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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

There's a particular kind of torture reserved for dance music fans: when a song makes you want to simultaneously throw your hands up and throw yourself dramatically onto your bed. Martin Garrix and Lauv have weaponized this cognitive dissonance in their new single "MAD," out now via the former's STMPD RCRDS. The collaboration feels inevitable in hindsight—Garrix, the Dutch wunderkind who's been soundtracking EDM festivals since he was basically a fetus, teams up with Lauv, the king of making millennial heartbreak sound like a vitamin deficiency commercial. Together, they've created something that belongs equally on mainstage festival lineups and in the "songs to cry to in your car" playlist we all pretend we don't have. The track's genius lies in how it encapsulates that specific modern relationship anxiety where you're desperate for someone and also furious about it. Lauv's tortured lyrics bottle that feeling while Garrix's classic dance-pop formula drives it home with anthemic, synth-fueled production. "Martin and I have been friends for years and it’s so amazing to finally have a record together," Lauv said. "What an inspiring DJ, producer, songwriter and human." You can watch the "MAD" music video below and find the new single on streaming platforms here. Follow Martin Garrix:X: x.com/martingarrix Instagram: instagram.com/martingarrix TikTok: tiktok.com/@martingarrix Facebook: facebook.com/martin.garrix Spotify: spoti.fi/2YszVxQ Follow Lauv:X: x.com/lauvsongs Instagram: instagram.com/lauvsongs TikTok: tiktok.com/@lauvsongs Facebook: facebook.com/lauvsongs Spotify: tinyurl.com/4dkm9tkb

Arturia has launched a new stage keyboard, the AstroLab 88, which the brand describes as “future-proof”. The new keyboard offers a responsive hammer-action keybed with 40 onboard instruments and over 1,600 presets (powered by the Arturia V Collection and Pigments), updated CPU for improved polyphony and load times, and a “forward-thinking ecosystem that lets artists perform with all their signature sounds – laptop-free”. READ MORE: At $60, Arturia’s MicroLab MK3 MIDI controller could be perfect for bedroom producers AstroLab 88 has a performance-first design, and is the first stage keyboard that integrates seamlessly with your DAW through Analog Lab Pro (included). Users can take their studio-crafted sounds to the stage, with no computer required, and the AstroLab Connect app is also included, which acts as a command centre for browsing, organising, and tweaking your sounds on the go. The keyboard will continue to evolve and improve via regular firmware upgrades, with a major update due by 17 July set to bring new and updated V Collection 11 instruments, playlist transfer between Analog Lab Pro and AstroLab, plus the ability to send programme changes to external devices, and more. Other key features include: A navigation wheel and OLED screen Four macro controls 10 preset buttons for one-touch access to sounds and setlists Integrated effects: Two dedicated FX (Delay and Reverb) and two assignable FX slots Chord, Scale, and Arp modes Multi-instruments: AstroLab 88 lets you assign different sounds across the keyboard with programmable split points Loop and record (with up to 32 bars of MIDI looping) A vocoder engine Additional useful appointments include wireless playback, a ‘one-finger’ song mode (combine the Chord, Scale and Arpeggio modes to play a full song with one finger), a playlist mode to organise and build live sets directly on the keyboard, and a curated selection of sounds from iconic artists, all on board. To find out more, check out the video below: Find out more about the AstroLab 88 keyboard via Arturia. The post Arturia’s new “future-proof” AstroLab 88 keyboard will receive regular firmware updates appeared first on MusicTech. View the full article

Techno icon Marco Carola is listing his high-end Florida condo for $6.33 million, Gimme Shelter has learned. The residence is located in Miami’s striking Aston Martin Residences, a sleek 66-story tower that touts itself as the tallest residential-only building south of New York City. Carola’s unit sits on the 31st floor at 300 Biscayne Blvd. and includes a 300-square-foot terrace. The Italian DJ, often dubbed the “global ambassador of techno” and slated to perform in Ibiza this weekend, purchased the home during pre-construction for an undisclosed amount, according to listing agent Carlo Dipasquale of Compass. Spanning 3,536 square feet, the furnished apartment features four bedrooms, 5.5 bathrooms, and interiors curated by luxury Italian brand Minotti. All furnishings and artwork are included in the asking price. The condo also grants access to an array of upscale amenities: a hot tub, sauna, fitness center, barbecue area, putting green, valet and parking services, and a private super-yacht marina. Inside, the expansive home boasts a gourmet kitchen, an open-plan living and dining space, and sweeping views that stretch from the city skyline to Biscayne Bay and Coconut Grove. The sail-like tower comprises 391 residences and features a dramatic infinity pool perched on the 55th floor. Carola, we hear, loves Miami and is not looking to leave. Instead, friends say, he’s scouring South Beach, looking for a bigger residence. The post Marco Carola Selling His Gorgeous Miami Condo Fully Furnished appeared first on EDMTunes.

After setting unofficial records as the largest hard techno rave in the world, Verknipt ArenA is leveling up this year with a Guinness World Records attempt for the largest laser show ever. When the renowned Dutch promoter’s 40,000-capacity massive returns to Amsterdam’s Johan Gruijff ArenA on July 19, Verknipt has unveiled plans to unleash more than 1,000 lasers across the iconic soccer stadium in an attempt to surpass the current record of 824, set at the Dubai World Cup horse races in 2021, and write its name into Guinness’ famous book of history-making achievements. According to a press release, the official Guinness World Records attempt will take place during a specially timed moment in the show, at exactly 11:50 PM local time—just under three hours into the 10-hour event—enveloping the entire venue in a sea of laser beams synchronized to the beats of hard techno’s best DJs. Verknipt’s planned deployment of more than 1,000 lasers is over 20 times the number used at last year’s Verknipt ArenA, which utilized 50 lasers. “The idea of programming 1,000 lasers still blows our minds—especially when last year’s 50 already felt unreal,” organizers wrote. “This has been months in the making, and we’re pulling out all the stops to deliver a once-in-a-lifetime experience. We can’t wait to share this monumental night with over 40,000 fans. It’s going to be nothing short of historic.” Verknipt ArenA’s immersive audiovisual spectacle will also feature a new 360-degree stage design, hosting sets from a powerful lineup of established heavyweights and rising stars across the hard dance spectrum. French frontrunner Nico Moreno will headline, joined by high-octane B2Bs like Cloudy B2B NOVAH, DYEN B2B Fantasm, CARV B2B Holy Priest, and Basswell B2B Onlynumbers. Other highlights include a B3B from APHØTIC, NYCO, and XRTN, a set from hardcore icons Paul Elstak B2B Cynthia Spiering, and a Verknipt Arena 2025 Album Showcase. For more information or to purchase tickets to Verknipt ArenA 2025, visit verknipt.org/arena-2025. Featured image courtesy: Verknipt. The post Verknipt ArenA To Attempt Guinness World Record For Largest Laser Show appeared first on EDM Maniac. View the full article

AMF, the world’s biggest nightclub during ADE, unveiled its full 2025 lineup last week by announcing one artist each day, featuring debut appearances from Sara Landry and KI/KI, a massive AfroSalto pre-show. AMSTERDAM (May 27, 2025) – 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. AMF continues to embrace a broader spectrum of electronic music, standing for the sound of today and the talents shaping the global scene. This year, the festival welcomes a dynamic lineup of artists—many of whom will be making their AMF debut. 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. Event information Event: AMF Date: Saturday October 25th, 2025 Location: Johan Cruijff ArenA, Amsterdam Times: Doors early access: 7:30 PM Show early access: 8:00 PM – 06:00 AM Doors regular access: 9:00 PM Show regular access: 9:00 PM – 06:00 AM Line-up A-Z Armin van Buuren Hardwell John Summit KI/KI Miss Monique MORTEN Oliver Heldens Sara Landry Sub Zero Project + exclusive pre show set by AfroSalto (Afrojack B2B Gregor Salto) Tickets AMF is offering five different ticket types this year, including Regular, VIP, and VIP Premium tickets. Early Access tickets grant attendees exclusive entry to a pre-show experience, while VIP Premium tickets provide access to an exclusive lounge, delivering the ultimate AMF experience with a curated selection of food and drinks. Secure your tickets via amf-festival.com. About AMF Since 2013, AMF has been the largest and most anticipated event of the Amsterdam Dance Event. Held annually on the Saturday of ADE, the festival has become a cornerstone of the global EDM scene, attracting over 40,000 fans each year to the iconic Johan Cruijff ArenA. Over the years, artists like Armin van Buuren, Martin Garrix, David Guetta, Tiësto, and Hardwell graced the AMF stage several times, solidifying AMF’s reputation as a must-attend celebration of electronic music. In 2025, AMF will evolve to reflect the dynamic changes within the EDM genre, expanding its musical range and spotlighting the next generation of cutting-edge DJs. This evolution will ensure AMF continues to lead the way in providing an unforgettable music experience that merges both legendary acts and the future of electronic dance music. AMF is produced by Insomniac Europe.

Downtown Music Publishing Africa managing director Thando Makhunga. Photo Credit: Seventwo Creative Agency Another high-profile expansion in Africa – this time from Downtown, which has rebranded its Sheer Publishing Africa subsidiary as Downtown Music Publishing Africa (DMP Africa). Downtown reached out with word of South Africa-based Sheer’s new identity and broader operational scope. On the former front, the name change is said to be indicative of “a deeper alignment with the global vision of Downtown,” which bought 29-year-old Sheer in 2020. “Our new name reflects our ability to plug directly into Downtown’s global expertise,” added DMP Africa MD Thando Makhunga, “while staying rooted in the nuances of the African music landscape. We’re expanding our scope and partnering with major global companies to deliver tailored, transparent, and future-forward services.” Among DMP Africa’s existing partners are Warner Chappell, Concord, and Saregama, besides a number of indie publishers operating throughout Africa, the company relayed. Per higher-ups, the transition from Sheer to Downtown Music Publishing Africa (which will retain its “same dedicated local team”) is also “more than a visual refresh.” Here, DMP Africa is teeing up “an expanded suite of services,” among them neighboring rights admin and the implementation of Downtown’s Curve royalty accounting system. Furthermore, the newly named division will “be moving away from outdated contracts to build agreements designed around each creator’s unique goals,” Downtown confirmed. Though time will tell exactly what this transition entails, CEO Pieter van Rijn drove home plans to double down on “long-term, equitable partnerships.” “This marks an important new chapter in our presence across Africa, a region rich in creativity, culture, and talent,” van Rijn specified. “DMP Africa reflects our belief in the region’s creative power and our responsibility to support its continued expansion. “By partnering local expertise with global access and investing in long-term, equitable partnerships, we will ensure that talent from across the African diaspora is rewarded on a global scale,” the Downtown head concluded. Moving forward, it’ll be worth keeping an eye on the commercial byproducts of those partnerships – especially given the growth behind several African music markets and the often-discussed sales potential of promoting domestic releases globally. Of course, Downtown isn’t alone in looking to capitalize on this growth by bolstering its reach in Africa. Earlier in 2025, Warner Music Group opted to scoop up the remainder of Africori (in which it already had majority ownership), and Universal Music Group in 2024 took a controlling interest in Lagos’ Mavin Global. View the full article

When Thom Yorke, Mark Pritchard, and Jonathan Zawada started creating their new collaborative audiovisual album, Tall Tales, they did not set out to thematically bind it to the real world like a traditional tall tale. In fact, their approach serves to reject any sort of salient meaning. As the musicians behind the project, Yorke and Pritchard leaned into their decades of experimentation with instruments and techniques. They’ve crafted alien marching band suites in Back in the Game, melancholy progressive dark wave on A Faker in a Faker’s World, and alternative minimalist synth pop on This Conversation is Missing Your Voice. READ MORE: Who is the next Aphex Twin? Meet the producers warping the future of electronic music Zawada, who has created imagery for notable artists including Flume, Röyksopp, and The Avalanches, directed a melange of random visual pieces for the accompanying film. The first shot after the opening credits is a lighthouse piercing the dark with prismatic frequencies. Later on, viewers see children playing in garbage dumps and robot arms painting on canvases in unison. The only uniting factor between these sporadic depictions is a psychedelic avian-human hybrid navigating a virtual floating island between clips. “When I think about what the film is about to me, from the very beginning, the feeling I got was one of disorientation or confusion,” Zawada says. “It’s quite tricky to construct something to get a feeling of confusion and disorientation across, because in making something, you have to do something concrete. Then, especially once you start talking about it, all of that confusion sort of dissipates.” Zawada was right in anticipating that the shroud of confusion would be lifted from the project. As the work has been finished and shared, an underlying meaning has begun to form between its elaborate layers. The ostensible story is artistically incredulous, just as in tall tales like that of the giant Paul Bunyan, who dragged his axe across the southwest to form the Grand Canyon. As outrageous as that is, the Grand Canyon is real. Tall Tales was written and visualised completely uncurated, delineating a profound truth: the world is uncurated. There is no one way forward. Everyone is doing their best to make sense of the insanity every day. “The tall tale is that anybody is in control of anything,” Zawada continues. “When I was doing research for stories with the videos, it was during COVID. So everything felt like it was about COVID. Everybody’s telling you this is a completely unique time. Then that period faded into the past, and as I was working on other stuff, uncovering all these other crazy stories that were informing what I was doing. You slowly realise it’s like this all the time. The world is just a swirling mass of craziness.” To create an album that represents the absurdity of the world, the three contributors worked through a unique process that was both separate and collaborative. Yorke, Pritchard, and Zawada were never once in the room together over the several years they spent on it, and they only had a handful of Zoom calls to align their progress. They trusted each other’s creative abilities because they had all worked together in the past. Zawada designed visuals for multiple projects from Pritchard, including his 2016 album, Under The Sun, which features a co-production between Pritchard and Yorke entitled Beautiful People. Pritchard had also remixed one of Yorke’s solo productions, Not The News. With that preexisting trust (and a lack of deadlines from their label, Warp), the trio were free to let the project evolve at its own pace and lean into its uncurated nature. On Pritchard’s part, creating much of the backing music while Yorke mostly handled lyrics and vocals, he explored a vast range of synths. Some were rare and esoteric, such as the Korg PS 3100, Roland CR-78 drum machine, and a Triadex Muse. While Pritchard does own a Minimoog, Arp Odyssey, and other impressive synths after over 30 years of producing music, he accessed many of the more obscure synths through Melbourne Electronic Sound Studio. By paying a membership fee and then a separate fee for each studio session, anyone can experiment with the same arsenal Pritchard used to create Tall Tales. “You get a chance to play on these synthesizers that are really hard to keep working, let alone afford,” Pritchard says, also being sure to mention he used numerous bits of tech that were very cheap. “You could pick up Casios, old Yamahas, cheap toy things for between $30 and $100. There’ll be something in there. There’ll be a sound. There’ll be a source. It’s good to limit yourself to something [and think] ‘I’m going to make something out of this today’. Sometimes it doesn’t work, but it’s fun to try things out.” As Pritchard tried these different synths, he would place new ideas in their shared Miro Board, an online collaborative workspace often used by corporations. All three of them would populate the board with updates, allowing each other to see everything evolve in real time, both taking and fueling inspiration. “It was really useful to me to see the world growing, even though I might not know what some of the imagery was on the Miro Board,” Pritchard says. “It helped keep me excited because when you’re doing weeks of technical, painstaking work, it’s nice to have a lift where you see Jonathan working on a clip, and I see something come to life.” Zawada adds, “So much of the time, nobody shows me anything until [the album’s] been mixed. In this instance, working on everything while Mark and Thom were working on the music, even if we weren’t necessarily feeding back, the outcome of the work, because it was all evolving in tandem, all felt much more meshed together. It gave me an opportunity to hear the layers of the songs build and respond to those with more nuance.” Before the music came together, Zawada didn’t even intend for Tall Tales to have an accompanying film. He only knew he wanted to make a separate visual piece for each song, but as the musical layers built up, one core narrative that was in Zawada’s head was a protagonist washing up on an island where all the absurdity in the songs was taking place. This character would make its way through the madness and come out on the other side. That’s where the floating island and the avian lead came from. They were the last pieces of visuals Zawada created for the project, and they bound it all together into a singular visual piece. “It was based on something that Thom said when we were watching videos. He didn’t make the suggestion of the island, but said something about the way they all connect. That made me think I need something to give people something to latch onto, so you’re not just floating in space amongst all this material. But at the same time, we’re not forcing a connection between these things that may or may not be there,” Zawada says. The connection is for the listener and the viewer to decide, which emphasises the prevailing sentiment of the project. Everyone is doing their best to make sense of all the craziness in the world. Tall Tales is what happens when three artists create the space for one another to make sense of it towards a common goal. Learn more about Tall Tales at warp.net. The post How Thom Yorke, Mark Pritchard, and Jonathan Zawada produced ‘Tall Tales’ in a Miro board appeared first on MusicTech. View the full article

Acclaimed French DJ and producer HUGEL unveils his latest single, ‘Las Avispas’, on May 23rd, delivering a bold and electrifying reinterpretation of the legendary Juan Luis Guerra classic. Released via his own imprint, Make The Girls Dance Records, the track features powerhouse collaborators BRØDER and Spijker, uniting French, Dutch, and Afro House influences into a global sonic celebration. A trailblazer in the Afro-Latin House movement, HUGEL has become one of the most influential names in electronic music. With over 4 billion streams, multiple multi-platinum certifications, and a string of #1 hits on Beatport, his sound dominates clubs and festivals around the world. His label, Make The Girls Dance Records, has become a hub for cutting-edge Afro-infused dance music. ‘Las Avispas’, originally penned by Dominican icon Juan Luis Guerra, is a joyful anthem of faith, resilience, and divine protection. Released in 2004 on the Grammy-winning album ‘Para Ti’, the original fused merengue with gospel elements and earned critical acclaim, including Latin Grammy Awards for Best Tropical Song and Best Christian Album, along with Billboard Latin Music Awards for Gospel-Pop and Tropical-Merengue Song of the Year. In this 2025 reimagining, HUGEL injects the track with an energetic Afro House pulse while honoring its soulful essence. He is joined by BRØDER, the French electronic duo of brothers Thibault and Arnaud from Marseille, known for their cross-genre innovations, high-profile remixes, and over 60 million Spotify streams, and Spijker, a rising Dutch DJ and producer whose Afro-Tech fusion and global performances, from Burning Man to Brazil, have marked him as one to watch. ‘Las Avispas’ is more than a cover, it’s a tribute to a legendary artist, reinterpreted through a modern, global lens.

Fred Again.. has officially confirmed that he’s bringing his live shows to Asia for the very first time. After long speculation, the loved electronic artist announced his first three headline dates in Asia: Singapore on July 18, Bangkok on July 21, and Seoul on July 23, just ahead of his already-confirmed appearance at Fuji Rock Festival in Japan. Fans across the region have long been hoping for this moment, and it’s finally happening. Where is Fred Again Playing in Asia this July 2025? Fred Again.. is playing in four Asian cities in July 2025: Singapore, Bangkok, Seoul, and Yuzawa, Japan. His Asia tour kicks off July 18 in Singapore, followed by shows in Thailand on July 21, South Korea on July 23, and Fuji Rock Festival in Japan on July 25. The newly announced shows will mark Fred Again..’s Asia debut this 2025. He’ll perform at Pasir Panjang Power Station in Singapore, UOB Live in Bangkok, and KINTEX Hall 10 in Seoul. These three cities are now the first official stops on what appears to be a rapidly unfolding Asia tour. In true Fred Again.. fashion, the announcement was intimate and heartfelt. He shared the news with fans, “Our first live shows of the yearrrrr,” followed by the exact dates and locations. The post immediately sparked a wave of excitement, especially from fans who had been decoding cryptic hints for weeks. Ahead of Asia Shows, Fred Again.. Asks Fans for Local Advice More than just dates, Fred Again.. used the moment to connect with fans in a personal way. “This is the first time I’m coming to basically all of these places,” he wrote. “And I reallllyyyy don’t want to get it wrong.” He’s asking fans for help: if you had just 24 hours in each city, what’s the one thing he should see, do, or experience? “It never won’t be insane to me or any of us that we get to go to new places and play music concerts,” he added, echoing the sense of gratitude that has defined his public persona since his live journey began. How to Get Tickets for Fred Again..’s Asia Tour 2025 To get tickets for Fred Again..’s Asia Tour 2025, sign up through the official link in his Instagram. Early access will be granted to those who register, with ticket links sent out the following week. Act fast—his shows typically sell out within hours. Given Fred Again..’s history of selling out massive venues within hours—like London’s Alexandra Palace, New York’s Forest Hills Stadium, and multiple arena dates in Australia—fans are being encouraged to sign up early and stay alert. His performance at Fuji Rock Festival on July 25 remains his only confirmed show in Japan, but with these new dates, momentum for a larger Asia tour is officially underway. Whether more cities will be added remains unknown—but based on Fred’s track record, it wouldn’t be surprising. The post Now, It’s Official: Fred Again.. Confirms First Asia Shows in Four Cities This July appeared first on EDMNOMAD. View the full article

Photo Credit: Too Lost Too Lost, a leading digital music distribution and rights management company, is hosting a panel at Dream Con 2025. Titled “World Building for Music Creators: Weaving It All Together,” the panel addresses the evolving landscape for today’s artists. The following is in collaboration with Too Lost, a proud partner of Digital Music News. Too Lost specializes in empowering independent creators by providing tools for music distribution, rights management, and monetization as a one-stop shop across digital platforms. The company’s mission is to help these creators release music and build sustainable, multi-faceted brands that thrive in today’s digital landscape. Too Lost’s extensive distribution network includes not just traditional streaming services (Spotify, Apple Music, TikTok, Deezer, etc.) but also emerging platforms like SoundExchange, Gracenote, Shazam, Peloton, Canva, and a host of digital streaming providers (DSPs) across China, Africa, the Middle East, and Korea. “World Building for Music Creators: Weaving It All Together” will address the evolving landscape that today’s artists must face. No longer is it enough to simply release music—creators are now expected to build entire ecosystems around the work. Superfans have become an important component of artist success and capturing their attention can mean the difference between making it or breaking it. This panel will explore how musicians can connect their passions—ranging from comedy and gaming to streaming, podcasting, and education—into a cohesive narrative. Attendees will learn strategies for storytelling, community growth, and business development, helping them unlock new opportunities for connection, monetization, and career longevity. With active listening becoming a huge part of success in the music industry, engaging superfans goes beyond releasing compelling music on DSPs. Meet the Panelists Roxxy Haze — A dynamic comedian, writer, and musician who is known for blending humor with insightful commentary on pop culture and music. Her work spans stand-up, digital sketches, and content creation—making her a multi-platform talent who brings a unique perspective on creative world building. Irv Da Phenom — With a career tooted in hip-hop and entrepreneurship, Irv Da Phenom is celebrated for his versatility as a rapper, songwriter, and brand strategist. He has collaborated with major artists and has built a loyal following by integrating music with digital content in his community initiatives. Dende — Dende is a genre-bending rapper, songwriter, and producer whose soulful sound and storytelling have brought him critical acclaim. Beyond music, he engages his audiences through live performances, an active social media presence, and educational content—exemplifying what it means to be a multi-hyphenate content creator that spans the digital sphere. Stockz — Stockz is an innovative artist and entrepreneur recognized for merging music with technology and finance. His approach to brand building includes leveraging digital tools and cross-industry partnerships, offering valuable insights into monetization and audience engagement. This Too Lost panel is designed for creators looking to expand their reach beyond traditional music releases on major DSPs. Attendees will gain actionable advice on integrating multiple interests, building a unified brand, and navigating the complexities of today’s creator economy. Too Lost’s expertise and the diverse experiences of the panelists make this session a must attend for anyone who wants to elevate their creative business. This Too Lost Dream Con panel will be hosted on June 1 at 2:30 PM. “I’m excited to moderate this panel at Dream Con because many of today’s music creators are building entire worlds beyond music—through gaming, comedy, streaming, and more,” shares Damien Ritter, Too Lost’s Director of Marketing. “This conversation is about helping artists connect it all, tell a clear story, and turn their creativity into a movement.” Dream Con 2025 will take place from May 30 to June 1, 2025 at the George R. Brown Convention Center in Houston, Texas. This three-day event brings together fans of anime, gaming, music, and pop culture for a dynamic and inclusive celebration. View the full article

French DJ and producer HUGEL will release his new single, ‘Las Avispas’, on May 23rd. This track is a fresh take on the classic song by Juan Luis Guerra. It will be available through his label, Make The Girls Dance Records. The song features artists BRØDER and Spijker, mixing French, Dutch, and Afro-House styles into a joyful global music celebration. HUGEL has made a name for himself in the Afro-Latin House music scene. He has over 4 billion streams, many multi-platinum certifications, and numerous #1 hits on Beatport. His music is popular in clubs and festivals across the world. The Make The Girls Dance Records label, which HUGEL is also a fan of, also supports innovative Afro-infused dance music. The roots of ‘Las Avispas’ The original ‘Las Avispas’, written by Dominican artist Juan Luis Guerra, is an uplifting song about faith, resilience, and protection. It was released in 2004 on the Grammy-winning album, Para Ti. The song blended merengue and gospel elements and earned several awards, including Latin Grammy Awards for Best Tropical Song and Best Christian Album, as well as Billboard Latin Music Awards for Gospel-Pop and Tropical-Merengue Song of the Year. In this 2025 version, HUGEL adds an energetic Afro-House beat while keeping the song’s soulful feel. He collaborates with BRØDER, the French duo of brothers Thibault and Arnaud from Marseille, who are known for their creative music and have over 60 million Spotify streams. Spijker, a rising Dutch DJ and producer, brings his unique sound and experiences from events like Burning Man and performances in Brazil. ‘Las Avispas’ is more than just a cover; it honors a legendary artist through a modern lens. The post HUGEL, BRØDER, Spijker Bring Out Fresh Cover of ‘Las Avispas’ appeared first on EDMTunes.

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’ Here:      https://www.beatport.com/release/feelin-it/5040806   Heritage Listed Online     Spotify | Beatport   | Instagram Basics Recordings Online     Beatport   | Instagram The post Groove-Led and Soulful: Heritage Listed Presents ‘Feelin It EP’ appeared first on EDMTunes.

We’ve heard the name again and again, but now Asia will finally see him live. Fred again.. has announced his first-ever tour across this region, set for July 2025. He will perform in Singapore, Thailand, South Korea, and Japan, marking his debut in all four countries. These cities have been waiting patiently while audiences in other parts of the world experienced his unique shows in person. The schedule begins with a concert at Pasir Panjang Power Station in Singapore on July 18. It continues to Bangkok at UOB Live on July 21, then to Seoul’s KINTEX Hall 10 on July 23. The final stop will be Fuji Rock Festival in Niigata, Japan on July 25. Each city is getting a single show, making this a rare opportunity for those who have followed his rise from afar. A Visual Rollout That Got People Talking Instead of a typical announcement, Fred again.. shared a series of photos featuring signboards styled like local street signs. Each one showed the word “again” translated into different languages, including Thai, Korean, Japanese, and the Singlish phrase “again lah.” These posters weren’t generic graphics. They were held up in real locations, from narrow streets to storefronts, giving each stop on the tour a strong sense of place. It was a simple but powerful way to let people know that something special was coming. What Makes His Live Shows Different Fred is known for turning each performance into something personal. He uses live looping, voice clips, and found audio to build his sets in the moment. The result is a feeling that nothing is pre-planned, even if it’s been carefully shaped behind the scenes. He doesn’t rely on stage effects or spectacle. The emotion comes from the audio itself. Each sample, vocal, and drop is placed with intention, pulling the audience into a space that feels more like a memory than a performance. More Than Just Another Tour What makes this run across Asia feel different is how carefully it’s been put together. These aren’t just stops on a global circuit. This is the first time people in these countries will hear his music live, and the detail in the announcement shows that he knows how long they’ve been waiting. From the design of the posters to the venue choices, everything points to a tour that feels thoughtful and considered. This isn’t a routine visit. It’s the start of something long overdue. Ticket Sign-Up Now Open Those hoping to attend can now register for early access tickets here: https://drop.cobrand.com/d/fredagain/tour Only one show is scheduled in each city, and space is limited. If you’ve ever wanted to experience Fred again.. live, this is the time.

Nick Clegg, former deputy prime minister and ex-Meta head of global affairs, says a requirement to ask artists for express permission to use their work to train AI models would “basically kill the AI industry in this country overnight”. Clegg’s comments come amid an ongoing storm in the music industry, which was sparked by UK government plans to allow AI companies to train their models using copyrighted content. A number of high-profile artists have spoken out in opposition to the plans, including Elton John, who recently branded the plans “criminal”. READ MORE: Max Richter blasts proposals to allow AI companies to train models on copyrighted material Speaking at a recent event to promote his new book, How to Save the Internet – which looks at “the threat to global connection in the age of AI and political conflict” – Clegg said while creatives should have the ability to opting their work out of AI training, it’s not feasible to ask each artist for their consent first. “I think the creative community wants to go a step further,” he said [via The Times]. “Quite a lot of voices say, ‘You can only train on my content, [if you] first ask’. And I have to say that strikes me as somewhat implausible because these systems train on vast amounts of data.” “I just don’t know how you go around, asking everyone first. I just don’t see how that would work,” he went on. “And by the way if you did it in Britain and no one else did it, you would basically kill the AI industry in this country overnight.” The use of copyrighted music in AI training has been the subject of fierce debate for some time. Speaking to MusicTech last year, producer Brian Wayne Transeau – better known as BT – said “the future of music is human”, adding that while he “strongly” believes in “consensual, ethically trained AI”, he said “there are very few companies respecting intellectual property rights in this space.” “Some are flagrantly flaunting their first-to-market status from trading text-to-music models by scraping Spotify and YouTube,” he went on. “I find this an abhorrent misuse of this technology, one which I believe that, when used responsibly, will unlock infinite creative potential in the next generation of music creators.” A recent proposed amendment to the Data (Use and Access) Bill in the UK – which aims to offer those in creative industries more insight into how their work is used by AI companies – sought to make tech companies disclose the copyrighted material used to train their models. Per The Verge, while the amendment gained support from the likes of Paul McCartney, Dua Lipa, Andrew Lloyd Webber and hundreds of others, members of parliament on Thursday rejected it, with technology secretary Peter Kyle saying “Britain’s economy needs both [AI and creative] sectors to succeed and prosper”. Learn more about AI via MusicTech. The post “It would basically kill the AI industry overnight”: Nick Clegg thinks asking artists for use permission is a bad thing appeared first on MusicTech. View the full article

Avicii’s music continues to shape digital listening habits years after his passing. As of May 2025, Avicii Forever has become the fifth most streamed album on Spotify, reaching more than 14.5 billion plays. The album now ranks alongside some of the most played releases in the world, including Un Verano Sin Ti by Bad Bunny and Starboy by The Weeknd. While the project brings together older releases, Spotify officially categorizes it as an album, placing it directly in the all-time global ranking. This milestone reflects how Avicii’s sound remains part of everyday listening across generations. A Collection That Holds Its Place in Streaming Culture Avicii Forever brings together many of the songs that first introduced global audiences to electronic music in the 2010s. It includes widely loved singles like Levels, The Nights, and Wake Me Up, which have played across festival stages, radio stations, and personal playlists. These releases continue to perform well because they appear on a wide range of Spotify playlists. Whether listeners are revisiting old favorites or letting the algorithm guide their day, Avicii’s catalog remains part of the experience. The album gives fans an easy way to find everything in one place, which helps keep it active on the platform. Why the Ranking Still Matters Some listeners point out that the album’s position is based on Spotify’s classification system, since many of the songs were already released long before the collection dropped. That may be true, but the fact that it ranks this high without any new promotions or recent touring activity says a lot on its own. Other albums in the top five benefit from live performances, current singles, and heavy social media coverage. Avicii Forever remains relevant through repeated listening. Its appeal comes from familiarity and routine, not trends or paid campaigns. A Lasting Presence in a Fast-Moving Landscape Digital music trends change quickly, but the continued success of Avicii Forever shows how strong his presence still is. The album isn’t just a nostalgic listen. People keep coming back because the music still fits the moment. It’s flexible, comforting, and easy to play again without getting old. Avicii’s work remains visible in today’s listening habits. Even as new artists emerge and sounds shift, his influence holds steady. This album’s chart position is not just a number. It reflects the connection people still feel every time they press play.

Andrew Watt has reflected on the early days of his production journey, noting how his work with Ozzy Osbourne helped to propel his career to new heights. Watt has worked with huge pop artists such as Justin Bieber and Lana Del Rey, however, it was producing Osbourne’s 2020 album, Ordinary Man, that really helped him find his place in the world of rock. He went on to produce Osbourne’s follow-up record, 2022’s Patient Number 9, the Rolling Stones’ Hackney Diamonds, and Iggy Pop’s Every Loser (both released in 2023). READ MORE: “It’s hard to clear samples. We’d have something in the track, and then we would have to take it out, and it wouldn’t sound as good”: Zeds Dead’s battle with sample clearance on their new album In an interview with Guitar World, he recalls how making pop tracks driven by guitar helped to get his foot in the door of production for rock: “Rock is something that I love – it’s the music that speaks to me the most, but as I found my way into this business, I had these gigs playing for amazing pop artists and ended up writing their songs, and that became my footing and the thing that I was doing – making pop music that had guitar in it,” he says. Osbourne and his wife/manager Sharon were then the first to believe he could conquer a great rock record. He says, “When the Ozzy thing came around, I was so excited at the chance to do it, but also kind of doubting myself. Like, these aren’t the records I really make. But with the push and love and guidance from both Duff McKagan [Guns N’ Roses] and Chad Smith [Red Hot Chili Peppers], who were friends at that point, they were like, ‘Come on man, you gotta make this. Of course you can do it. It’s everything you love.’” He goes on to add, “Once we started making music, I kind of felt that confidence and that became the blueprint. For the Iggy album, we just kind of made music and then Iggy chose the tracks he liked and sang to them. “Then that led me into working with bands that I love, like Pearl Jam – they’re the best live band there is. And obviously the Stones are everyone’s favourite rock band. Getting to sit in the room with those guys and just record a band doing their thing, keeping it really live, became really important to me and just my favourite thing in the world to do.” Watt more recently produced the collaborative album, Who Believes In Angels?, from Elton John and Brandi Carlile, which landed back in April. Cameras were allowed in the studio to capture the making of the record in full, with footage compiled into a candid short film documenting the turbulent creative process of making an album in just 20 days. The post “It all started with Ozzy”: How Andrew Watt pushed through self-doubt to become one of the world’s top producers at 34 appeared first on MusicTech. View the full article

LANG Electronics of Heritage Audio has launched the P.LANE Type 436 all tube vari-mu compressor, a modern take on the modified ALTEC 436C behind “the fresh and furious British Invasion sound that conquered the world in the ‘60s”. Described as one of the most mysterious vari-mu (variable gain) compressors of all time, the modded ALTEC 436C was notably used on recordings by The Beatles, and has gone on to be used across contemporary pop, rock, hip-hop, EDM, and more. LANG’s revival is a two rack unit that encompasses all development stages of the original. READ MORE: Allen & Heath on new generation of Qu mixers: “Every aspect of the mixer has been re-thought” The P.LANE Type 436 covers all stages of the ALTEC 436’s life, including the “simple yet extremely effective” model 436C to the more evolved ‘London Mod’, with six selectable constants and hold positions for each, keeping the source signal compressed to the most recently processed peak level. The design hosts three tubes to match the original – a NOS 6H5P, a JJ E88CC, and a NOS 6AL5 – plus custom-made input and output LANG Electronics transformers designed by Heritage Audio. It also includes a SuperFast (S.F.) setting not found on the vintage 436C that adapts this compressor to the modern needs of studio recording. It offers controls for Attack (selectable, stepped – six settings) and Recovery (selectable, stepped – six settings, plus Hold), all within a sturdy steel rack-mount chassis hosting a worldwide internal power supply. Check out the videos below for more information: Earlier this year, Heritage Audio and LANG Electronics revealed the LANG PEQ-2 plugin, emulating the Lang PEQ-2 program equaliser (also from the ‘60s), which was reissued in 2023. Heritage has given several of its own hardware classics similar treatment in the past, recreating all of its Successor stereo bus compressor’s features as a plugin with new features. It also similarly transformed its Symph EQ, and its BritStrip console channel strip. The LANG Electronics P.LANE Type 436 is available now for £799. You can find out more via Heritage Audio. The post LANG Electronics’ P.LANE Type 436 revives a classic compressor used by The Beatles appeared first on MusicTech. View the full article

Mont Rouge are a the dynamic duo currently making waves from their base in Geneva, Switzerland. Fresh off the release of their latest track, “Belsunce,” via Ultra Records, Mont Rouge takes us behind the scenes of this special project, revealing the heartfelt story behind the track and the organic collaboration with Ketshua and Dee Mad.In this exclusive interview, we catch up with the group as they navigate the exhilarating whirlwind of finishing new music, captivating audiences worldwide with their electrifying shows, and carving out precious moments for creative rejuvenation. Hey Mont Rouge, thanks for taking the time to chat with us today! Before we dive in, where are you currently based, and what’s been going on in your world lately? Hey! Thanks for having us. We’re all currently based in Geneva, Switzerland. Lately it’s been non-stop between finishing new music, playing shows around the world, and trying to find moments alone to recharge and find new inspiration before the summer season kicks off. Congrats on your latest track “Belsunce” that just dropped via Ultra Records. What’s the story behind the track and how did the collaboration with Ketshua and Dee Mad come about? Thank you! This track honestly means a lot… Belsunce is a really special track as it’s the childhood anthem of Jubesp, who grew up in Marseille. We actually started this project back in November 2023 while we were in Miami. It took nearly two years of negotiations and clearance to make it happen, but we never gave up because of how special it was to us. The collaboration with Ketshua and Dee Mad came naturally. They’re both longtime friends and incredibly talented producers. We kept the heart of the original track from Bouga, but reimagined it in our own world. Releasing it now with Ultra feels like a big full-circle moment. We’re really proud of this one. Can you walk us through your creative process in the studio for this one? We really wanted to keep the soul of the original song and its instantly recognizable energy all while giving it a fresh twist that works on the dance floor. It all started with a piano riff inspired by the original track. From there, we built the drums and groove around it. The goal was to create something powerful and emotional, while staying true to what the track means for so many people. We played it a lot in our sets over the past year, and each time we adjusted little details. What you hear today is the result of all those moments; shaped by the crowd, the energy, the love and effort we’ve put into it. How do each of you contribute to the Mont Rouge project creatively? Do you all work on everything together or split roles? We all come from different musical backgrounds, so we each bring something unique. Our best ideas usually happen when we’re all together, so we try to keep it that way and go as often as we can the three of us in the studio. But when we’re apart, we each start ideas on our own and send them back to get feedback. Then, whoever feels inspired picks it up and works on it until the track is finished. What do you look for when choosing collaborators, whether it’s vocalists, producers, or remixers? We mainly looking for authenticity and real connections. We don’t try to chase trends. It makes the whole process more organic and enjoyable, without all the hassle that can come with management, splits, billing, etc. You’ve played shows all over the world. What’s one city that’s surprised you the most in terms of energy or connection with your music? We were really surprised by how people in Djerba, Tunisia responded. We didn’t expect such a deep and instant connection with the crowd. People were dancing and singing along, louder than the actual speakers sometimes! The energy was so good we didn’t want to stop playing. It’s definitely a night we’ll remember for a long time. How do you balance staying creatively inspired while managing the pressure to keep delivering and releasing music? The most challenging part is to find time between the gigs, the travelling and the need to rest. Even when we don’t have access to the studio, we try to stay productive, working on ideas separately on the road. Inspiration always comes around eventually, so we don’t stress too much about it. We trust the process. 8. With so many milestones in such a short time, 18M+ streams, 100+ shows worldwide, viral tracks, what do you think has been the key to connecting with such a wide audience so quickly? Honestly, it’s probably because we didn’t expect any of this and we’re just doing it for fun. We try to always give all the energy we have into our shows, and people feel it. And for music, when we’re making it, we always follow our gut instead of trying to chase trends. We think that sincerity is what people connect to. So we do our best to be true to ourselves. What’s something people might not know about Mont Rouge behind the scenes? The not-so-original answer would be that we love food! We always try local specialties everytime we have the chance when we travel. The a bit more original one is that we always try to make our tracks unique by using sounds we recorded on our phone or recorded in the studio with objects around us. If you listen carefully, in Belsunce we hear a sort of gallop in the background. That’s actually a horse gallop we resampled and built into the track! What’s next for you in terms of releases, shows, anything you can tease coming after Belsunce? Release-wise we have a two-track EP coming out on the infamous label “Madoras In Da House” in early June. We also have many collaborations we’re super proud of, coming later this year with artists that we look up to and that inspire us on a daily basis. We can’t wait to share all of these with you very soon! As for the shows, we have big festivals coming up this summer for which we’re super excited! We’ll be posting our Summer tour line-up soon so stay tuned! The post Get to Know: Mont Rouge, the Geneva-based Duo Making Waves in the Electronic World appeared first on Electric Mode.

Spanish DJ and producer duo Disaia unveil their first full-length album, The Sun, out now on their independent label Siena. With eight tracks that span the rich spectrum of house music, from sun-soaked melodies to peak-time club rhythms – the LP signals a new chapter for the pair as they cement their place at the forefront of the genre’s new wave. Comprised of Víctor Morato and Jesús Garrido, Disaia have quickly become one of the most exciting acts to emerge from Spain’s underground, with past releases on esteemed labels including Hot Creations, Moon Harbour, Sola, Kneaded Pains, and Snatch! Records. Now, with The Sun, they step into their own creative universe, showcasing a deeper, more personal vision that blends dancefloor energy with emotional storytelling. Crafted over the course of a year, The Sun is the result of meticulous studio sessions, live recordings, and a commitment to bringing warmth, humanity, and musicality to modern house music. Tracks like “Uh Baby,” “Close 2 Me,” and the title track “The Sun” effortlessly merge catchy vocal hooks with intricate percussive work and deep, rolling basslines. Influences of Afro House, Melodic House, and Tech House pulse throughout the record, while live instrumentation and atmospheric textures add a dynamic, organic edge. “We wanted each track to feel like its own chapter,” say Disaia. “There’s a narrative running through the album—from playful and uplifting to introspective and moody—but the goal was always to make people feel something.” BUY / STREAM: DISAIA – ‘THE SUN’ HERE Instagram | Spotify The Sun is out now via Siena. Tracklist: 1) The Sun 2) Uh Baby 3) Tales Of Distance 4) Playing 5) Uh Baby (Club Mix) 6) Close To Me 7) California 8) On My Own The post Spanish Duo Disaia Step Into the Spotlight with Bold Debut LP The Sun appeared first on Electric Mode.

When Deorro stepped onto the KineticFIELD mainstage at EDC Las Vegas 2025, he wasn’t just commanding a festival crowd—he was holding space. Not for ego, but for something larger. His one-hour set became a living archive of Latin identity, blending tradition with the pulse of global dance floors. “From the very beginning, the plan was always about showcasing our culture on stage,” Deorro explained. “For those who are part of it, giving them a chance to feel represented.” That’s not just crowd-pleasing language—it’s cultural restoration. For those unfamiliar, it offered a radiant first encounter. With others, it was a reflection they rarely see from the mainstage. “No matter what culture you’re a part of, I feel like it’s just a celebration—a reminder to never forget where you come from.” And that’s what made it hit harder than bass drops. It wasn’t a DJ set; it was a cultural touchdown, in a space often full of spectacle. Deorro and Mike Posner Drops Cooler Than Me Remix at EDC Vegas 2025 When Mike Posner walked on the EDC 2025 mainstage to perform “Cooler Than Me” with Deorro, the crowd lost it—but not just out of nostalgia. It was a reminder that some collaborations aren’t built in boardrooms. “Mike Posner is such a legend,” said Deorro. “He’s been making hits since I can remember, like back in 2010.” In an era when dance music often favors safe BPMs and algorithms, Deorro turned a pop classic into his own style. That admiration turned into a remix—one Deorro released and debuted live, at EDC Vegas 2025, in the same weekend. “The fact that he gave me this opportunity to add my own twist to his hit song is incredible. I’m honestly honored and he’s one of the sweetest people I’ve ever met—super nice.” That generosity shows. The remix wasn’t for TikTok—it was built on shared vision. “Cooler Than Me has actually been a big influence on a lot of the music I’ve been remixing, especially since it’s in ¾ time. So it’s been really influential, and I’m grateful I got to be a part of it.” Los Tucanes in the Desert: A Genre-Bending Surprise Still, no moment shook the Las Vegas desert this 2025 quite like this: Los Tucanes de Tijuana stepping out beside Deorro on the EDC mainstage. That sentence alone feels surreal. And for Deorro? It was exactly that. “Before the show, while we were there backstage, I just couldn’t believe it was actually happening and that we would be sharing a stage. That moment was a beautiful reminder of how hard work really pays off.” There was no irony. No novelty. It was a cultural co-sign between generations, live and unfiltered. These weren’t special guests—they were family. “I have so many favorite moments—from bringing everyone on stage, from Riot Ten to Mike to Los Tucanes de Tijuana to Tito. There was just so much that happened and it felt like one peak after another.” Deorro didn’t just fill time with features. He built a borderless lineup, orchestrated for maximum resonance—not fame points. From EDC Mexico to Vegas: Same Fire, Different Pulse This wasn’t Deorro’s first EDC of the year. He had already brought fire to EDC Mexico, and the comparison between both stages says more than it seems. “I feel like they’re very similar,” he said. “It’s Insomniac—they know how to put on a great festival, and the energy is always incredible.” Still, for a Mexican-American artist with roots on both sides of the scene, the symbolism of EDC Las Vegas carried weight. “I feel like the raza really shows up here in Vegas, and of course, Mexico—the motherland, where my parents are from—it feels like home. Every time I play in either place, it feels special. They’re both equally amazing.” That “both” is key. Deorro’s sound doesn’t dilute—it travels, adapting its message to every crowd without losing its soul. That’s not genre fusion. That’s cultural translation. When In Vegas, Deorro Chooses to Karaoke and Chill It’s a side most fans never see: the artist catching his breath, still holding the weight of what just happened. After an epic set like that, where does Deorro go? To decompress, Deorro doesn’t chase afterparties. He craves flavor and familiarity. “One of my go-to hangout spots is this place called Tekka Bar—it’s on the second floor of The Cosmopolitan,” he shared. “We also love doing karaoke, and we’ll hit Tacos El Gordo too.” That contrast—between flames on stage and quiet moments off it—reveals his balance. “Vegas has a lot of hidden gems—it’s just a matter of finding the time to get out and explore. Usually, we’re in and out pretty quick, but whenever we get the chance to take it all in, we definitely do.” His Process Isn’t Trend-Based. It’s Truth-Based. Deorro doesn’t clock into the studio for a viral moment. His palette pulls from legacy and instinct. “I feel like the root of collaboration is having an open mind. What really needs to happen is open-mindedness.” He emphasizes, “When making songs I have a clear vision of what I want the song to be—it’s just a matter of hoping the artists I’m working with are willing to take risks and try something new.” And they often are: Pitbull, Thalía, Tito Double P, Elvis Crespo—they’ve all stepped into Deorro’s sonic world openly. “That’s the kind of stuff that makes it all worth it.” Even outside collabs, his ear is stretching across genres. “Lately, I’ve been listening to a lot of Natalia Lafourcade, and Macario has been on repeat for me. A lot of these Mexican sounds are definitely going to play a big role in my upcoming projects.” He also taps into unexpected corners. “I also listen to a lot of indie rock—bands like Phoenix, The Neighbourhood and others. It’s a mix of different styles, and I feel like as long as I’m always learning, I’ll always be able to keep experimenting and having fun with music.” “Everything I have right now is the result of hard work. When I come home, my main priority is creating—and as long as I keep that focus, I believe it’s the best way for more amazing opportunities to keep coming my way.” Deorro at EDC Vegas 2025: A Celebration of Roots Beyond the Mainstage Long before Latin dance music hit Spotify algorithms or graced festival stages, Deorro was already doing the work. “I feel like there are a lot more events now that are influenced by Latin EDM, so I think it’s definitely starting to grow—slowly but surely.” He says it with humility and history. “I feel like I was part of that wave, helping plant the seeds, and now we’re starting to see it sprout.” But he’s not done. “With more time and new talent being discovered, I really believe it’ll reach a point where you could have a full festival focused entirely on Latin EDM. Hopefully, I’ll be able to make that happen.” A big vision that requires more than sound—it demands risk, clarity, and faith that the crowd will meet the message halfway. It’s easy to forget how much sameness still exists in electronic music festival programming. Big names. Bigger visuals. And a playlist of drops engineered for social media moments. But then came Deorro at EDC Vegas 2025—and suddenly the mainstage feels more like a heartbeat. What he did wasn’t just ambitious—it was intentional. He built a set that functioned like a cultural mirror. Not just for Latin ravers—but for anyone who’s ever wondered if they had to leave their identity behind to fit in. Deorro answered with bass, live guests, and a remix in ¾ time. He answered with Los Tucanes de Tijuana playing over LED fire and joy that felt rooted, not manufactured. And he didn’t need to say it out loud. The crowd already knew. Deorro reminded us that EDC isn’t just about the music—it’s about meaning. That when used right, a mainstage becomes a place to say, “We were here. We mattered. We danced our culture into the future.” That’s not just a headliner moment. It’s the start of a movement. Follow Deorro on Instagram here. The post This Is What Culture Sounds Like—Deorro’s EDC Vegas 2025 Set Said It All appeared first on EDMNOMAD. View the full article

Legendary Ibiza Club Chinois has begun its 2025 season with a wide array of stacked line ups. In the heart of the Marina inside the Gran Hotel, the club is welcoming some of the biggest names in the electronic world. In the coming weeks, Claptone’s Masquerade, Honey F#cking Dijon, Francis Mercier’s Sòley, Bedouin’s SAGA, plus SONDELA’s Chinois Debut will take over the club. SAT 31ST MAY – Claptone presents The Masquerade – Opening Party with Claptone, Faithless (DJ Set), Crusy, Jason Bye Every Saturday from May 24th to October 4th, the mysterious man behind the golden mask brings ‘The Masquerade’. Together with some of the best guest DJs in the world he returns to the white isle for 20 dates in the heart of the Marina – a season defined by elegance, enigma, and extraordinary house music. THURS JUNE 5TH – Honey Dijon presents ‘Honey F#cking Dijon’ – Opening Party with Honey Dijon, Âme (DJ set), Cameron Jack. Thursdays June 5th to July 24th globally respected Honey Dijon launches her new party for 8 dates, double last year’s Chinois residency, so double the chance to see the legendary Chicago-born DJ and her supreme selection of the world’s best guest DJs. SUN JUNE 8TH – SONDELA presents Nitefreak, Ankhoï B2B Luch, Jamiie, Cleido B2B Louie Dunmore For one night only, UK’s SONDELA Recordings (conceived by Louie Dunmore) brings their signature Afro-Tech/Afro-House party to Chinois: ‘Gorah’ hit-maker Nitefreak—Afro-Progressive House don—makes his long-awaited Sondela debut. Moroccan-rooted Ankhoï, known for his standout remix of Mayra Andrade’s ‘Afeto’ + releases on Kazukuta Records, teams up B2B with Billboard-nominated artist Luch. Returning favourite Jamiie brings her infectious energy and signature sound, while SONDELA’s own Louie Dunmore with CLEIDO B2B round off the night. FRI 13TH JUNE – Francis Mercier presents Söley- Opening Party with Francis Mercier, MoBlack, Lilya Mandre, Queen Rami, IDD (Live) Every Friday, 13th June-1st August, internationally acclaimed Haitian DJ/ producer Francis Mercier presents his Chinois debut 8‑week Solèy residency. Weaving a rich tapestry of global sounds, he will bring together guest artists from all corners of the world. Solèy—‘Sun’ in Haitian Creole—radiates warmth, positivity, and energy, celebrating a vibrant fusion of musical cultures from the pulsating rhythms of African drums to the soulful sounds of the Levant & the vibrant joy of the Caribbean. WED 25TH JUNE – TRIP Opening Party with Apollonia (Dan Ghenacia, Dyed Soundorom & Shonky), Cesar Vinzent B2B Isbel, Paramida Every Wednesday June 25th – October 15th, and for two special Saturdays October 25th and November 1st, TRIP transforms Chinois into a sanctuary for underground music lovers. Curated by visionary Johannes Goller, TRIP is a sonic voyage through deep house, minimal techno, and psychedelic rhythms, an underground favourite with line ups not to be missed. SUN 29TH JUNE – Bedouin presents SAGA – Opening Party with Bedouin, Jimi Jules B2B Trikk, Ageless Sundays 29th June-28th September, world-renowned duo Bedouin transcend borders with SAGA to bring together the most electrifying dance music experiences across the world. The sensational sought-after underground act secures in-demand guest artists for unforgettable events. Immerse yourself in celestial dance and explore the vibrant atmosphere of SAGA. The post Chinois’ world-class resident DJs present their Residency Opening Parties at ‘the club of Ibiza’ appeared first on Electric Mode.

Mia Moretti makes her label debut on the legendary Shaboom Records with “My House,” a liberation anthem that turns dance into doctrine. Featuring vocals from globally renowned spiritual leader Shaman Durek, the release marks the first time Moretti has released music outside of her own imprint — a rare alignment with one of house music’s most iconic catalogs. With three decades of boundary-pushing releases behind it, Shaboom continues to define the sound of house music in 2025. Built around the mantra “there are no chairs in my house, no tables in my house, no beds in my house,” “My House” delivers its message loud and clear: you come here to dance! Moretti transforms Durek’s powerful vocal into something ritualistic — a gospel of sweat, vibration, and rhythm — grounding the track in house music’s origins as a soundtrack for freedom and self-expression. The record marks the first time Moretti has issued a release outside of her Spaghetti Moretti imprint — and it’s clear she’s chosen to do so with purpose. By linking up with Shaboom, Moretti is contributing to the catalogue of one of house music’s most respected institutions, a label that has served as home to artists like Doc Martin, Marshall Jefferson, Dave Morales, Todd Terry, and Josh Wink. Founded in 1995 in Blackpool — the Mecca of the North and the Las Vegas of the British Riviera — Shaboom Records was born from the deep crates and club residencies of Mark Bell, Dick Johnson, Ben Davis, and Paul Birchall. Early success with Wildride and Bessie set the tone for a run of iconic releases that blurred the lines between jazzy instrumentation, vocal anthems, classic garage, and deep floor-fillers. The label’s legendary catalog reads like a who’s who of house: Joeski & Onionz (The Barrio Brothers), Tony Senghore, DJ Sneak, Second Hand Satellites, Mathew & Leon Roberts (UBU), and Blakkat to name a few. Three decades later, Shaboom is still releasing cutting-edge house music like Moretti’s “My House” — a defining force in 2025 as much as it was in 1995. Moretti notes: “In my production I’ve always been drawn to the classics, the originals, the root — like tending a garden, making good music takes the ability to get down to the source and go deep. However, for this one we aren’t tending garden we are tending house and EVERYTHING MUST GO! I am so honored to join Shaboom Records with this release and clear the floor for Shaman to take the reins. From the parade to the ballroom this is a summer anthem that will put everyone on their tip toes.” About Mia Moretti: Mia Moretti is known for her DJ sets blending classic, vocal, and gospel house. Over the last decade, she’s been named DJ of the Year by Paper Magazine and profiled twice by The New York Times. Her debut EP, Tambor (2023), introduced her as a producer deeply rooted in sample-based music, drawing from artists like Letta Mbulu, Toto La Momposina, Petrona Martinez, and Chicco. In 2025, Moretti returns to her disco house roots with a new EP on her imprint Spaghetti Moretti Records. This spring, catch her at Skyline Festival (Los Angeles), Friendship Cruise (Belize), We Belong Here (Miami), Thrill City (Los Angeles), Wonderfront Festival (San Diego), Beyond Fears (Morocco), and EDC Korea. About Shaman Durek: Shaman Durek is a globally celebrated spiritual leader and author whose teachings bridge ancient wisdom with modern consciousness. With roots in traditions ranging from the Kabbalah to African spiritual systems, his work guides people toward self-empowerment, transformation, and energetic alignment. In the music world, he’s known for infusing intention into sound, working with artists and creatives to help them access deeper emotional and spiritual truths through rhythm and vibration. His insights have reached audiences through features in The New York Times, Vanity Fair, Goop, People Magazine, and more. Connect with Mia Moretti: Instagram | Spotify | SoundCloud | Beatport Connect with Shaman Durek: Instagram | Facebook | Website | Beatport Connect with Shaboom Records: Instagram | Facebook | Beatport The post Mia Moretti Makes Her Debut On The Legendary Shaboom Records With “My House” appeared first on Electric Mode.

Ellie Dixon is a self-producing artist who, despite amassing millions of streams, continues to make her sample-heavy songs in her bedroom. In this episode of My Forever Studio, brought to you in partnership with Audient, find out how lockdown fuelled Ellie’s TikTok success, hear how her song Swing became a demo track in Logic Pro 11, and be challenged to raid your kitchen for samples. Ellie has built a massive following from her home studio, with 1.2 million TikTok fans, 18 million music streams, and a TikTok Songwriter of the Year nomination under her belt, all thanks to her mastery of DIY music production. After releasing her EPs Crikey! It’s My Psyche and In Case Of Emergency, Ellie’s toured Europe, opened for Pentatonix and Sam Ryder, and played Glastonbury — and still records vocals under a duvet at home. You can check out the full video, recorded at TYX London, below, or listen on your favourite podcasting platform. Last week, Charlie Deakin Davies joined us in studio foreverdom to discuss their their go-to vocal chain, how they bounced back from a laptop disaster before Glasto, and the chaos of tracking two drummers at once. Also performing as Charlieeeee, fusing indie and drum ’n’ bass in a wild, high-octane live show with crowd interaction – and Beyblades — Charlie is truly a multi-faceted producer, becoming the youngest producer to get BBC Radio 2 airplay and has since worked with Fred Again, Laura Marling, and Gary Barlow. The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech. The post My Forever Studio: Ellie Dixon is banned from Currys appeared first on MusicTech. View the full article

Strangely, it was soon after a conversation with my son that things swiftly began falling into place. I had not long returned from a Chappell Roan gig at the Brixton Academy and felt the effects of post-gig blues creeping in. I simply inquired, “If there is a band you’d wish to go see, that you haven’t yet. Who would that be”? The spontaneous reply from him was Hurts. The reponse, in turn made me extremely happy, since Hurts is one of my favourite duos from this past decade. Even so, little did I foresee that within a week or two following that conversation I would spend an anxious forty minutes securing concert tickets for a Hurts “15 Years of Happiness” gig in the pre-sale. I have covered Hurts countless times on the blog since I immensely admire the alternative pop duos’ artistry. Intelligent lyricism, distinctive alt-pop flair, stunning visual aesthetics and uber-arresting music videos. Yet I hadn’t realised the fifteenth anniversary of the duo’s debut album “Happiness” was about to arrive. Neither had it occurred to me that Hurts might go all in with celebrating this milestone. I was however massively happy to find out about the planned London show. And so, the plotting and planning began in earnest. Hurts is celebrating a remarkable milestone with the release of “15 Years of Happiness,” a stunning limited edition double-vinyl picture disc that captures the essence of their journey. To honour their legendary debut album, they’ve also unveiled a captivating rendition of “Wonderful Life ’25,” reimagined through the vibrant lens of Italo disco by Purple Disco Machine. This euphoric and uplifting rework contrasts beautifully with the original’s darker tones, breathing new life into a classic. The compelling message of resilience and faith in overcoming struggles strikes a powerful chord today, resonating even more deeply than when the song first graced our ears in 2010. Moreover, I absolutely made the right call trusting my instincts and grabbing tickets for the Brixton Academy 2025 gig. The crowd erupted with a deafening roar as Theo Hutchcraft stepped onto the stage, akin to the reception reserved for the world’s biggest pop icons. Throughout the evening, it was clear that Theo’s vocals were in outstanding form—simply incredible. The dynamic delivery, sense of melodrama and emotionally charged performances were nothing short of electric. I say this without hesitation: the show was nothing less than phenomenal. You could feel the heart and soul poured into every moment of “Happiness” performed in its entirety. Including a selection of the duos greatest hits and fan favourites that followed in the second half of the performance. This rather felt like we were being treated to a track list from a bonus CD. The production featured everything from the iconic, stylish dancers seen in Hurts’ early music videos to a magnificent string quartet. A tight backup band, and powerful backup vocalists, topped off with the inclusion of an awe-inspiring opera singer completed the line up. In fact, this gig had it all—except sadly for Hurts’ talented multi-instrumentalist Adam Anderson, who has presently, stepped back from live performances to focus on his mental health. From the very beginning, I anticipated an unforgettable night. I was however, utterly unprepared for just how epic it turned out to be. A word of advice. If the chance arises to see Hurts live don’t hesitate for a second. Snap up some tickets. Connect with Hurts Facebook: https://www.facebook.com/hurts X: https://x.com/WeAreHURTS Instagram: https://www.instagram.com/theohurts/ The post Watch “Wonderful Life ’25” by Hurts & Purple Disco Machine appeared first on EQ Music Blog. View the full article