based on their monthly streams. The act also includes a cap on monthly payouts per track to ensure more equitable distribution among a broad range of artists—from emerging talents to local superstars. View the full article

Photo Credit: James Cridland / CC by 2.0 NPR is suing President Trump over his executive order to stop all federal funding for the nonprofit public broadcaster. National Public Radio (NPR) is suing President Trump over his executive order to cease federal funding for nonprofit broadcasters, including NPR and the Public Broadcasting Service (PBS). The lawsuit was filed on Tuesday in federal court in Washington, D.C. According to NPR and three other public radio stations, Trump’s May 1 order violates the First Amendment’s protections of speech and the press, and undermines Congress’ authority. The order also “threatens the existence of a public radio system that millions of Americans across the country rely on for vital news and information.” The executive order “expressly aims to punish and control Plaintiffs’ news coverage and other speech the Administration deems ‘biased,’” wrote attorneys for NPR and three of its member stations: Colorado Public Radio, Aspen Public Radio, and KSUT Public Radio. “It cannot stand.” The broadcasters are seeking to have Trump’s order permanently blocked and declared unconstitutional, which closely follows NPR and PBS’ previous vow to challenge the executive order. According to Trump’s order, government funding of a news outlet is “outdated and unnecessary” as well as “corrosive to the appearance of journalistic independence.” NPR employs hundreds of journalists whose work is broadcast by more than 1,000 local stations. Founded in 1970, NPR’s initial funding was mostly allocated by Congress and delivered through the Corporation for Public Broadcasting (CPB). That arrangement was changed in the 1980s when the Reagan Administration made cuts to public media funding. Now, the CPB sends federal money to local member stations, who then purchase NPR programming. Member station fees comprise 30% of NPR’s funding, while only 1% of its revenue comes directly from the federal government. According to NPR, the largest share of its funding—36%—comes from corporate sponsorships. White House spokesman Harrison Fields told CNBC that the CPB is “creating media to support a particular political party on the taxpayers’ dime.” But the broadcasters’ lawsuit argues that Congress recognizes that the speech it supports with public funding “remains private—and thus fully protected from censorship, retaliation, or other forms of governmental interference.” However, “the President—criticizing what he perceives as ‘bias’ in the award-winning journalism and cultural programming produced by NPR—has issued an executive order that thwarts Congress’ intent and the First Amendment rights of Plaintiffs to be free from the government’s attempts to control their private speech, and their rights to be free from retaliation aimed at punishing and chilling protected speech, journalistic activities, and expressive association,” wrote attorneys for the broadcasters. “The order is textbook retaliation and viewpoint-based discrimination in violation of the First Amendment.” “It is evident from the president’s executive order, as well as statements released by the White House and prior statements by the president that we are being punished for our editorial choices,” said NPR CEO Katherine Maher in an interview with All Things Considered host Mary Louise Kelly. “What we see is at stake here is not just funding to NPR, we also see the risk of funding to all public media, as well as broader concerns around government interference with the free press,” she continued. “The specifics of how this executive order concerns us have to do with the viability of public media stations. They air hours of NPR programming a day and very often, that is when they have their highest number of listeners, their greatest success during donation drives. If stations are unable to air NPR, we recognize that that could be catastrophic for their ability to continue to survive both editorially and financially.” View the full article

Stockholm, Sweden, where MAIA Universe (previously Freshsound) is headquartered. Photo Credit: Anna Hunko Stockholm-based sync platform MAIA Universe (formerly Freshsound) has scored north of $1.13 million in funding from backers including Max Martin. MAIA Universe CEO David Wille confirmed the €1 million raise – and the MxM owner Martin’s support – on LinkedIn. According to that disclosure, Stockholm VC Zenith Ventures, another existing stakeholder in Aligned Ventures, and several others yet likewise participated. The Kobalt vet Wille – who joined MAIA shortly following the exit of co-founder and COO Sara Larsson – also touted his current company’s agreements with Sony Music UK, Warner Chappell, and self-described “leading independent” Playground Music. (Per her LinkedIn profile, Larsson is currently CEO of Northfork, which says it makes “recipes and meal plans shoppable through customized technology solutions.” Separately, MAIA’s board has added former Netflix Nordics comms higher-up Malin Cumzelius.) As things stand, MAIA Universe’s licensing offering is said to feature over 9,000 songs recorded by more than 2,200 artists. Recent placements include Alphaville’s “A Victory of Love” in a Polestar spot as well as Gabriels’ “Remember Me” in an advert for David Beckham’s BOSS collection, the website indicates. With today’s funding influx, Freshsound/MAIA Universe has secured the better part of $5 million in publicly confirmed capital, data from DMN Pro’s Music Industry Funding Tracker shows. And in the bigger picture, against the backdrop of AI’s rapid ascent, it probably goes without saying that competition is stiffer than ever in the sync arena. On this front, in its coverage of MAIA Universe’s newly obtained capital, Sweden’s Breakit pointed to 2023 turnover of SEK 800,000 (currently $83,085) for the platform. That same year, the startup is said to have experienced “a negative result of just over SEK 9 million” ($934,748 at present). Bearing in mind these numbers and the well-entrenched positioning of certain sync players, Amsterdam’s Ringo earlier in May rolled out a fresh beta version. As summed up by execs, the improved product includes a “Sync Search Assistant button” that is acting as a “precursor to an upcoming recommendation engine.” Meanwhile, Lickd is apparently pulling out all the stops with a “Brand New Affiliate Scheme” under which it says one can “earn $25 for every successful referral.” A cursory glance at the appropriate terms shows that “successful referral” does, in fact, refer to any instance when creators sign up and pay for the service via one of the relevant links. View the full article

Verknipt returns to the Johan Cruijff ArenA for the second edition of Verknipt ArenA on July 19. But this isn’t just another massive hard techno rave; it’s history in the making. Verknipt ArenA is officially aiming to break the GUINNESS WORLD RECORDS title for the largest laser show, unleashing over 1,000 lasers across the stadium – more than twenty times the number used in a typical production and far surpassing the current record of 824 set in Dubai. Last year’s show, featuring 50 lasers, was already impressive – but what’s coming now is simply mind-blowing. Following the explosive Verknipt ArenA debut in 2024, which brought together 40,000 ravers for a jaw-dropping 10-minute audiovisual show featuring custom-synced lights, lasers, and sound, Verknipt ArenA is raising the bar once again for 2025. At exactly 23:50, timed impeccably to a curated moment, the entire stadium will erupt in a sea of 1,000 synchronized laser beams, creating a once-in-a-lifetime audiovisual experience designed to etch Verknipt ArenA into the global record books. The full lineup features APHØTIC, Basswell, CARV, Cloudy, Cynthia Spiering, DYEN, Fantasm, Hardsok, Holy Priest, Karah, KLOFAMA, Nico Moreno, NOVAH, NYCO, NZGÜL, Onlynumbers, PALØ, Paul Elstak, Winson, XRTN. The post Verknipt ArenA 2025 Will Attempt World Record for a Laser Show appeared first on EDMTunes.

Nicole Moudaber is expanding her musical empire with the launch of MoodCollective, a new record label dedicated exclusively to house and tech house music. Set to debut in June 27th, 2025, the imprint marks a strategic pivot for Moudaber, who is revered for her work in the global techno scene. "People know me for techno, but I’ve always played and loved all different genres," Moudaber explained. "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." The new label will focus on elevating both established and emerging artists while serving as what Moudaber's team is calling "a creative playground" for experimentation beyond her trademark sound. To celebrate the launch, Moudaber will host the first official MoodCollective party on June 28th at EXE Beach in Bulgaria, featuring Sicilian tech house duo VLTRA as special guests. The event promises "minimal beats and sexy soul-shaking grooves" the day after the label's first official release, according to media alert shared with EDM.com. MoodCollective is now accepting demos, which artists can submit via email. View the original article to see embedded media. Follow Nicole Moudaber:Instagram: instagram.com/nicolemoudaber X: x.com/nicolemoudaber TikTok: tiktok.com/@nicolemoudaber Facebook: facebook.com/officialnicolemoudaber Spotify: spoti.fi/2NjLAxc

Legendary rap artist Snoop Dogg has just dropped the official music video for his single, Sophisticated Crippin’, from his album Iz It A Crime? And it’s packed to the brim with generative AI footage. The music video starts out with a suited-up current-day Snoop Dogg having a conversation with a younger Snoop Dogg, wearing crip colours — older Snoop pleads that younger Snoop “keep crippin, but keep it ‘sophisicated crippin’”. If you’re somehow not convinced that these two Snoops aren’t made with a generative AI model, the next scene definitely will. The video cuts to the front of a music venue with “Snoop Dogg” in lights at the top, and random, gibberish text underneath to represent other artists. The rest of the music video, directed by Jesse Wellens, seems to be mostly AI, too. Generated clips of Kobe Bryant, Lebron James, Michael Jordan, Michael Jackson, Warren G, Nate Dogg and Tupac and more all appear, alongside some classic photos of Snoop Dogg that have been ‘brought to life’ with the generative AI software. Check it out below. The video is sure to unsettle some viewers, with its uncanny valley-esque animation and bizarre twists and turns — not to mention the conflict over the use of AI in the film indsutry right now. Others, however, may see the inspiring side of the video, knowing they, too, are able to harness the AI tools Snoop and his team used to make music videos. This isn’t the first time Snoop has used generative AI on an official music video. In April, the artist dropped the video for Last Dance with Mary Jane ft. Tom Petty & Jelly Roll, was made using AI image creation software developed by Temple Caché. However, according to a report by Little Black Book, none of the scenes in the video were completely AI-generated. “To achieve subtle details and ensure consistency across shots, each frame was touched by human artists – reanimated, composited and layered manually,” said Psyop’s head of studio partnerships, Andrew Linsk. Snoop Dogg’s Iz It A Crime? is out now. The post Snoop Dogg embraces AI in new music video — and, yes, it’s kinda weird appeared first on MusicTech. View the full article

Miami’s III Points festival has shared its second lineup phase for 2025. Helmed by Link Miami Rebels and Insomniac, the teams behind the city’s famous Club Space and Factory Town venues, III Points is back at the Mana Wynwood Convention Center for its 12th edition this October 17-18, featuring another roster of more than 100 musical acts spanning dance music, rap, indie, alternative, and more genres across 11 stages. Featured in today’s lineup announcement are headline sets from house frontrunners Dom Dolla, Black Coffee, and Mau P B2B Seth Troxler, drum & bass icons Sub Focus and Chase & Status, and boundary-pushing Belfast duo Bicep, presenting their CHROMA A/V show, as well as indie heroes Phantogram, R&B songstress Tinashe, and a surely groovy session from Thundercat. Other highlights from Phase Two include techno titans such as Nico Moreno, I Hate Models, and Patrick Mason, and house favorites like Damian Lazarus, Hot Since 82, Francis Mercier, and Jayda G—rounded out by even more eclectic acts ranging from the trap beats of G Jones to the edgy electroclash of Fcukers. They’ll play alongside previously announced acts such as Michael Bibi, Peggy Gou, ANOTR, Barry Can’t Swim, Sean Paul, Nina Kraviz, Turnstile, and many more. Check out the full lineup below. Tickets for III Points 2025 will go on sale again this Thursday, May 29, at 1:11PM ET. Pre-sale registration for early ticket access at 11:11AM is now open here. For more information or to purchase tickets, visit iiipoints.com. Featured image courtesy: III Points. The post III Points Drops Phase Two Lineup For 2025 appeared first on EDM Maniac. View the full article

Miami’s III Points festival has shared its second lineup phase for 2025. Helmed by Link Miami Rebels and Insomniac, the teams behind the city’s famous Club Space and Factory Town venues, III Points is back at the Mana Wynwood Convention Center for its 12th edition this October 17-18, featuring another roster of more than 100 musical acts spanning dance music, rap, indie, alternative, and more genres across 11 stages. Featured in today’s lineup announcement are headline sets from house frontrunners Dom Dolla, Black Coffee, and Mau P B2B Seth Troxler, drum & bass icons Sub Focus and Chase & Status, and boundary-pushing Belfast duo Bicep, presenting their CHROMA A/V show, as well as indie heroes Phantogram, R&B songstress Tinashe, and a surely groovy session from Thundercat. Other highlights from Phase Two include techno titans such as Nico Moreno, I Hate Models, and Patrick Mason, and house favorites like Damian Lazarus, Hot Since 82, Francis Mercier, and Jayda G—rounded out by even more eclectic acts ranging from the trap beats of G Jones to the edgy electroclash of Fcukers. They’ll play alongside previously announced acts such as Michael Bibi, Peggy Gou, ANOTR, Barry Can’t Swim, Sean Paul, Nina Kraviz, Turnstile, and many more. Check out the full lineup below. Tickets for III Points 2025 will go on sale again this Thursday, May 29, at 1:11PM ET. Pre-sale registration for early ticket access at 11:11AM is now open here. For more information or to purchase tickets, visit iiipoints.com. Featured image courtesy: III Points. The post III Points Drops Phase Two Lineup For 2025 appeared first on EDM Maniac. View the full article

Photo Credit: Envato Creative marketplace Envato has launched a new AI-generated music tool for creators to make custom tracks from text prompts within seconds. But what’s the human cost for artists who rely on sync placement for their income? MusicGen leverages advanced AI models like Google Lyria 2 to deliver royalty-free, customizable music at no extra cost to Envato subscribers. The platform also expanded its partnership with PremiumBeat, adding over 40,000 studio-quality tracks and bringing its total music assets to more than 300,000. Models like Google Lyria 2 were trained on vast datasets that included copyrighted tracks—often without explicit permission from rights holders. The ‘ask for forgiveness, not permission’ method has allowed Ai systems to learn from the creative output of hundreds of musicians, absorbing their styles and unique artistic signatures—allowing them to generate royalty-free music instantly. This gives content creators a way to bypass traditional licensing and sync placements that provide vital income for human musicians. Industry data shows that up to 18% of all music uploaded to streaming platforms is now fully AI-generated—directly competing with human-created works. While MusicGen and similar tools allow speedy music creation without licensing headaches, the music industry is left to grapple with the consequences. Without robust labeling, traceability, and fair compensation in place, the rise of AI-generated music risks displacing human talent and collapsing the value of music as a profession for working artists. In the past, every sync placement or commercial use of a track required a license, ensuring that artists were compensated each time their work was used commercially. With AI-generated music, that income model has drastically shifted. Models trained on vast libraries of human created music can mimic any style and endlessly produce new tracks not tied to an individual artist—eliminating the need for sync discussions, licensing, or royalty payments. The result is that a once critical revenue stream for artists is effectively erased and replaced by a model that prioritizes unlimited, on-demand access over fair compensation for creators—who helped train these models in the first place. View the full article

Photo Credit: Blue Man Group by Léo Pinheiro / CC by 3.0 No Guarantees Productions secures the long-term lease of the historic Astor Place Theatre, with plans to give it a significant makeover. No Guarantees Productions has announced that it has secured the long-term lease of the historic Astor Place Theatre, with plans to transform it into a dynamic cultural hub. Amplifying artists and shows outside of the traditional Broadway model, the venue’s makeover will utilize the entirety of the space and elevate the audience experience. For over 30 years, Astor Place Theatre was home to Blue Man Group, one of New York City’s longest-running and most beloved theatrical productions. After 34 years of groundbreaking performances, Blue Man Group announced in November that it would be closing its doors, creating the opportunity for a new chapter for the iconic venue. No Guarantees aims to honor the theatre’s rich legacy while offering a fresh experience for audiences. No Guarantees plans to transform the Astor Place Theatre into a dynamic cultural hub that amplifies shows that don’t require or benefit from the traditional Broadway model, creating space for innovative artists and distinctive voices. In addition to reimagining the theatrical experience itself, plans are underway to utilize the full potential of the venue to introduce a West End-style evening-out experience with the future addition of a patrons’ lounge and curated special events. Over time, the goal is to cultivate a loyal community of returning guests and members, offering them early access and insider opportunities to stay engaged with the latest and most exciting experience in New York theatre. “No Guarantees is proud to take on the long-term lease of Astor Place Theatre, a venue that has been a cornerstone of New York City’s cultural landscape for over fifty years,” said Megan O’Keefe, Executive Vice President of No Guarantees. “No Guarantees is committed to honoring the incredible legacy of the theatre, including its iconic run with Blue Man Group, while elevating the experience for today’s audience. By investing in new technologies and drawing inspiration from the traditional West End theatre experience, we aim to create a seamless and elevated space that makes attending live performances more accessible, enjoyable, and immersive than ever before.” With a seating capacity of 298, the famed Astor Place Theatre is located directly across the street from The Public Theater at 434 Lafayette Street in New York City. It’s an iconic off-Broadway venue situated in the historic Colonnade Row. The building’s Greek Revival architecture, with traditional, imposing marble columns, dates back to 1831, almost two centuries ago. It was also once home to the Astor and Vanderbilt families. Astor Place Theatre opened as a performing arts venue in 1968. Since then, it has hosted many experimental, impressive, and genuinely groundbreaking performances. Until February 2025, the venue was the permanent home of the hugely popular cultural phenomenon Blue Man Group. Since 1991, the show thrilled off-Broadway crowds of nearly 300 people with its unique blend of comedy, music, and inventive scenes. Over its 34-year run at Astor Place Theatre, the show was performed nearly 18,000 times. The theatre is still owned by the three co-founders of Blue Man Group, who purchased the venue in 2001. “I’m absolutely thrilled that Astor Place Theatre will remain a vibrant off-Broadway venue, and that No Guarantees Productions will lead it into its next chapter,” said Matt Goldman, co-founder of Blue Man Group, co-owner of Astor Place Theatre, and Executive Director of The Town Hall. “This theatre has a rich and meaningful history, not only as the longtime home of the Blue Man Group, but as one of the most dynamic and intimate performance spaces in the country. No Guarantees is committed to is committed to honoring that legacy while expanding its potential, utilizing the entire venue and introducing a West End-style experience right here in New York. This theatre is special, not just to me, but to the neighborhood, the city, and the cultural fabric of the country. I look forward to seeing No Guarantees bring their vision to life.” Simon Bogigian, Director of Facilities of Astor Place Theatre for over 20 years and a beloved mainstay of the neighborhood, will continue overseeing the day-to-day management of the venue. Lisbeth Barron of Barron International Group has been acting as the exclusive financial advisor to No Guarantees on the theatre transaction. View the full article

Less than a month before Glastonbury begins, dozens of would-be attendees have been left without tickets or lodging for the world-famous festival after the glamping company they booked with went into liquidation. According to a report from the BBC, festivalgoers paid fees ranging from £10,000 (over $13,000 USD) to £16,500 (over $22,000 USD) for ticket and stay packages offered by Wiltshire, UK-based company Yurtel, but have since received notice that their bookings won’t be honored and refunds won’t be issued, after the company stopped business operations on May 8. In an email to its customers, Yurtel stated that it has ceased all trading due to insolvency and that formal liquidation proceedings will begin soon, according to the BBC. The company also told clients that their payments “cannot be refunded” and that details on the claims process will be available once liquidation starts. Speaking to the outlet, a Glastonbury spokesperson called the development “disappointing,” but reiterated that the festival has “no involvement with the operation of Yurtel.” Glastonbury Festival will return to Worthy Farm in Pilton, Somerset, England, this June 25-29. Its 55th edition will feature performances from Charli XCX, Four Tet, Skream & Benga, KNEECAP, Neil Young, Olivia Rodrigo, Deftones, Gracie Abrams, and hundreds more. Last week, Glastonbury’s 2025 site map revealed several newly expanded dance music areas for this year’s festival. For more information about Glastonbury, visit glastonburyfestivals.co.uk. The post Glastonbury Campers Left Without Tickets After Yurt Company Goes Under appeared first on EDM Maniac. View the full article

Less than a month before Glastonbury begins, dozens of would-be attendees have been left without tickets or lodging for the world-famous festival after the glamping company they booked with went into liquidation. According to a report from the BBC, festivalgoers paid fees ranging from £10,000 (over $13,000 USD) to £16,500 (over $22,000 USD) for ticket and stay packages offered by Wiltshire, UK-based company Yurtel, but have since received notice that their bookings won’t be honored and refunds won’t be issued, after the company stopped business operations on May 8. In an email to its customers, Yurtel stated that it has ceased all trading due to insolvency and that formal liquidation proceedings will begin soon, according to the BBC. The company also told clients that their payments “cannot be refunded” and that details on the claims process will be available once liquidation starts. Speaking to the outlet, a Glastonbury spokesperson called the development “disappointing,” but reiterated that the festival has “no involvement with the operation of Yurtel.” Glastonbury Festival will return to Worthy Farm in Pilton, Somerset, England, this June 25-29. Its 55th edition will feature performances from Charli XCX, Four Tet, Skream & Benga, KNEECAP, Neil Young, Olivia Rodrigo, Deftones, Gracie Abrams, and hundreds more. Last week, Glastonbury’s 2025 site map revealed several newly expanded dance music areas for this year’s festival. For more information about Glastonbury, visit glastonburyfestivals.co.uk. The post Glastonbury Campers Left Without Tickets After Yurt Company Goes Under appeared first on EDM Maniac. View the full article

The best musical partnerships have always required a leap of faith between strangers. After teaming up with Audius for their fifth create together compilation, bitbird once again proves that leap no longer needs geography—just good WiFi and better intentions. In an industry increasingly dominated by algorithmic discovery and manufactured viral moments, projects like create together feel like a return to electronic music's collaborative DIY roots. The series from San Holo's beloved electronic music label brings together artists who meet and collaborate entirely through their Discord server. It started as a month-long challenge back in 2019 and has grown into something much more significant: a flourishing ecosystem of producers, vocalists and visual artists innovating genres and creating ones that don't have names yet. "create together has always been about more than music," said Thorwald van den Akker. "It's about building a space where our community can express themselves, collaborate freely, and be seen. Every year, it reminds me why we do this. It's raw, it's real, and it’s where the heart of bitbird lives." Out now, the fifth installment features 28 artists from 13 countries and speaks to how borderless these digital creative communities have become. It's fitting that the release was facilitated by a partnership with decentralized music streaming platform Audius, whose artist-first mentality helped bring in over 170 participants into the mix. Highlights include "RAINBOWS," where Kaiyo laces spacey vocal chops through gritty glitch hop beats; "PETTTT," a cathartic hyperpop track from lillybug; and "land on my feet ~," a collaboration between euphee, Disphing and HYPERSPVCE where vintage electro synths provide the perfect backdrop for lyrics about becoming who you're meant to be. You can listen to create together vol.5 below. Follow bitbird:Instagram: instagram.com/bitbird X: x.com/bitbird TikTok: tiktok.com/@bitbird Facebook: facebook.com/bitbirdofficial Spotify: spoti.fi/3ORVHGV

Photo Credit: DJ Bunt by Wendy Huynh Airbnb will offer unique experiences at Lollapalooza festivals across the world, hosted by artists and music industry insiders, starting in July. Airbnb has announced its first global live music partnership, offering unique fan experiences at Lollapalooza festivals in Berlin, Chicago, São Paulo, and Mumbai. Guests will have access to curated Airbnb Experiences, many of which will be hosted by performing artists. Starting this summer at Lollapalooza Berlin, guests can book daily Airbnb Experiences at several Lollapalooza festivals—plus access to an exclusive onsite Airbnb lounge. Experiences range from concert photography tutorials with professional photographers and behind-the-scenes tours with festival directors to intimate artist performances and more. “More and more guests are choosing Airbnb for big events, including concerts and festivals, because Airbnb can bring you as close to the action as possible,” said Airbnb co-founder and CEO Brian Chesky. “With our new partnership with Lollapalooza, guests can Airbnb more than an Airbnb—they can unlock once-of-a-lifetime Experiences, rooted in the magic of live music.” The global partnership kicks off at Lollapalooza Berlin, where one of the featured Airbnb Experiences includes performing artist Bunt. Guests will have access to an exclusive post-show Experience and private performance by Bunt in a hidden spot on the festival grounds. Booking for this event begins on June 5. At Lollapalooza festivals around the world, a significant number of attendees come from outside the host city: 75% in Berlin, 65% in São Paulo, 57% in Mumbai, and 50% in Chicago. “Fans are traveling the world to see the artists they love, and festivals like Lollapalooza are leading that demand,” said Michael Rapino, CEO and president of Live Nation Entertainment. “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.” According to a recent Airbnb survey, over 70% of travelers said they often book an experience when they travel. The partnership also comes as Airbnb introduces completely reimagined Airbnb Experiences—including Airbnb Originals, “extraordinary experiences” hosted by “the world’s most interesting people” and designed exclusively for Airbnb. The new partnership’s global rollout will continue throughout the summer, with new Airbnb Experiences at Lollapalooza Chicago (July 31 – August 3), followed by experiences at The Town 2025 in São Paulo, Lollapalooza India, and Lollapalooza Brasil. View the full article

A live performance from SM Entertainment act Aespa. Photo Credit: Plumflower Snow Hybe has officially moved to sell its remaining SM Entertainment stake – encompassing almost 10% of the rival K-pop agency – to Tencent for north of $175 million. The Big Hit parent disclosed the sizable selloff in a regulatory filing, which regional outlets promptly covered. According to the document, Hybe intends to exit its SM position altogether, exchanging 2.21 million remaining shares for a cool ₩243.35 billion (currently $176.85 million). Per Google’s translation of the same text, the trade will take place after the market closes this coming Friday, May 30th. While Hybe doesn’t appear to have identified the precise reasons behind the selloff – its second such divestment in a year – the writing has been on the wall for some time. To be sure, the Belift Lab owner only secured an interest in SM as part of an ugly takeover battle. Kakao, itself partially owned by Tencent, ultimately emerged victorious in that much-publicized showdown. Post-takeover confrontation, there doesn’t seem to be a compelling reason for Hybe to possess a piece of SM. Notably, the forthcoming stock sale will bring a per-share price of $79.94/₩110,000, up from $65.40/₩90,000 or so when Hybe shaved about 3% of its SM position in May 2024. (Earlier in 2024, however, Hybe had purchased close to 900,000 different SM shares from founder Lee Soo Man.) On the opposite side of the transaction, Tencent Music’s latest earnings report emphasized the company’s growing number of tie-ups and artist-specific initiatives in K-pop. Among those initiatives are Babymonster’s “debut pop-up store in mainland China” and Aespa’s “first-ever exhibition” in China, to name a couple. Against this backdrop – and bearing in mind the relevant talent’s global appeal – it’s not a bad idea for Tencent proper to pick up an SM interest. And the investment may well be indicative of the Universal Music stakeholder’s music-space strategy moving forward. (Plus, maintaining a positive professional relationship with Tencent won’t hurt Hybe, which is continuing to push into gaming. As something of an aside, it’s worth noting that Hybe chairman Bang Si-hyuk’s cousin Bang Jun-hyuk is the founder of South Korean mobile-gaming giant Netmarble, about 18% of which belongs to Tencent.) When trading wrapped today, SM Entertainment stock (KOSDAQ: 041510) was down 2.1% at $94.40/₩129,900 per share; the price still represents a nearly 82% boost from 2025’s beginning. Hybe stock (KRX: 352820), in part due to the expansion-minded business’s strong Q1 financials, is also up big on the year. View the full article

AMF is breaking boundaries with the official reveal of its 2025 lineup, featuring returning legends and surprising names who are stepping onto the AMF decks for the first time. The already announced king of trance, Armin van Buuren, leads a stacked AMF 2025 lineup, joined by fellow Dutch heavyweight and true fan favorite Hardwell, making his long-awaited return to AMF after eight years, following five legendary performances in past editions. Now also joining the 2025 lineup are Afrojack and Gregor Salto, who will premiere together as AfroSalto, alongside John Summit, Sara Landry, KI/KI, Miss Monique, MORTEN, Oliver Heldens, and Sub Zero Project. The fiery kick-off to the night comes in the form of an exclusive pre-show act – AfroSalto (Afrojack B2B Gregor Salto) – making their debut festival set at this edition of AMF, accessible only to fans with an early entrance ticket. The main show will feature a powerful mix of house, big room, techno, and hardstyle, with performances from some of the most in-demand names in electronic music today. Expect driving beats, high-energy moments, and genre-spanning sets from artists like Miss Monique, MORTEN, John Summit, Oliver Heldens, Hardwell, Armin van Buuren, Sara Landry, and Sub Zero Project – each bringing their own unique sound to the AMF stage. Once again, on Saturday, October 25, AMF will transform the Johan Cruijff ArenA into the world’s biggest nightclub, solidifying its reputation as the must-attend event of ADE. AMF is breaking new ground this year by branching out beyond its signature EDM sound and embracing a wider range of genres with a lineup full of unexpected names. Rooted in the vibrant heart of Amsterdam – our home and creative foundation – AMF has grown over the past twelve years to become the undisputed flagship event of Amsterdam Dance Event. As the city continues to shape the global dance music landscape, AMF is evolving with it, broadening its horizons to reflect the dynamic sounds of today’s electronic scene while continuing to deliver an unforgettable night for dance lovers from around the world. AMF is also proud to announce the continuation of their partnership with Fun Radio and 1LIVE alongside the long-time Dutch collaborator Radio 538, ensuring that AMF reaches a wide audience and continues to grow as the premier electronic music event of Amsterdam Dance Event. Tickets are on sale through amf-festival.com – with Early tickets sold out already. Regular phase tickets are available and start at €99 ex. service fee. The post AMF Completes Its 2025 Line-up With John Summit, Sara Landry, KI/KI, Miss Monique, MORTEN, Oliver Heldens & Sub Zero Project appeared first on EDMNOMAD. View the full article

Photo Credit: Gage Skidmore / CC by 2.0 Will Smith’s latest music video shoot became the center of a high-profile labor dispute over the weekend. The incident highlights the ongoing tensions between production companies and unionized crews working in Hollywood. The drama unfolded on the set of a video for Will Smith’s album Based on a True Story at Quixote Studios in West Hollywood, drawing attention from both industry insiders and the public. Breathe Entertainment, the Toronto & Miami-based production company behind the shoot dismissed its entire 10-person crew after a disagreement over health and pension benefits. The crew, represented by the International Alliance of Theatrical Stage Employees (IATSE) requested union recognition and corresponding benefits—which producers refused to grant. In response, the IATSE members formed a picket line outside the studio, halting production and attracting media attention to the dispute. While the production was initially set up as a non-union shoot, the crew sought to ‘flip’ the job to union status so they could accrue health and pension hours. “While this music video features a globally recognized artist, it was independently financed and produced outside the scope of major studio or label backing,” Stephen Trivieri, President of Breathe Entertainment told Variety. “Like many artist-driven creative projects, this shoot was built around a clear non-union structure with transparent terms and fair compensation across all departments.” When Breathe Entertainment declined to negotiate, they fired the entire crew, hoping to continue with non-union replacements. Many replacement workers walked off the set after learning about the shoot—causing the shoot to be further delayed. After an entire day of picketing and public scrutiny, Breathe Entertainment and IATSE reached an agreement that included health and pension benefits for the crew. The original union crew was reinstated and returned to work the same day, allowing production on the music video to resume. The swift resolution was reportedly aided by Smith’s intervention, which allowed the music video shoot to move forward. View the full article

Producer and DJ Chewna reveals his newest single, ‘Light It Up,’ a dynamic Tech House track that offers a glimpse into his creative vision, direction, and approach. With an instinct for blending genres, he is shaping a sound that feels both fluid and grounded, drawing from a range of influences to ensure his work reflects originality and skill. Now, with his latest release, he further explores the intersection of immersive grooves and melodic elements, adding another confident entry to his steadily expanding discography. ‘Light It Up’ pairs a groovy bassline with shuffled percussion and an expressive vocal, evolving with momentum to build an arrangement rooted in both warmth and movement. As the vocal guides the listening journey, layering in dynamic lines, the track continues to weave a rich sonic tapestry, integrating chordal stabs and infectious textures that elevate the mix, balancing rhythm and melody in a precise and considered way. Throughout, the track maintains a strong, driving flow, moving through evolving breakdowns and fluid drops that showcase Chewna’s knack for crafting immersive listening experiences, carefully structured to ensure listeners remain engaged and locked into the sound. With this release, Chewna continues to push himself forward, building on his artistic foundations to ensure his music retains a fresh and original feel. As he sets his sights on sharing his sound with the global Electronic Music community, he continues to harness his creative energy, pursuing connectivity with his listeners while shaping an identity rooted in authenticity. Having secured recent milestones that include entering the Beatport chart with his track, ‘Infinity,’ Chewna remains an exciting force on the scene, with ‘Light It Up’ marking the next step in both his artistic growth and rising presence within the genre. Available to stream and download across platforms, listen to ‘Light It Up’ now, and be sure to keep Chewna on your radar by following him across social media for the latest updates on new music and live shows. Listen and Buy ‘Light It Up’ here: Chewna Online Beatport | Soundcloud | Instagram Marked Music Online Beatport

Heritage Listed unveils his newest project, ‘Feelin It EP,’ a five-track House collection via his label, Basics Recordings. With a versatile approach as a Producer, DJ, and label owner, he continues to build a presence on the Electronic Music scene, guided by a clear sense of direction and purpose. As he steps out with this latest release, he further aligns his creativity with a forward-thinking mindset: continuing to carve a sonic identity where grooving beats and melodic nuance meet, offering tracks marked by jazzy vibes and funky energy. Having relocated from Australia to Amsterdam, pursuing the vibrant musical culture and opportunities at play in the city, Heritage Listed has appeared on the scene as a motivated force; whether behind the decks or in the studio, his journey remains led by passion, commitment, and his expansive creative energy. Alongside his musical projects, he co-founded Basics Recordings with French Producer and DJ Le Hutin, creating a platform to freely release their own material, curate vinyl compilations featuring various artists, and host label showcases across Europe and South Africa. Now, with the release of his ‘Feelin It EP,’ Heritage Listed adds another distinctive entry to his catalogue, preserving the refreshing energy and immersive quality that define his sound, aiming to continue drawing listeners in with his unique signature style. Across the EP, groovy rhythms, funky melodies, and dynamic motifs converge to form five high-energy soundscapes, all poised to evoke movement on the dancefloor. With uplifting piano progressions, punchy beats, shuffled percussion, grooving basslines, and jazzy textures, the productions are arranged with a clear sense of direction, sustaining momentum to keep the sonic journey evolving in an engaging and considered way. Vibrant in instrumental detail, with melodic horns and soulful vocal lines, the ‘Feelin It EP’ stands as a cohesive collection, where each piece enhances the overall sound and adds a fresh dimension to the listening experience. As he showcases a thoughtful approach to sound design, balancing rhythmic detail with a focus on melody, Heritage Listed brings a sense of musicality to his work, shaping a sound that feels both deliberate and expressive. With his trademark grooves and signature style on full display, the ‘Feelin It EP’ offers a deeper glimpse into Heritage Listed’s sonic world, presenting tracks that reflect his creative vision and approach. So, with diverse soundscapes on offer, listeners are invited to explore Heritage Listed’s latest collection, listening to his ‘Feelin It EP,’ out now via Basics Recordings and available to stream and download across platforms. Make sure to keep up with his journey by following Heritage Listed across social media to stay tuned for his latest updates and news. Listen to ‘Feelin It EP’ below and buy here.     Heritage Listed Online  Spotify | Beatport   | Instagram Basics Recordings Online Beatport   | Instagram

AMF has locked in its full lineup for the arena blowout’s 2025 edition this fall. For one night during Amsterdam Dance Event (ADE), on Saturday, October 25, the 40,000-capacity festival will turn the city’s Johan Cruijff ArenA into the world’s biggest nightclub, with return performances from dance music’s storied legends and event debuts from its rising stars until 6AM. Trance icon and previously announced headliner Armin van Buuren will be joined by several fellow Dutch legends, unveiled today, including Hardwell, making his awaited return to AMF after eight years, as well as Afrojack and Gregor Salto, who will debut their collaborative “AfroSalto” project in a festival-exclusive pre-show set. As it has for more than a decade since its launch in 2013, AMF continues to spotlight the “sound of today” with further performances from surging names across the spectrum of dance music, including John Summit, Sara Landry, KI/KI, Miss Monique, MORTEN, Oliver Heldens, and Sub Zero Project. Check out the official announcement below. The event, helmed by Insomniac Europe, has also confirmed its returning 2025 radio partners, with longtime Dutch collaborator Radio 538, French outlet Fun Radio, and German station 1LIVE set to promote the event and its artists as part of a continental campaign. Early tickets for AMF 2025 are currently sold out. For more information or to purchase regular phase tickets, visit amf-festival.com. Featured image courtesy: AMF. The post AMF Locks In Full Lineup For 2025 Stadium Blowout During ADE appeared first on EDM Maniac. View the full article

Hotboxx has returned to deliver his latest project, unveiling a two-track EP titled ‘What Is Jazz’ via Dobar House. As he blends Deep House energy with his unique sonic touch, the Producer and DJ delivers more music that speaks to his influences, approach, and forward-thinking vision. Throughout his journey on the scene, Hotboxx has consistently recognised the value of collaboration – whether in the studio, behind the decks, or across his wider creative pursuits – and this latest project appears no exception. Teaming up with fellow Producer and DJ Billy Cave for the EP’s title track, ‘What Is Jazz,’ he adds another collaborative track to his discography, highlighting the creative synergy he fosters when working with other artists, all while ensuring his own style remains clearly defined. As he balances the collaboration with ‘Deep Down Inside,’ the second, solo production on the EP, Hotboxx provides yet more insight into his versatility and genre-blurring style, aiming to push his creativity forward and introduce a fresh dynamic to his growing catalogue of studio work. Through both tracks in the collection, listeners can immerse themselves in the dynamic grooves and vibrant sounds that define Hotboxx’s signature style. From the intricate rhythms, jazzy melodic licks, and the spoken vocal sample of the title track to the bouncy synths and shuffled beats of ‘Deep Down Inside,’ the EP unravels in an engaging and considered way, maintaining a strong sense of identity whilst bringing in sounds that feel fresh. The result is a bold and refined collection that showcases Hotboxx’s abilities for curating captivating musical journeys: a reflection of over ten years’ experience on the Electronic Music circuit and the developed skillset he continues to cultivate. With the release of his ‘What Is Jazz EP,’ Hotboxx taps deeper into his artistry, reaffirming his commitment to crafting music that resonates with listeners while maintaining the signature energy that keeps his tracks primed for the dancefloor. So, out now via Dobar House, discover the funky, driving soundscapes of Hotboxx’s ‘What Is Jazz EP’ and be sure to keep the Producer and DJ on your radar by following him across social media. Listen and Buy ‘What Is Jazz EP’ here: Hotboxx Online  Spotify | Instagram | Beatport   Billy Cave Online  Spotify | Instagram | Beatport   Dobar House Online  Website | Instagram | Beatport