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Decadence NYE always brings a stacked lineup to the Denver Convention Center and this year at the top of the list was ILLENIUM B2B Slander. They closed the festival out shortly after Subtronics dropped the NYE ball for the bass capital city and a sold-out Decadence. Lucky for us, ILLENIUM has uploaded a professional recording (Video + Audio) of the whole set on his YouTube. This after-movie captures crowd reaction, on-stage performance, and the insane production brought by these two bass titans. Living the ILLENIUM B2B Slander Experience ILLENIUM, being a Denver resident wearing his Broncos jersey and helmet dropped a massive mashup of 6 of his tracks in the first 2 minutes. One of them being his collab with Slander and Dylan Matthew – ‘Love is Gone‘. They later play the whole collab around 45 minutes in for a serene moment for the crowd. Other ILLENIUM tracks played out are ‘Sideways‘ w/ NURKO ft. Valerie Broussard, ‘Nightlight‘ ft. Annika Wells. Also, he rocked the floor with many other remixed tracks by himself and other top artists. At 23 minutes he gives the crowd an unreleased track, ‘In My Arms‘ ft. Hayla. Slander, a duo from Los Angeles who has a massive fan base in Denver did not disappoint when they took over the decks. They played many of their well-known tracks like ‘Suffer‘ w/ MARAUDA ft. Elle Vee, ‘Back To U‘ w/ William Black, an unreleased track ‘Under My Skin‘ w/ Vastive, and more. From a personal account, The ID/remix by SLANDER, Blackbear, & Bring Me The Horizon – ‘Wish I Could Forget‘ was an absolute banger. It has its own sound and really stuck out through the rest of the set. Anyways, The B2B closed out this masterpiece by playing their collab ‘Lay it Down‘ w/ Krewella keeping the majority of the Decadence attendees gripping the rail until the end. Now, this set is on YouTube for you to enjoy. The post WATCH: ILLENIUM B2B SLANDER NYE From Decadence appeared first on EDMTunes.

The organizers of Bonnaroo in 2025 are introducing an immersive 360° stage, Infinity, according to sources close to the festival. Details are scarce at the time of writing, but the stage is said to be "the world's largest and most immersive 360° live music experience," per marketing materials shared on social media by Festive Owl. In response to followers comparing the stage to Lost Lands' innovative "Crater" production, the festival insider claimed Infinity is "a completely new concept for a U.S. festival." It is being produced within Bonnaroo's main performance venue, Centeroo. The experience isn't just about proximity—the audio will reportedly be spatially mixed and dispersed using cutting-edge software developed by Polygon Live, a renowned music tech firm out of the UK. Ensuring a dynamic environment where attendees feel the music from every angle, the Infinity Stage will also dwarf the six other existing structures in the Centeroo hub, which hosts over 150 acts over the course of the festival. "This structure will be larger than any of the current tents in Centeroo, featuring not only speakers on the outside but also overhead and surrounding you for a fully immersive experience," Festival Owl wrote. "The experience is more than just being surrounded by speakers—the audio from the performances will be mixed spatially using custom software from Polygon Live." View the original article to see embedded media. The 23rd annual Bonnaroo Music and Arts Festival is scheduled to return to the Great Stage Park in Manchester, Tennessee from June 12-15, 2025. The lineup is expected to be revealed on Wednesday, January 8th. Last year's festival featured headlining performances by Pretty Lights, Fred again.. and FISHER as well as an undercard with Four Tet, Seven Lions, Whyte Fang, Oliver Heldens, Galantis, SVDDEN DEATH, ISOxo and Knock2, among other electronic music stars. You can purchase passes to Bonnaroo 2025 here. Follow Bonnaroo:X: x.com/bonnaroo Instagram: instagram.com/bonnaroo TikTok: tiktok.com/@bonnaroo Facebook: facebook.com/bonnaroo

Proper NYE in San Diego was meant to be a night of celebration and music, a way for attendees to ring in the new year with friends and good vibes. However, what should have been a joyous occasion quickly became a nightmare for many as overcrowding and overselling became major issues throughout the festival. Attendees were unable to access key areas of the event, facing long lines for necessities, and dealing with chaotic and unsafe conditions during the exit process. T Attendees were shocked by the lack of organization safety at Proper NYE. The main stage being closed for most of the festival, the overcrowded bathroom lines spilling into walkways, and the chaotic exit process all painted a grim picture of mismanagement. Addressing these issues and holding event organizers accountable for their actions is important. Overcrowding at the Main Stage One of the most glaring issues at Proper NYE was the constant overcrowding at the main stage, which was deemed “at capacity” for most of the festival. This meant that a significant portion of attendees could not access the main stage area, missing out on key performances and experiences. The frustration among those stuck outside the main stage was palpable, with many expressing disappointment and disbelief at the situation. Not only was the main stage closed off, but The Lot, another key area of the festival, also faced capacity issues, further limiting attendees’ options for entertainment. The lack of communication and planning by event organizers only exacerbated the problem, leaving attendees feeling trapped and isolated from the heart of the festivities. Seeing so many people unable to fully enjoy the event they had paid to attend was disheartening. As the night wore on, the overcrowding at the main stage became more pronounced, with bathroom lines extending into walkways and impeding the flow of foot traffic. Attendees were forced to navigate a maze of people just to reach basic amenities, adding to chaos and disorganization. The lack of crowd control and proper planning was evident, creating a tense and uncomfortable atmosphere for all involved. Chaos During the Exit Process Once the event ended, the chaos only escalated as attendees tried to make their way out of the venue. Reports of people urinating in public near the exit, fights almost breaking out, and a general sense of unease permeated the space. The sheer volume of people trying to leave at once overwhelmed the staff and security, leading to a breakdown in crowd management and safety protocols. In a desperate attempt to maintain order, organizers had to allow attendees to pass through VIP areas to exit the venue safely. This last-minute decision highlighted the severity of the situation and the failure of event staff to anticipate and address the potential issues with crowd control properly. The lack of foresight and preparation by event organizers put attendees at risk and tarnished the overall experience of Proper NYE. For many attendees, the chaos during the exit process was the final straw, forcing these attendees to stop going to events from the Proper NYE promoter. The sense of community and camaraderie that should have defined Proper NYE was overshadowed by the greed and negligence of those in charge. Moving forward, attendees must hold event organizers accountable for their actions and demand better standards for future events. The post Attendees Frustrated Over Overselling and Crowd Rush Concerns at Proper NYE San Diego appeared first on EDMTunes.

The multi-instrumentalist co-founded experimental hip hop groups Subtle and 13 & God Continue reading...

The New Year starts off with some hope for American DJ/producer Diplo on his alleged revenge porn case. A federal judge in Los Angeles has mandated that an accuser, currently identified as “Jane Doe,” must reveal her identity if she wishes to pursue her civil lawsuit against Diplo. Revenge Porn Case On December 31, Judge Mónica Ramírez Almadani ruled that the plaintiff failed to demonstrate a legal need to maintain her anonymity. This left her with no choice but to disclose her name. The woman asserts that she engaged in a consensual sexual relationship with Diplo from 2016 to 2023. During this time she permitted him to record their encounters. However, she later accused him of sharing these recordings on Snapchat without her consent. Diplo vehemently denies the allegations, arguing his ability to confront his accuser is severely compromised without knowing her identity. His legal team maintains that transparency in such cases is crucial for justice. According to Billboard, Judge Almadani emphasized that anonymity is only justified in “clear-cut, high-risk situations.” She expresses doubt that the claims against Diplo falls within that category, stating: “While the court understands that the plaintiff’s allegations are deeply personal and may invite public scrutiny, the need for anonymity must be substantiated. The overarching principle of open judicial proceedings must prevail.” In light of this ruling, the accuser’s attorneys expressed concern to Billboard. Stating: “The imbalance of power in these situations is alarming and should not be overlooked by the public or the courts. In today’s digital landscape, forcing a survivor to disclose their identity risks an irreversible connection between them and their trauma.” This ruling serves as a significant win for Team Diplo. The DJ has categorically denied the allegations outlined in the lawsuit. This is asserting the necessity for his accuser to reveal her identity. His legal team emphasized in court documents that without knowing who is making the accusations, Diplo is unable to properly confront the claims against him. Stay tuned to EDMTunes for more updates on the Diplo revenge porn case. The post Major Update To Diplo’s Revenge Porn Case appeared first on EDMTunes.

Eagle-eyed fans spotted the techno venue upon the release of the Halina Reijn-directed flick last week Continue reading...

Ever wondered how DJs manage their bladder during those epic marathon sets? Urine luck, because Cloonee has shared a golden hack for when nature calls at venues like Miami's iconic Club Space. The influential tech house producer has thrown down a number of lengthy performances at Club Space, which was recently named by EDM.com as 2024's best club in our list of the year's best electronic music industry leaders. His solution? A series of bespoke 10-minute edits, each tagged in his library as a "Time For A Piss Mix." When it's time for a bathroom break, Cloonee simply searches the term "piss" in his USB and drops one of these extended groovers. This brilliantly simple strategy ensures the vibes keep flowing while he takes care of business, proving that sometimes the most effective DJing tricks happen outside the booth. The purpose-built tracks in his folder include reworks of Max Chapman's "Fuego" and Facu Baez's "Bien Duro," among others. "I just search the word piss, they pop up and I can go for a leisurely stress free toilet break," Cloone said on X. Check out his post below. So people keep asking me how I go to the toilet during those long Space sets. I think I said it before but, a year or so ago I made 10 minute long edits of some groovy/rolling tracks and called them “time for a piss mix”. So now I just search the word piss, they pop up and I… pic.twitter.com/BaqO6STTN4 — Cloonee (@Clooneeuk) January 5, 2025 Follow Cloonee:Instagram: instagram.com/cloonee TikTok: tiktok.com/@clooneeuk X: x.com/clooneeuk Facebook: facebook.com/clooneeuk Spotify: bit.ly/46Hu9uD

Embodying the essence of Big Room House, Hardwell‘s name resounds as a towering figure in the genre. His musical journey began astonishingly early, with piano lessons at the tender age of four, and by twelve, he was already crafting his first single. Over the years, Hardwell has dominated the electronic dance music scene, securing his legacy as a two-time DJ Mag Top 100 victor. With millions of streams, headline performances at premier festivals worldwide, and his esteemed record label Revealed Recordings, his influence is undeniable. Following a two-year hiatus, the Dutch maestro returned in 2022, rejuvenated with a novel techno-infused big room sound. Join us in commemorating Hardwell‘s 37th birthday with his top 10 tracks. 10. Apollo with Amba Shepherd – 67m Spotify streams 9. Unity with Dimitri Vegas & Like Mike – 69m Spotify streams 8. I’m Not Sorry with Mike Williams – 72m Spotify streams 7. Don’t Let Me Down (Hardwell & Sephyx Remix) – 75m Spotify streams 6. Live The Night with W&W & Lil Jon – 76m Spotify streams 5. Young Again ft. Chris Jones – 80m Spotify streams 4. Bella Ciao with Maddix – 103m Spotify streams 3. Everytime We Touch (Hardwell & Maurice West Remix) – 116m Spotify streams 2. Power with KSHMR – 118m Spotify streams 1. Call Me A Spaceman with Mitch Crown – 123m Spotify streams

As you read it: it looks like Axwell is no longer the owner of the prestigious Axtone Records. He stepped down from his Director role, and sold his imprint to Pophouse Entertainment. The sale, finalized on November 22nd, 2024, marks the end of an era for the label that has championed some of Electronic music’s biggest names. Axtone, known for its Progressive House sound and influential releases, became a leading force in the late 00s and the entirety of the 2010s, with definitive releases being ‘Tell Me Why’, ‘Leave The World Behind’, ‘In My Mind’ and ‘All That Matters’, among many others. Despite that, though, the firm has seen a decline in activity in recent years, which, coupled with Pophouse Entertainment’s growing portfolio — which already includes the catalogs of iconic acts like Kiss, Avicii, and Axwell’s own EDM supergroup Swedish House Mafia — likely played a role in the decision. According to Companies House — a UK site that publicly reports company information — Axwell left his role as Director in late November, and the label was sold alongside it. Conni Yngve Jonsson — founder of Swedish global investment organization EQT AB — was added as “a person with significant control”, while Parham Benisi was appointed as Director. While the future direction of the label remains uncertain, fans and industry observers eagerly await an official announcement regarding the label’s future plans and roster, which hasn’t happened as of today. The post Axwell Sells Iconic Label Axtone Records, Steps Down From Director Role appeared first on EDMTunes.

Mikaela Jav, the cousin of Azerbaijan’s president, has been charged with aggravated drug trafficking Continue reading...

The festival responded to criticism last week, saying it donates millions to charity Continue reading...

Celebrate the unstoppable journey of Nicky Romero, the mastermind DJ and producer whose beats have become anthems in electronic dance music. From a prodigious talent to a towering figure in the EDM world, Nicky Romero‘s evolution is a blend of relentless passion and innovative soundscapes. Join us in honoring his birthday by diving into his top 10 tracks – a testament to his prolific career that spans chart-topping hits, dynamic collaborations, and the launch of his influential label, Protocol Recordings. As we explore the legacy of Nicky Romero‘s versatile discography, including the pulsating ‘Toulouse’ and the chart-busting ‘Sometimes’, get ready to experience the rhythm and energy that only Nicky Romero can deliver. 10. Lovefool (Remix) – 28m Spotify streams 9. Legacy with Krewella – 31m Spotify streams 8. Lighthouse – 33m Spotify streams 7. Ups & Downs with W&W – 36m Spotify streams 6. Like Home with Nervo – 39m Spotify streams 5. Toulouse – 40m Spotify streams 4. Paradise with Deniz Koyu & Walk Off The Earth – 45m Spotify streams 3. Sober with Cheat Codes – 48m Spotify streams 2. Carry On (Remix) – 49m Spotify streams 1. I Could Be The One with Avicii – 463m Spotify streams ‘

The pair surprised the London charity with the release of their new track ‘Outta Da Blue’ Continue reading...

The MEDUZA remix of “Forever” is a lesson in modern house music evolution, which effortlessly bridges tribal, Afro, progressive, and traditional house sensibilities. Published on electronic music powerhouse Insomniac Records, this remix highlights MEDUZA’s extraordinary ability to change songs while maintaining their original integrity. The trademark progressive house treatment of the Italian group transforms the original into new terrain and creates a complex conversation between modern house sounds and tribal percussion rhythms. The careful way this remix layers auditory elements distinguishes it. The basis starts with real tribal drumming, painstakingly engineered to provide an appealing groove. The way MEDUZA has tuned the bassline—a rolling, subterranean force adding warmth and movement without overpowering the mix—showcases their mastery. The arrangement honors the vocal performances by Malou and Yuna. Instead of being buried in effects or chopped beyond recognition—a common mistake in dance music remixes—their voices hover above the instrumental sounds, generating emotional peaks that precisely match the track’s explosive development. The production maintains the elegance required for sunset events like Pacha or Ushuaïa while yet carrying enough weight for peak-time festival sets at EDC. This adaptability results from deliberate sound design and arrangement decisions that strike a mix between commercial appeal and underground credibility—not from accident. Diplo‘s participation still gives the release another degree of worldwide viewpoint. Renowned for his keen awareness of and amplification of new dance music trends, his influence is evident in the deftly written transitions and creative sound design decisions of the track. The post MEDUZA Remixes Hugel and Diplo ‘Forever’ appeared first on The Groove Cartel.

Axwell, the Swedish DJ, producer, and one-third of Swedish House Mafia, formally split from Axtone Records, at least on the official documents, marking the end of a transforming chapter in electronic music. Originally established in 2005 as a venue for Axwell’s creative vision and a home for premium dance music, Axtone Records was sold to Pophouse Entertainment, effectively transforming the label’s background. What Happened? As of November 22, 2024, Axwell (actual name Axel Hedfors) stopped being a director and major controller of Axtone Records Limited per recent filings with Companies House. Along with Conni Yngve Jonsson’s appointment as the next major controller, these officially reported modifications were filed on December 4, 2024 This development is quite consistent with accounts of the company being sold to Pophouse Entertainment, a corporation recognized for acquiring and running artist catalogs including those of Swedish House Mafia, Avicii, and KISS. The sale includes key assets: The Axtone Records name. Web domains such as axtone.com and axtone.co.uk. Distribution rights to Axtone’s catalog. Logos and branding assets, among others. Why Now? Many of Axwell’s fans see his leaving Axtone Records as conflicting. Once the golden age standard for dance music, Axtone created masterpieces such as “In My Mind“, “I Found U,” and “Leave the World Behind“. Axwell’s personal participation in the label has, however, clearly dropped recently. The fissures started to show during Axtone’s 15th-anniversary festivities when Axwell was conspicuously missing. In his most recent interviews, Axwell acknowledged there were no preparations for a 20th-anniversary party. The Role of Pophouse Entertainment Having bought the catalogs of Swedish House Mafia and Avicii recently, Pophouse Entertainment is not new in the dance music scene. The company’s approach centers on using intellectual property to create artist brands in music, merchandise, live events, and other spheres. For Axtone, this could mean that although in a different form, the label will carry on. About whether the magic of Axtone can carry on without Axwell’s artistic input, fans are intrigued yet dubious. The crucial question still is: under Pophouse’s ownership, who will creatively guide Axtone? Of course, the news has split supporters. One Reddit discussion on the sale explores both acceptance and grief. Over what they see to be Axwell “abandoning” the label and its supporters, some people showed sadness. Others understand Axwell’s choice to turn his attention to family and personal concerns. “This is so sad if true,” one user said. “Peak Axtone was just the best”; another said. But there are defenders as well. He has worked in this field for nearly thirty years. One supporter said, “He’s earned the right to step back,” noting Axwell’s possible new emphasis on his family and son’s developing racing career. What Now and What Comes Next? Axtone’s legacy is unaltered even if its future is yet unknown. Modern house music was shaped in great part by the label, which also bridged popular underground grooves. Axtone set the gold standard for what a boutique dance music label could produce from its painstaking artwork to its well-chosen releases. Whether Pophouse will respect that tradition or transform Axtone into a solely commercial vehicle is yet unknown. Fans can only hope and guess for now that the core of Axtone—its commitment to excellence and creativity—survives this change. The post Axwell Sells Axtone Records to Pophouse Entertainment appeared first on The Groove Cartel.

Multiplatinum artist, superstar DJ, and elite producer Martin Garrix joined forces with rising electronic pop songstress Jex on a new joint single entitled ‘Told You So’ back in November. The track was met with positive reaction from fans and garnered lots of attention from other producers as well. Kicking off the new year, Garrix’s label STMPD has released a remix album titled Told You So Remixes Vol. 1. Listen here. The release features remixes from. Lavern x Vision V, Brooks, Nova Blue, and Alexander Merlin. Each remix brings a unique flavour to the original track, making this release a must-listen for fans and newcomers alike. The ‘Vol. 1’ name implies there are many more collaborations and remixes coming in the future. Who do you want to hear on the next remix volume? The post STMPD Records Releases: Told You So Remixes Vol. 1 appeared first on EDMTunes.

After an incredible run for Genesys and Genesys II, Italian Melodic Techno tastemaker Anyma brought us to The Sphere in Las Vegas for “End of Genesys”. The Residency, which will culminate next weekend with two more shows, saw incredible surprise guests including Grimes, Delilah Montagu, Ellie Goulding, and most recently, Empire of the Sun. The ‘Walking of a Dream’ vocalist Luke Steel joined Anyma towards the end of Act IV “Quantum”, to sing their upcoming collaboration ‘Human Now’. ‘Human Now’ at the Sphere The Las Vegas Strip lit up during New Years Week, involving Anyma’s history-making residency “End of Genesys”. The artist played for 6 nights in a row at the Sphere venue, a billion dollar structure that showcases the human extent of technology and A.I. The DJ invited some of Techno’s biggest names, such as Amelie Lens, Charlotte de Witte, Adriatique, Argy, Cassian, Kevin de Vries, Massano, and more. Moreover, there were surprise live performances. Anyma pushed to offer more of his artistry outside the Sphere. Thus, he played his own late-night afterparty at XS Nightclub at The Wynn Hotel. Besides, he also played a surprise b2b and solo set for Tiesto’s show at LIV Las Vegas at the Fountainbleu Hotel. On the last performance of the week, Anyma brought out the Australian Electronic duo Empire of the Sun’s singer to perform their upcoming collaboration ‘Human Now’ at the end of the performance. The track is an emotional and cathartic track that showcases the recurring theme of humanity and technology intertwined, with conflicting feelings yet similar purpose. The track accompanied the visuals of Anyma’s visual creative director Alessio de Vecchi. The visual art showcased a scene where an energy based humanoid figure takes the shape of Anyma, and gives out its life-force to a female cyborg. As the female cyborg then grows flesh into its more human form, Anyma’s body fades, and the hybrid gives one last smack to the screen, closing the show. Empire of the Sun Empire of the Sun finally returns from an 8 year hiatus with an album released last July. Moreover, the Duo came back into the spotlight back in 2023 with southstar’s unofficial remix of ‘We Are The People’. However, the Australian group released the official remixes of the track last December. The track now has remixes by ARTBAT, Eric Prydz, Adam Sellouk, and of course, southstar. ‘Human Now’ becomes the artists upcoming stage of their careers. More than ever, we hope they’re now more involved with dance music and hopefully they will tour on with Anyma and othr visionaries to create more history. The post Anyma and Empire Of The Sun Debut ‘Human Now’ At The Sphere appeared first on EDMTunes.

*Featured Cover Photo Credit: Glastonbury / Getty Images Glastonbury, one of the world’s most-famous contemporary arts festivals, reported profits up to $7.3 million (or £5.9 million) in 2024. According to an article from DJ Mag, the festival’s profits for 2024 surpassed 2023’s profits, which were $3.6 million (or £2.9 million). One of the U.K.’s well-renowned newspapers, The Evening Standard, stated that the profits were from Companies House accounts that Glastonbury filed for the 2023-2024 tax year ending in May 2024. The $7.3 million/£5.9 million that Glastonbury gained were pre-tax profits. Later, the festival then donated $6.4 million/£5.2 million to charities such as Oxfam, Greenpeace, and WaterAid. The festival’s overall revenue for the whole year of 2024 was $84.9 million (or £68.4 million), an increase of 20% from 2023. Criticism of the festival and upcoming goals in the next couple years The revelation of the profits that Glastonbury gained in 2024 comes after the legendary singer-songwriter Neil Young announced that he and his band decided to pull out of the 2025 edition’s lineup. Young mentioned the reason for the pullout was that him and his band had the festival organizers telling them to “do a lot of things” they did not have any interest in doing. The artist also said, “We will not be playing Glastonbury on this tour because it is a corporate turn-off, and not for me like it used to be.” One drawback from the 2024 edition that affirmed Young’s statement was that the smaller stages drew a lot of criticisms from fans for attracting overcrowdness. To address the issue (and other issues that affected last year’s edition), Glastonbury co-creator Michael Eavis said that the festival will undergo a “fallow year” in 2026, which is to allow the farmland on the festival grounds to recover. This makes sense since the festival organizers just purchased more land last June by spending $4.5 million (or £3.7 million). The steps that Glastonbury is taking may possibly ensure that the festival will see more profit increases as a result of these very significant additions to the festival experience for many of the attendees who plan on attending in the next couple years. Glastonbury spokesperson speaks on the gained profits “We were pleased to enjoy successful, dry Glastonburys in both 2023 and 2024. This has enabled us to continue to rebuild the event’s vital financial reserves, while also allowing us to continue to support good causes and charities.” Photo Credit: GlastonburyThe post Profits of Glastonbury in 2024 Totaled Up to $7.3 Million appeared first on EDMTunes.

Snakehips, the London-based electronic music duo, brought their signature blend of soulful vocals, slick production, and energetic rhythms to the Brooklyn Storehouse in New York on New Years Eve. Having seen the duo multiple times over the years, I know that everyone attending is always in for a good show. This is especially true on a day like New Year’s Eve in the city that never sleeps as I noticed the holiday cheer amongst everyone in the crowd that night. From start to finish, the energy was fun and good vibes during Snakehips’ performance. The music was a captivating blend of house, R&B, and pop, without there ever being a boring moment. Their visuals which were a vibrant mix of colors and textures, captured the cheerful essence of their performance. Besides the duo playing their signature hits, what I love about their sets is that they sprinkle in classic hits as well as more recent hits, giving the crowds doses of nostalgia in addition to modern crazed hype. Older tracks like ‘Satisfaction’ and ‘Chicken Soup’ in particular got my group riled up. Then the more recent mainstage bangers like Dom Dolla’s ‘girl$’, Odd Mob’s ‘Losing Control’ and Levity’s ‘Front to Back’ had everyone in the room jumping. In between all the high paced drops, the crowd was singing along to their signature tracks such as ‘Dont Leave‘ and ‘Shades‘. The highlight of the night was listening to ‘All My Friends‘ with my group, especially on a night like New Years Eve. To see where Snakehips is playing at a city near you, check the official website here for their tour dates. Oliver Lee and James Carter are the storied UK production and DJ duo, Snakehips. With over 2 billion catalogue streams over their career, Snakehips continue to evolve and connect with listeners around the world. Their philosophy is to never take things too seriously, yet always trust their own instinct. This dichotomy of emotional connection and a laid-back approach to life is harmoniously joined in their iconic and maverick sound. Snakehips find their groove within a fuzzy mesh of boundary-pushing R&B, hip hop, and dance music. Their 2015 mega-hit “All My Friends” featuring Tinashe and Chance The Rapper turned Snakehips into household names. Accumulating 750 million combined global plays around the world, the track went platinum in the US, UK, Australia, New Zealand, Netherlands, Sweden, Ireland, and Norway. The song went gold in the US, Canada, Denmark, Germany, Chile, Switzerland, Sweden, and Belgium, and won the annual Ivor Novello Award for Best Contemporary Song. Snakehips have lent their irresistible touch to a number of trendsetting artists. They’ve had the likes of Aminé, Chance The Rapper, H.E.R., MØ, Tinashe, Rivers Cuomo, ZAYN, Anderson .Paak, A Boogie Wit Da Hoodie, Anne-Marie, and more all feature on their records, the pair constantly seeking out versatility in their work. Highlights from their extensive catalogue include their beloved bangers “Don’t Leave,” “Either Way,” and “Cruel,” along with the 4-track EP ​Forever (Pt. II). Whether they’re making high-energy club hits or universally-relatable love songs, Snakehips creates their own form of musical escapism by subverting genres time and time again. The post Snakehips Throws Down on NYE at Brooklyn Storehouse appeared first on EDMTunes.

In a city renowned for its obsession with outdoing itself, it's only fitting that the first electronic act to headline the futuristic Vegas Sphere would debut in truly jaw-dropping fashion. Over the 2024 holiday season, Anyma delivered against even the loftiest of expectations, unveiling "The End of Genesys" in a breathtaking fusion of music and transhumanist art. Engulfed by the world's largest wraparound LED screen, he orchestrated a performance that felt less like a traditional dance music concert and more like a sci-fi opera set to the cinematic pulse of techno. From the moment his colossal robot visuals smashed through the digital "fourth wall," it was clear that Anyma didn't just just aim to dazzle spectators in the immediate moment—he sought to present an entirely new vision for what the future of electronic music performance could become. We were in the Sphere for both the opener of Anyma's historic residency as well as its climax: the New Year's Eve show. Read on to discover some of the most extraordinary revelations and moments from "The End Of Genesys," which is set to wrap up with shows January 10-11, 2025. Anyma performing his "The End of Genesys" show at the Vegas Sphere on December 29th, 2024.c/o Anyma Sphere's inner skyline: A fitting NYE countdownAs the final seconds of 2024 ticked away, the Sphere transformed into a canvas for one of the most unforgettable moments in its short but storied history. Anyma's iconic Afterlife humanoid burst through a wall of shimmering, digital glass—not into its usual abstract dimension, but instead revealing the real-life Las Vegas skyline in stunning hyper-reality. For a brief moment, it felt as though the Sphere’s dome had simply vanished, leaving the crowd exposed to the city’s glowing horizon. Fireworks ignited in perfect synchronization, flooding dazzling reflections across the venue's sprawling screen and the faces of the awestruck audience. It was a celebration of innovation, a moment where Anyma’s vision, the Sphere's bleeding-edge technology and the feel-good energy of the holiday season all contributed to a spectacle that could only be described as transcendent. View the original article to see embedded media. A symphony of robots and stringsThere’s a reason Anyma refers to his Sphere show as "a cybernetic opera." From the floor of the venue, a dual set of robot cellists flanked the artist, bringing the show's epic melodies to life. Each stroke of the bow became a meditation on transhumanism, a central theme in the Afterlife storyline. As the spectral tones intertwined with the steady pulse of techno kickdrums, the stage transformed into a shrine for the coexistence of humanity and technology. In the moment, Anyma and his mechanical counterparts seemingly merged into a single entity, reflecting the expanded potential unlocked when human creativity fuses with the technological tools of the future. View the original article to see embedded media. Virtual avatars redefine stage presenceIn "The End of Genesys," Anyma challenges the perception of what it means to be "present" onstage. Ellie Goulding’s likeness appears in a larger-than-life digital form, her face fragmenting and reassembling in time, synced to a haunting unreleased collaboration the two powerhouse artists have in the works called "Hypnotized." Though she was only physically present on opening night, her virtual presence at the venue is so vivid and immersive that it feels as though she's commanding the stage in real-time. Anyma himself also became part of the digital evolution, briefly morphing into a virtual avatar of his own within the Afterlife storyline. During a stunning performance of "Human Now," an unreleased collaboration with Empire of the Sun, an android transforms into the Italian superstar—tattoos and all—with stunning clarity. This pioneering integration of virtual and physical likenesses points to an emerging new frontier in live performance, one where avatars enhance, expand and redefine the boundaries of performative art. View the original article to see embedded media. View the original article to see embedded media. The continuity of crowd energyWhile the Sphere's groundbreaking visuals and Anyma's meticulously crafted performance were undeniable highlights, the energy of the crowd added its own irreplaceable dimension to the experience. That was partly due to the venue’s haptic feedback elements, including seats that vibrate in alignment with the onscreen action. Such design elements collectively created a unique sense of physical connection between the audience and the performance that's not often felt at large-scale venues. It was as though the audience members were plugged directly into Anyma’s cybernetic universe, but even so, many still felt inclined to get on their feet and dance. Regardless of how one chooses to enjoy the show, the crowd’s energy is palpable, with people audibly erupting in collective awe as the high-stakes production unfolded around them. The full-circle finale: Man and machine become oneAs the show draws to a suspenseful close, the spoken-word lyrics of "Eternity" ring into the void, tying the present pinnacle moment in the saga of Afterlife back to the brand's earliest origins. It's poetic, almost cyclical: "Eternity" and its associated humanoid robot visuals were the sparks that turned Afterlife into a bona fide global phenomenon, and now they served as the emotional anchor for the show's climactic conclusion. By returning to the very concept that first connected audiences with his vision, Anyma reminded us that even in the vastness of his cosmic carnival, there's a distinctly human vision and intuition that continues to bring it all to life. 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Behind every groundbreaking performance lies innovation born from necessity, and Anyma‘s “The End of Genesys” at The Sphere is no exception. Originally a laid-back discussion in the coziness of an Ibiza summer, what started out as a simple performance interface for electronic music has developed into one of the most complex ones available for musicians to use live. What is TEILE Elektronik? The narrative starts with TEILE Elektronik, a passion project born out of the joint ideas of two inventors: Benjamin, a technical master with a vision for transforming performance technology, and Rampa, the revered DJ and co-founder. Rampa’s years of performance provide insight into what artists really need, so their collaboration exemplifies the ideal mix of technical knowledge and practical experience; Benjamin’s engineering ability brings these concepts to life. Anyma’s custom TEILE Elektronik controllers What is the custom controller used in The End of Genesys show? Anyma’s performance arrangement centers on their masterwork, a dual-controller system that pushes the envelope of live electronic music capability. Instead of compromising for off-the-shelf fixes, this custom-designed interface has two painstakingly created control surfaces with six precision knobs and faders. These controllers are the result of many hours of improvement, not only bits of hardware that guarantee every touch and movement exactly converts into sound. The arrangement has an equally arresting visual design. Designed in translucent acrylic, the controllers’ internal operations are purposefully revealed to produce an intriguing interaction between form and function. LED wires slink their way through the clean container to the DJ booth’s base, their soft glow accentuating the futuristic look that marks The End of Genesys exhibition. How does the controller integrate with The Sphere? The monitor running Ableton Live, the neurological hub of the whole performance, lies at the core of this technical symphony. This is about arranging a sophisticated dance between music and images, not only about running tracks. Every single component of the presentation is painstakingly timecoded to guarantee flawless alignment with The Sphere’s large LED display. Anyma sets off a sample or starts a track, and the whole room responds in perfect harmony to provide an immersive experience not possible a few years ago. The effect modules of the controller give hitherto unheard-of control over the soundscape. Every knob has been meticulously tuned to control particular settings – reverb, delay, release, and more – thereby enabling Anyma to design the sound precisely. For a facility like The Sphere, where the HOLOPLOT audio system demands perfection in every frequency, this degree of control is very vital. Anyma’s custom TEILE Elektronik controllers at the Sphere for The End of Genesys This arrangement is really innovative since it perfectly interacts with The Sphere’s sophisticated technical system. Every movement, every change, every trigger is a part of a bigger choreography beyond just sound. From the robotic performers to the huge canvas of LED panels around the audience, the unique interface commands a full digital orchestra, and not only controls the music. Who created this setup? The quick development from idea to reality tells volumes about the technical knowledge of the TEILE team as well as Anyma’s clear show vision. Rampa feels delight in how fast they were able to turn an aspirational vision into a working reality as he considers the path the project took from an Ibiza talk to its fruition at The Sphere. This is about reinterpreting the interaction between artist, technology, and audience, not only about producing a fresh piece of gear. Developed for The End of Genesys, the unique controller system marks a major advance in how electronic artists could interact with their surroundings during live events. It establishes a new benchmark for what is feasible when technical innovation meets artistic vision, therefore demonstrating that creativity alone will define the future of electronic music performance. The post Inside Anyma’s Custom TEILE Hardware Setup for The End of Genesys appeared first on The Groove Cartel.

Axtone, a name stamped in the minds of many electronic music lovers. The label has released some of the biggest house tracks ever and is well known for being founded by Swedish legend Axwell. Although, in the past years, the name has lost some of its power, with few releases and no anniversary celebrations, affecting the brand. Online, fans spoke out expressing their disappointment regarding the lack of involvement showed by those who run the business. Axwell’s current relation to AxtoneNow, it looks like Axwell has resigned from any role at the label. According to the UK Companies House website, the DJ left the director position on the 22nd of November, the same day that the Axwell‘s role of a person with any significant control in the label was ceased. The founder seems to have sold Axtone to Parham Benisi, partner in the investments team of Swedish company, Pophouse Entertainment. Who are ‘Pophouse Entertainment’Pophouse specialises in acquiring music catalogues and developing entertainment brands. Avicii, Swedish House Mafia, and KISS are among the artists whose catalogues are owned by the company. With Axtone being added to their list, a revival could be possible considering Pophouse‘s views to developing brands. Axtone’s LegacyAxtone was born in 2005 and since then has brought the world sounds like Axwell‘s “Centre of The Universe,” “Sunrise” by The Aston Shuffle and Tommy Trash, as well as D.O.D‘s hit, “Sleepless” and many others. Throughout time, the label has hosted stages at big festivals such as Tomorrowland and Creamfields, as well as parties during Miami Music Weeks. Besides this, it has also played a big part in launching new artists. Axtone NowIn recent years, less and less music has been published by the label. In 2024, only four songs were released on Axtone, and posts on social media have been rare, causing the label to lose publicity. With the new ownership in place, Axtone‘s legacy will hopefully get back on its feet, although without Axwell, it may never be the same again.

As most Forest Family know, Kevin Graves, 28, notoriously went missing at the 2018 installment of Electric Forest in Rothbury, Michigan. His family has been looking for him ever since, and with each new year, missing person flyers and nearby billboards resurface, serving as a painful reminder for friends, family, and festival attendees. Now, six and a half years later, two hunters discovered human remains on private property near the festival grounds, and Michigan state police have positively identified the remains as Kevin Graves. According to State police, it may take several months to determine the cause and manner of death, but there “are no indications of foul play at this time.” The hunters found the remains earlier this week (Monday, December 30th), and according to Gary Graves, Kevin’s father, they also found “his wallet, his phone, and he had a (festival) wristband on.” Gary and his wife, Kathy Graves, both residents of Howell, Michigan, previously provided detectives samples of their DNA and access to their son’s dental records. Electric Forest Festival Grounds The Nearly Seven-Year Search Kevin’s family spent the last several years looking for him, including several unsuccessful searches throughout the festival grounds and adjacent properties. The hunters were clearing land for a shooting lane when they discovered the remains, according to Gary. “With the dogs and everything they claim they had running around there looking, I can’t see how we missed him. But I can’t say for sure until I know exactly where it was at.” -Gary Graves, Kevin’s father At the time of his disappearance, Kevin worked at a coating company and lived with his then-girlfriend of nearly two years in Oakland County’s Highland Township, where she reported Kevin Graves as a missing person on July 3, 2018. Many rumors surrounding his mysterious disappearance circulated in the following years, including everything from him joining a cult to heading out West to work at a marijuana farm, Gary said. Gary also said he was present during an interview with a couple who camped next to Kevin Graves and his former girlfriend during the 2018 festival. The couple reportedly observed Kevin Graves crying and walking away after arguing with his girlfriend, Gary said. This occurred on July 1, 2018, and the festival concluded the following day. According to MLive via a Freedom of Information Act records request, police reports indicated Kevin’s last cell phone activity was a call placed to his father’s cell phone on July 1, 2018. Electric Forest Campgrounds What Comes Next The family suspects foul play; however, the cause and manner of death haven’t been determined yet by police and are pending the results of an autopsy. While Gary suspected Kevin might have died, the reality hadn’t set in until an Oakland County sheriff’s official pulled up to his house around 3:30 p.m. on Monday December 31. “We didn’t really want that answer… We were hoping one day he’d come walking up the driveway.” -Gary Graves Source – [H/T] The post Police Identify Remains Found Near Electric Forest Grounds As Kevin Graves appeared first on EDMTunes.

As we usher in the first Friday of 2025,dive into the electrifying debut single in the afrohouse genre: ‘All Good Things (Come To An End)’. Introducing AfroSalto, a fresh duo that has teamed up with Miami’s dynamic Mednas to deliver this captivating anthem. Start 2025 on a high note with this uplifting tune. Now available now on Spinnin’ Records—your soundtrack to an amazing year ahead! ‘All Good Things (Come To An End)’ The highly anticipated collaboration between AFROJACK and Dutch producer Gregor Salto has finally arrived. They delivers an unforgettable afrohouse track titled ‘All Good Things (Come To An End)’. Drawing inspiration from Nelly Furtado’s iconic hit, this vibrant track perfectly encapsulates the joy of reconnecting with loved ones and celebrating life’s fleeting moments. This remarkable tune blends deep storytelling with an infectious dance energy, making it a must listen. Its layered melodies evoke a captivating sense of nostalgia while ensuring a contemporary and progressive sound. With crisp percussion, lush pads, and a driving bassline, AfroSalto and Mednas exhibit their remarkable attention to detail, resulting in a polished and impactful song. ‘All Good Things (Come To An End)’ truly embodies this vision. Originates from a warm, irresistible groove where organic percussion mingles seamlessly with sweet rhythmic melodies, the melancholic essence of the track is expertly balanced by its deep club atmosphere. Both artists draw on their underground backgrounds and extensive expertise in classic afro house to elevate the experience. Miami-based producer Mednas infuses undeniable energy into the mix, creating a fresh groove that’s destined to captivate dance floors worldwide. AfroSalto Two of Holland’s most iconic DJs, Afrojack and Gregor Salto, embark on an exhilarating new journey, creating a dynamic collaboration AfroSalto. This partnership represents a remarkable fusion of talent, bringing together two artists who have profoundly influenced the electronic music scene. Initially dominating the Dutch music landscape since the early 2000s, they have since winning global audiences with genre-defining festival hits. Afrojack has been a driving force behind the EDM phenomenon. Well known for his legendary collaborations with stars like Pitbull, Ne-Yo, David Guetta, Eva Simons, and Steve Aoki. In parallel, Gregor Salto has carved out a unique niche with his winning Latin house sound,. He has earned acclaim worldwide through hits like ‘Can’t Stop Playing’with Dr. Kucho! and ‘Magalenha,’ featuring Sergio Mendes. As we approach 2025, the excitement builds around AfroSalto, where these two icons will revive their shared passion. Their aim is nothing short of revolutionary: to redefine afrohouse by weaving in emotional depth and irresistible grooves that will echo with fans. Enjoy this new track and stay tuned for an exciting new year with EDMTunes. The post AfroSalto x Mednas – ‘All Good Things (Come To An End)’ appeared first on EDMTunes.

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