Ravebot

Adelaide-born DJ and producer, Juliet Fox releases psychedelic rave track ‘Now or Never‘ alongside emerging artist Teneya. Out now on Armada Music, ‘Now or Never’ radiates intimate club vibes where repetition of light flashes skips each beat with the beat of the kick. It embodies the perfect energy for any fast-paced dancer ready to rage the night away. ‘Now or Never’ Juliet Fox and Teneya Starting hot with an electrifying drum beat and intro vocal topline, ‘Now or Never’ injects dopamine immediately. Then, the vocalist sings an encouraging message telling listeners to not waste their time, and continue to rage like the eternal ravers they are. “Time, time, time Don’t waste your Time, time, time Ravers for eternity Ravers for eternity Now or never Flow like a river You are a raver” -Now or Never This message is a gateway into one of Juliet Fox’s signature drops. It involves her heavy techno kick, the message of eternal raving, and backing synths to glue the masterpiece together. Within the mix, you will hear a rhythmic hardstyle synth that showcases her ability to genre mix to get the results that make her fans spin. Altogether, ‘Now or Never’ will become a timeless piece in Juliet’s discography. Juliet Fox’s career and 2025 tour dates Notorious for her unique techno tracks, Juliet Fox has amassed over 9 million streams on Spotify by blending her experimental basslines and Techno beats with her signature trippy vocals. In 2023, her spotlight soared after performing at major events and venues like Printworks, Tomorrowland, Off Sonár, Ultra Europe, Awakenings, and more. Also, in the same year, she created her label, TREGAMBE. Since then, she has had an Asia and Australia tour, a collaboration tour with Carl Cox in New Zealand. And the release of multiple singles like ‘Velvet Tears’, ‘Evolution of Thinking’, and more. This year, she will be all over Europe and more with appearances at the Sommerliebe Festival, Pyramid Ibiza, and more. Following this link right here, you can find more events to see Juliet throw down her entrancing tracks like ‘Now or Never’. The post Rave Lights Flash With ‘Now or Never’ by Juliet Fox and Teneya appeared first on EDMTunes.

Photo Credit: Gateway Studios & Production Services Gateway Studios & Production Services (GSPS) has opened its new studio complex in Chesterfield, Missouri—the largest and most advanced rehearsal and production campus in the US. The new campus is hosting clients on-site, with new bookings continuing to build. The 32-acre facility is designed to meet the demands of the most complex touring productions, television and film projects, and high-end corporate events. It offers a seamless, purpose-built environment for creatives and crews to prepare, collaborate, and execute at the highest level. “We set out to build a space that solves real challenges for artists and crews preparing to take their tour on the road,” said Trey Kerr, CEO of Gateway Studios & Production Services. “Our facility reflects the vision—purpose-built, flexible, and ready to meet the demands of any production.” Since opening, GSPS has begun hosting a variety of clients and productions, and things are continuing to ramp up. Production teams are engaging the full capabilities of the complex, from rehearsal and staging to on-site support services, technical infrastructure, production support, and more. The campus also features three fully equipped pre-visualization suites, built to give creative teams a comfortable space to design and refine lighting, video, and staging elements before hitting the studio floor. Additionally, secure storage facilities for touring acts are available now. The Gateway Studios Campus is proudly collaborating with a select group of best-in-class partners to deliver a premium experience for every client. On-site catering is provided by The Goddess Rocks Catering, known for its artist-focused hospitality. Rhino supplies expert production labor, and SGPS ShowRig powers the staging infrastructure. With additional space available, GSPS is excited to welcome more industry partners to the campus, creating an even more dynamic, collaborative environment that fosters innovation across all aspects of production. “This facility was designed from the ground up to meet the practical needs of the crews who bring live entertainment to life,” said Garry Brown, President of Operations at GSPS. “From rigging and power to comfort and privacy, we’ve created an environment where teams can focus, collaborate, and ultimately craft the kind of incredible live experiences that fans will remember long after the show.” Phase two of the Gateway Studios campus is scheduled for completion in the fall. This next stage of development will introduce Studio 65 and a new office building. Studio 65 will offer 12,500 square feet of rehearsal space, a 65-foot grid height, and an 800,000-pound grid capacity. This will provide a versatile, fully equipped environment for tour prep in a more intimate setting. The new office building will serve as GSPS headquarters and include leasing opportunities for industry partners, creating a collaborative ecosystem. Gateway Studios & Production Services is officially open and actively booking new clients, whether for tour prep, television production, or immersive brand experiences. View the full article

Photo Credit: Kesha “Delusional” AI Artwork Kesha unveiled the cover art for her single “Delusional” in November 2024—with fans causing a firestorm of backlash over the use of generative AI. The generated image features a pile of handbags with the word ‘delusional’ spray-painted on them, but many instances of the word are misspelled. Fans quickly identified the work as an AI generated piece, with many criticizing the artists’ use of a genAI image with no modifications. Fans pointed out the awkward, error-laden visuals and accused the singer of disrespecting designers and visual artists. The cover featured at least three misspellings of the word and another mash-up that looks like DELUSHIAL—a huge tell that the image is AI generated. Kesha said her intent was meant to be a statement on how ‘delusional’ it is for society to expect artists to continually produce work while being undervalued. “When making the single art for my song ‘Delusional,’ I wanted to make the point that it’s delusional that the world expects artists to continue making art when we are so undervalued,” the post reads. “I tried to echo my ideas in the form of a political single cover. I’ve realized that living in alignment with my integrity is more important than proving a point. So I’ve decided to change the cover art for this song.” Now Kesha has replaced the artwork just weeks ahead of the full album release. The updated artwork features a photograph of herself zip-tied to a chair, set against a stark white background—a clear departure from the use of generative AI. Kesha thanked her creative team in a social media post featuring the new artwork, stating that she considers AI a “Pandora’s Box” that society must learn to use responsibly. The upcoming album Period is her first release as an independent artist. She fulfilled her contract with RCA and Kemosabe Records in December 2023, then launched her own label, Kesha Records. Period will release on July 4, 2025 and follows an intense legal battle, with Kesha stating this is the first time she’s been “fully in charge” of her career. View the full article

Breakaway has shared the full lineup for its debut festival in Philadelphia. The country’s top touring electronic festival will touch down in the City of Brotherly Love for the first time on September 12-13, bringing an eclectic roster of industry-leading DJs to the grounds of Subaru Park, just outside the city in Chester, Pennsylvania. Breakaway Philadelphia 2025 will feature headline performances from tearout dubstep titan Excision and chart-topping EDM hitmaker Zedd, joined by special appearances from UK tech house sensation Cloonee, cult-favorite experimental bass artist Of The Trees, and a bass set from fan-favorite mashup DJ duo Two Friends. Elsewhere on the lineup are party-starting house favorites like ACRAZE, Disco Lines, Dombresky, and Night Tales, jump-up drum & bass phenom Hedex, and more booming bass and dubstep DJs like Eptic, YDG, ROSSY, and Trivecta. Beloved West Coast bass brand Brownies & Lemonade will host a takeover of the festival’s Launch Pad stage. Check out the full lineup below. Breakaway Philadelphia attendees can also expect a selection of food and beverage offerings, on-site activations, two primary stages, and a silent disco. Nightly festival afterparties will be announced in the coming weeks. Since its launch as a one-stage event in Columbus, Ohio, in 2016, Breakaway has scaled up to become the U.S. dance scene’s foremost touring event, expanding its reach to cities that are traditionally overlooked by major electronic festivals, and giving fans in these cities a chance to catch globally renowned DJs they might otherwise miss. For more information or to purchase tickets to Breakaway Philadelphia 2025, visit breakawayfestival.com. Featured image courtesy: Breakaway Music Festival. The post Breakaway Philadelphia Announces Debut Lineup For 2025 appeared first on EDM Maniac. View the full article

Breakaway has shared the full lineup for its debut festival in Philadelphia. The country’s top touring electronic festival will touch down in the City of Brotherly Love for the first time on September 12-13, bringing an eclectic roster of industry-leading DJs to the grounds of Subaru Park, just outside the city in Chester, Pennsylvania. Breakaway Philadelphia 2025 will feature headline performances from tearout dubstep titan Excision and chart-topping EDM hitmaker Zedd, joined by special appearances from UK tech house sensation Cloonee, cult-favorite experimental bass artist Of The Trees, and a bass set from fan-favorite mashup DJ duo Two Friends. Elsewhere on the lineup are party-starting house favorites like ACRAZE, Disco Lines, Dombresky, and Night Tales, jump-up drum & bass phenom Hedex, and more booming bass and dubstep DJs like Eptic, YDG, ROSSY, and Trivecta. Beloved West Coast bass brand Brownies & Lemonade will host a takeover of the festival’s Launch Pad stage. Check out the full lineup below. Breakaway Philadelphia attendees can also expect a selection of food and beverage offerings, on-site activations, two primary stages, and a silent disco. Nightly festival afterparties will be announced in the coming weeks. Since its launch as a one-stage event in Columbus, Ohio, in 2016, Breakaway has scaled up to become the U.S. dance scene’s foremost touring event, expanding its reach to cities that are traditionally overlooked by major electronic festivals, and giving fans in these cities a chance to catch globally renowned DJs they might otherwise miss. For more information or to purchase tickets to Breakaway Philadelphia 2025, visit breakawayfestival.com. Featured image courtesy: Breakaway Music Festival. The post Breakaway Philadelphia Announces Debut Lineup For 2025 appeared first on EDM Maniac. View the full article

Photo Credit: Pelpa Time Production / CC by 3.0 Chris Brown was granted bail by a London court for $6.7 million over an assault charge, paving the way for his world tour to begin next month. Chris Brown is out on bail after his arrest in the UK last week after returning to the country for the first time since an alleged assault two years ago. He was initially refused bail on Friday, but a London court granted him bail on Wednesday after he promised to pay 5 million pounds ($6.7 million) in a security fee. “From the cage to the stage!” wrote Brown on Instagram after Wednesday’s bail hearing. The US singer was charged with inflicting grievous bodily harm in an “unprovoked attack” on music producer Abraham Diaw with a tequila bottle in a London nightclub in 2023. He has not yet been asked to enter a plea to the charge, and he was not present when Judge Tony Baumgartner granted him bail. Brown will next appear at London’s Southwark Crown Court on June 20. The 36-year-old Brown is set to kick off his Breezy Bowl XX Tour on June 8 in the Netherlands, but his arrest left fans concerned the tour would be postponed. The court also required him to surrender his passport, with exceptions for when he is traveling for his tour. A security fee is a financial guarantee to ensure a defendant returns to court; Brown could be asked to forfeit the money should he breach his bail conditions. Other conditions of his bail include living at a specific address known to the court, not contacting the alleged victim, not visiting the nightclub where the incident occurred, and not applying for international travel documents. Chris Brown’s tour is scheduled to kick off in Amsterdam on June 8, with stadium and arena dates in Manchester, London, Cardiff, Birmingham, and Glasgow through June and July. View the full article

Ultra Japan has shared its phase one lineup for 2025. The latest event lineup to arrive for powerhouse promoter Ultra Worldwide’s gauntlet of international destination festivals, now that its flagship event in Miami has come and gone, features a host of colossal dance DJs set to perform at Tokyo’s Odaiba Ultra Park on September 13-14. Among the first 10 entries on Ultra Japan’s phase one lineup for 2025 are headline performances from chart-topping producer Calvin Harris, superstar French heavyweight DJ Snake, and American dance-pop phenom Gryffin, as well as fellow EDM titans Hardwell, Martin Garrix, and SLANDER. Over on Ultra’s famous RESISTANCE house and techno stage, organizers have also confirmed headline sets from Belgian techno icon Amelie Lens, Drumcode Records boss Adam Beyer, and renowned melodic talents Argy and Korolova. Check out the official announcement below. Ahead of Ultra’s 10th trip to Japan this fall, the outfit will bring Ultra Europe to Croatia in July and hold a season-long RESISTANCE residency at Amnesia Ibiza this summer. Additional dates in Korea, Hong Kong, and Taiwan are expected to be revealed in the coming months. Earlier this year, the brand touched down in Australia and South Africa. For more information or to purchase tickets to Ultra Japan 2025, visit ultrajapan.com. Featured image courtesy: Ultra Worldwide. The post Ultra Japan Announces Phase One Lineup For 2025 Return To Tokyo appeared first on EDM Maniac. View the full article

Ultra Japan has shared its phase one lineup for 2025. The latest event lineup to arrive for powerhouse promoter Ultra Worldwide’s gauntlet of international destination festivals, now that its flagship event in Miami has come and gone, features a host of colossal dance DJs set to perform at Tokyo’s Odaiba Ultra Park on September 13-14. Among the first 10 entries on Ultra Japan’s phase one lineup for 2025 are headline performances from chart-topping producer Calvin Harris, superstar French heavyweight DJ Snake, and American dance-pop phenom Gryffin, as well as fellow EDM titans Hardwell, Martin Garrix, and SLANDER. Over on Ultra’s famous RESISTANCE house and techno stage, organizers have also confirmed headline sets from Belgian techno icon Amelie Lens, Drumcode Records boss Adam Beyer, and renowned melodic talents Argy and Korolova. Check out the official announcement below. Ahead of Ultra’s 10th trip to Japan this fall, the outfit will bring Ultra Europe to Croatia in July and hold a season-long RESISTANCE residency at Amnesia Ibiza this summer. Additional dates in Korea, Hong Kong, and Taiwan are expected to be revealed in the coming months. Earlier this year, the brand touched down in Australia and South Africa. For more information or to purchase tickets to Ultra Japan 2025, visit ultrajapan.com. Featured image courtesy: Ultra Worldwide. The post Ultra Japan Announces Phase One Lineup For 2025 Return To Tokyo appeared first on EDM Maniac. View the full article

During COVID-19 pandemic. Among the many sectors affected, the live music industry was dealt a severe blow. Festival-goers, ravers, DJs, and music aficionados saw their beloved concerts, festivals, and live performances vanish into thin air. But amidst the disappointment, a controversy was brewing. Two industry behemoths, Live Nation and AEG Presents, found themselves in hot water, under investigation by the US Department of Justice over their handling of concert cancellations during the pandemic. As the news broke on May 15, 2021, Bloomberg reported that an antitrust probe was underway. The focus of the investigation was whether these industry titans illegally colluded regarding their refund policies and artist negotiations in the direst of times. Prosecutors even considered bringing charges against Live Nation and its Chief Executive Officer, Michael Rapino. But what really happened? How did these industry stalwarts land in such a controversy? And what does this mean for us, the music lovers? Let’s take a deep dive into this intriguing saga of corporate conduct during a global crisis. The Allegations: A Tale of Collusion? When the pandemic hit, it was a time of confusion and chaos for the live music industry. With events being postponed or canceled right, left, and center, ticket holders were left in limbo. It was during this time that Live Nation and AEG Presents, two leading players in the concert and ticketing industry, allegedly coordinated their responses. The crux of the issue lay in their refund policies. The US Department of Justice’s antitrust division reportedly investigated whether the two companies colluded to withhold refunds for shows that were postponed indefinitely. In other words, fans who bought tickets for shows that got stuck in the pandemic limbo were potentially left high and dry. But the allegations didn’t stop at refund policies. The investigation also looked into whether the duopoly had unfairly negotiated with artists during the pandemic. While the specifics of these alleged negotiations remain unclear, the fact that the authorities even considered bringing charges against the companies and Live Nation’s CEO, Michael Rapino, shows the gravity of the situation. Live Nation’s Defense: A Misunderstanding or a Misconduct? As the news of the investigation broke, Live Nation was quick to defend itself. The company categorically denied any wrongdoing, stating that they fully cooperated with the DOJ’s inquiries and maintained the highest standards of legal and ethical conduct throughout. The company pointed out that their refund policy was clear and transparent. They stated that customers were offered full refunds for any canceled shows and, in cases where shows were postponed, customers could request a refund. They further emphasized that their policy was in line with industry standards. As for the allegations of colluding with AEG Presents, Live Nation dismissed them as baseless. The company argued that the claim was a misunderstanding of the industry’s standard practices and a misinterpretation of their commitment to keeping the live music industry afloat during an unprecedented crisis. Looking Ahead: What Does This Mean for the Music World? Regardless of the outcome of the investigation, this controversy has shed a spotlight on the live music industry’s practices. It has raised questions about the conduct of industry giants during a crisis and highlighted the need for transparency and fairness in their dealings with artists and customers alike. For us, the music lovers, it’s a wake-up call. It’s a reminder that as consumers, we must stay vigilant. We must understand the fine print when we purchase tickets and be aware of our rights. It’s also a call to support ethical practices in the music industry and demand better from those in power. As the dust settles on this controversy, one thing is clear: the live music industry will never be the same. The pandemic has changed the way we experience music, and this investigation has the potential to change the way the industry operates. But with change comes opportunity – an opportunity for the industry to emerge stronger, more transparent, and more respectful of the ones who keep it alive: the artists and the fans. The post Live Nation & AEG Being Probed Over Pandemic Refund Policies appeared first on EDMTunes.

Photo Credit: Krishta Abruzzini Foreigner’s long-time vocalist Kelly Hansen has announced he’s stepping down from the position after the band’s summer tour concludes. Guitarist Luis Maldonado will step into the role. Hansen announced the news during a special appearance on the NBC reality show, ‘The Voice.’ “Being the voice of Foreigner has been one of the greatest honors of my life,” Hansen said about stepping down. “But it’s time to pass the mic. Luis has the voice, the energy, and the soul to carry these songs into the future. I couldn’t be prouder to hand this off to him.” Foreigner Leader & Founder Mick Jones also commented on the passing of the torch, sharing his approval of the move. “In 1976, my goal was to assemble the finest group of musicians I could find. Results have shown that it worked! About thirty years later, Jason Bonham encourages me to do it all over again and create a brand-new Foreigner, and the magic is still there.” “I was especially fortunate in the choice of lead singer. Kelly Hansen is one of the best front men in our business and over the last twenty years he has breathed new life into our songs. His boundless energy and flawless talent have helped us climb the mountain and set up the opportunity for Foreigner vocalist and guitarist Luis Maldonado to bring us home.” “I wish Kelly great happiness in his next endeavors after our summer tour and I look forward to welcoming Luis to his new position. Luis was my choice as a guitarist and he has already shown us what he can do on lead vocals by fronting the band in South America to incredible reviews. He will soon lead the charge and carry us forward to new heights,” Jones concludes. Before Luis joined Foreigner, he was best known as the guitarist for Train and for his work with Lisa Marie Presley. He now steps into the spotlight as the lead singer of Foreigner, bringing a rich blend of vocal power, stage charisma, and musical versatility. “This music has been part of my life for as long as I can remember,” says Maldonado. “I’m ready to honor Foreigner’s legacy and bring my heart to every performance.” Kelly Hansen joined Foreigner in 2005 and helped revitalize the band’s live presence. Their current tour continues through 2025 and will feature both Hansen and Maldonado on stage in the symbolic handoff. Next year is the band’s 50th anniversary of its formation in New York in 1976. View the full article

The coffeeshop rave craze, a current Gen Z favorite, is springing up in cities like Los Angeles, Miami, Toronto and Zurich. These caffeine-fueled day parties are now getting a tail-wagging twist: dogs on the dancefloor. On May 17th, the Doglateria café in Sydney, Australia teamed up with Spotify to throw the inaugural "Woof Doof," the country's first-ever rave designed specifically for dogs. The eatery serves what they call "doglato," an all-natural gelato for canines with no sugar, preservatives or additives. Of course, no rave is complete without tunes, so the "Woof Doof" event featured a live DJ who kept the volume between a dog-friendly 55 and 60 decibels. View the original article to see embedded media. While the future of Australia's rave culture remains uncertain, this unique pop-up could mark the start of a new (and adorable) trend in the region. "Cafés in the area and around the world are playing rave music, so we thought we shouldn’t miss this opportunity," Doglateria owner Oscar Vallejo told Today. The free event ran from 9am to noon, with the first 50 pups in line receiving Spotify-themed doggie merch and a gelato treat. Early arrivals also got to enjoy a special take on the classic açaí bowl made with coconut cream, muesli, peanut butter, honey and carob powder. View the original article to see embedded media.

It appears that fans eagerly awaiting the next iteration of Apple’s high-end earbuds may need to temper their expectations. A recent report indicates a significant delay for the AirPods Pro 3, potentially pushing their release to 2026. According to well-known Apple analyst Ming-Chi Kuo, Apple is not planning to release the third-generation AirPods Pro next year (2025). Instead, production is now anticipated to commence in 2026. Kuo also suggests that these future earbuds could incorporate built-in infrared cameras, which might unlock new functionalities related to visionOS and enhanced spatial audio experiences. This updated timeline contrasts drastically with earlier speculation. Recently discovered code in an Apple software update, which changed ‘AirPods Pro 2nd Generation’ to ‘AirPods Pro 2 or later,’ had sparked rumors that the AirPods Pro 3 might be unveiled as early as WWDC 2025. Furthermore, information from other sources presents conflicting timelines. Some reports had previously pointed towards a 2025 launch, touting potential upgrades such as a new H3 chip, improved active noise cancellation, and even a heart rate sensor similar to the one recently included in the Powerbeats Pro 4. There were even whispers that the new AirPods Pro could debut alongside the iPhone 17 lineup in September. If Kuo’s latest prediction proves accurate, it would mean Apple’s top-tier earbuds will not receive a major hardware update for four years. This is a notably long period for a product line that remains a significant revenue generator for Apple. Can’t Wait Until 2026? For those unwilling to wait until 2026, acquiring the current-generation model at a discount could be a viable option. Refurbished AirPods Pro 2 are currently available on Amazon for $199, a 20% reduction from their original $249 price. This offers a good opportunity to experience Apple’s best current earbuds without paying the full retail cost. The post Don’t Expect AirPods Pro 3 Until 2026, Analyst Claims appeared first on EDMTunes.

 Producer and composer Erin Davis speaks about his early life as the son of acclaimed jazz trumpeter Miles Davis. Erin reveals Miles’ musical motto of doing away with nostalgia, moving on, and always ‘doing something new.’ In his role as co-manager of Miles Davis’ estate, handled by Downtown Music, Erin says, “We’re in good hands.” The following recaps an interview with Erin Davis as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with. Erin Davis didn’t really ‘start hanging out’ with his father Miles Davis until he was ten years old. So Erin’s early interest in music developed because his mother played ‘everything from Miles’ music to Sister Sledge and Pointer Sisters.’ “There was a lot of stuff from the 80s and the late 70s that permeated our house.” “When I was young, my dad briefly retired from music. He was trying to heal himself and was going through a lot of stuff. When he came out of that, he sent me a bunch of his new stuff — The Man with the Horn and We Want Miles had come out.” “Then he [Miles] was with Columbia. So I would [ask for] all these Columbia artists like Men at Work, Cheap Trick — and he would send me those records. It was great.” After moving to Malibu to live with Miles, Erin began to learn how his father created music. “He [Miles] didn’t listen to any kind of swing jazz, cool jazz, hard bop, Bebop — nothing. He didn’t listen to any of his old records. He didn’t have any of them in our house.” In fact, if Erin found a tape of his father’s band, Miles would take it away. As Erin joined Miles on the road, he saw what kind of star Miles was — ‘especially away from America.’ “In Europe, they treat Jazz like Rock. It’s just as big as anything else. So when you have the North Sea Jazz Festival, The old JVC festivals, or Umbria Jazz Festival, they are big productions.” “We were always headlining acts. He was always last to go on and it was really special. Europe, Japan, The Hague in the Netherlands — that was always fun.” In 1991, Miles passed away — that’s when Erin truly learned the depth of his father’s talent, and uncovered the unique periods of his musical career. “After he passed away, I was able to get into the back catalog. That was a whole new awakening of who he was.” “All I knew was the stuff we were doing in the 80s with Columbia, and these great records with Marcus Miller at Warner Bros. I knew that inside out before it was even mixed and mastered.” “When he passed away, everything was starting to come out on CD — Kind of Blue, Sketches, Birth of the Cool, Milestones, everything. And then they started doing these box sets. So I had to learn about these periods. And that helped me go through the eras, if you will — the periods of his musical career.” Erin also talks about Miles’ reputation as ‘this prince of darkness kind of person.’ “He [Miles] only needed a break from the creative process sometimes.” “When he [Miles] needed a break, he would paint. That was his other outlet. We had to go get art supplies. Sketching. A lot of painting. A lot of drawing. He would ride his horses, and also go swimming at Pepperdine.” “His mystique is [based on] how people perceive him. He knew about that, but there has to be some substance behind it,” says Erin. Erin says people’s perception did not faze Miles at all. “You get this persona and you get this image: ‘he turns back to the audience’ kind of thing.” But Miles knew that if he went to somebody’s show, it could affect them a little bit. “I don’t think he did it to be mean. I think he knew that if he was standing on the side of the stage for somebody’s show, that might bother them.” “It was not disdain. A conductor always faces the orchestra. They don’t face the audience. These perceptions create the mystique. They help. He understood that.” Speaking about the inspiration behind Miles’ musical genius, Erin says, “It was just the things and sounds around him.” “He would say, I want that street sound — the sound of the streets. And I would wonder, what does that mean to him? But he’d want that street sound underneath his horn. And that’s what changed over the years — all the things underneath the horn.” “For him, a lot of it was about bringing some tunes in the studio, and just see what happens. Very loose, collaborative creation.” “In our documentary, somebody said he [Miles] used to go out into the woods and play with the sounds of the birds and whatever was going on in the woods. And when he moved to New York, that sound changed again.” “He changed his music by changing what he wanted to hear — what he was feeling. He would hear something and find the right people to help him exercise it.” “That’s why he worked so hard on his music — making sure that everybody around him is on that same level. You’re always working to have the best people for that particular sound, or that project.” Erin is carrying Miles’ very prolific and unique legacy. “For me, his legacy is to follow your inner voice and not compromise. Do not look back if you can. It’s hard to do, but that was his thing: keep moving it forward and do not look back.” “His legacy to me is what I’m doing. I’m not doing [the same] stuff anymore. I see other bands and people want them to play the stuff they played 50 years ago. It sounds great. It’s beautiful and it’s nostalgic.” “He [Miles] just wasn’t into that. He was like, that’s done.” And that is why Miles’ career arc is unique. “The styles that he went through; he changed courses in music. He moved things. The legacy of his band itself is legendary — let alone his prolific recording and touring and performing career.” The Miles Davis Estate is managed by Downtown Music, and Erin says it has been a ‘very comfortable working arrangement.’ “I feel like Downtown is very comfortable with the Miles Davis catalog. They know what they’re doing, and they have a strong sense of what works.” “I feel like we’re being looked out for, which is always a good feeling. I feel like we’re in good hands.” About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join hereci> View the full article

The Chainsmokers took their show to new heights—literally—this week, performing a gravity-defying, high-energy set atop the EDGE perched 100 stories above New York City at Hudson Yards. The event was part of Marquee Skydeck’s Summer Pop-Up series. With panoramic views of the city and glass floors, the exclusive performance was a thrilling consolation for fans after the duo’s Brooklyn Mirage dates were rescheduled to August 7 and 8, 2025. For Drew Taggart and Alex Pall, who both came up in the New York scene, the night was more than just a performance—but a homecoming show like no other. The Grammy-winning artists turned the sky-high venue into a dancefloor in the clouds, giving fans an unforgettable night that proved no setback can keep The Chainsmokers grounded for long. The duo played all their classics from #SELFIE to ‘Roses’ and ‘Closer’. This was an event like no other and truly a mesmerizing experience for everyone that attended. The Chainsmokers will be returning back to New York City later this Summer to perform at their rescheduled shows at the Mirage. There’s no doubt that they will be preparing a special performance for their big return to New York then. This pop-up experience was put together by the team from Marquee New York and have a ton more Sky-Deck shows scheduled for throughout the summer while their nightclub in Chelsea is currently under renovations. Many of the artists are still to be announced for the upcoming Sky-Deck shows but one confirmed talent will be Maceo Plex who is set to take his turn at the EDGE next Saturday on May 31st. For tickets and tables to the upcoming Marquee Sky-Deck experiences click HERE. The post The Chainsmokers Perform Marquee Skydeck Pop-Up Show at the EDGE in NYC appeared first on EDMTunes.

A live performance from Abby Anderson, one of the many artists publicly backing the No Fakes Act. It’s time for Congress to pass the No Fakes Act – at least according to 21 Savage, Billy Idol, Deadmau5, Joe Walsh, Lainey Wilson, and a number of others who are backing the bill ahead of a Senate hearing today. Just shy of 400 artists and actors signed a petition in support of the legislation, which, designed to tackle AI deepfakes, would establish bolstered voice and likeness protections. Originally introduced in 2023, the bipartisan No Fakes Act resurfaced in Congress last month with 40% more pages than its initial iteration. As we summarized then, the extra words pertain to updated liability exclusions, penalties for online services as well as individuals, and subpoena particulars, to list a few elements. Besides growing in the length department, the bill is finding new proponents this time around. Continued industry endorsements – RIAA head Mitch Glazier and country star Martina McBride will testify at this afternoon’s hearing – are now accompanied by backing from YouTube, the Walt Disney Company, and OpenAI. Stated differently, with music-space giants and tech companies alike throwing their weight behind the measure, the odds of passage seem better than ever. Still, when it comes to maximizing the chances of a successful legislative journey, it makes sense to emphasize the bill’s creative-sector positioning. Enter the aforementioned Human Artistry Campaign petition touting the No Fakes Act, which is supported by talent from CAKE to Lee Greenwood and Luis Fonsi to Lamb of God. Common, Reba McEntire, Elvis Costello, Peter Frampton, the Black Keys’ Patrick Carney, Steven Tyler, and Mary J. Blige represent some of the numerous other signers. Though many of these individuals are music professionals, actors such as Jack Nicholson and an apparently ticked off Scarlett Johansson also added their names to the petition. “This diverse coalition of artists, actors and creatives who know the importance of protecting these individual qualities as well as the support from leaders in both political parties on Capitol Hill, highlights how vital the NO FAKES Act is to preventing AI-generated deepfakes and fraud from exploiting who we are,” Human Artistry Campaign senior advisor Moiya McTier added in part. Now, days after President Trump signed the Take It Down Act into law, all eyes are on the initially highlighted Senate hearing, dubbed “The Good, the Bad, and the Ugly: AI-Generated Deepfakes in 2025.” On top of the above-noted appearances from Glazier and McBride, the Capitol Hill outing is set to feature remarks from YouTube global music publishing senior counsel Suzana Carlos. View the full article

According to a report from the Las Vegas Review-Journal, authorities in Clark County are investigating the deaths of two men following separate incidents connected to the EDC Las Vegas festival over the weekend. Azmi Atassi of Flagstaff, Arizona, and Opkar Mahal, of North Las Vegas, both died on Sunday, per the Clark County coroner's office. The causes of death remain pending. Mahal, 39, suffered what police described as a "medical episode" while attending the festival at the Las Vegas Motor Speedway. He was reportedly transported to University Medical Center, where he later died. Atassi, 33, was found deceased in his room at the Hilton Grand Vacations Club on Las Vegas Boulevard South. Officials believe he was in Las Vegas to attend the festival. The Las Vegas Metropolitan Police Department announced Tuesday that they would be reviewing both incidents. They have not yet released additional information about the circumstances, including whether the deaths are related to drug use, heat exposure or other factors associated with large-scale festivals. EDC is one of the largest electronic dance music festivals in the world, regularly drawing over 500,000 attendees over three days. The 2025 edition took place May 16-18.

What Kode PinK is doing is working. The LA-based duo of Kenan Nadar and Calvin Htet built their reputation on catchy, emotionally grounded dance-pop and are now entering a new phase of creative momentum. With over a million Spotify streams, sold-osut shows in Tokyo and Koreatown LA, and collaborations with names like Parker Matthews and Justin Park, they’ve proven that pop polish and real heart don’t have to be opposites. Known for their vibrant visuals and knack for creating feel-good anthems with meaning, Kode PinK caught the eyes of industry brands and names like SpaceYacht and radio curator Austin Kramer. Whether it’s headlining K-pop x EDM crossovers or lighting up Catch One before BEAUZ, they’ve consistently found ways to bring sincerity and energy to the same stage. Now, they link up with Jina Kim for “Dance With Someone New,” a track that’s pure 2010s nostalgia wrapped in crisp, modern production. It’s synthy, smooth, and refreshingly clear—somewhere between Owl City’s shimmer and Lauv’s intimacy. The vocal delivery floats without losing weight, and every melodic turn hits a sweet spot that hard to put into words, but feels right. “Dance With Someone New” is a quiet scene-stealer: good songwriting with a glow. The post Kode PinK & Jina Kim Drift Into the Glow of Heartache on ‘Dance With Someone New’ appeared first on EDMTunes.

Otto Yliperttula, globally recognized as Yotto, and his musical partner Karolus Viitala have just unveiled their latest single, ‘Love Shop‘. We see its release under their collaborative alias, Something Good. This fresh track marks another exciting chapter for the duo, who have a history of crafting captivating electronic music. Another fantastic addition to the Anjunadeep collection. Yotto and Karolus once again demonstrate their exceptional synergy as producers. ‘Love Shop‘ masterfully blends a driving bassline with sharp synth stabs. It creates an energetic and immersive soundscape that is characteristic of their distinctive style. A scintillating riff of electric guitar-esque synths drive the song home into your hearts. We can definitely see this one played live. It’s garnered much love and a five-star appreciation from industry friends like Ben Bohmer and Lane 8. “What a Vibe” – Ben Bohmer “I feel like I can run through a brick wall now!” – Lane 8 This compelling production has already caught the attention of influential platforms, earning crucial support from BBC Radio 1, SiriusXM’s Diplo’s Revolution, and Triple J, among others. The track not only showcases their refined production skills but also reinforces why Something Good continues to be a name synonymous with quality and innovation in the world of electronic music. When Yotto is not busy melting faces and hearts with his music, he is touring with the likes of Eli & Fur at Gas Works Park in Seattle. Or even getting a visit from Papa Prydz to his EDC Las Vegas Science Fair Project. Not to mention fulfilling his first Ibiza of the season at Pacha or smashing it at The Brooklyn Mirage in New York. You go, Yotto! After a period of individual pursuits, Yotto and Viitala reignited their Something Good project in 2022. Their grand re-entry was marked by a revitalized version of the classic anthem ‘Rhythm (Of The Night)‘. This revamped track met with an overwhelmingly positive reception, garnering significant DJ support from industry heavyweights such as Pete Tong, Armin van Buuren, MEDUZA, Gorgon City, Joris Voorn, and Miss Monique. The track accumulated over 50 million streams worldwide, solidifying Something Good’s impactful return to the electronic music scene. Since then, the duo has consistently delivered, releasing several more singles, including their recent offering, ‘Most Precious Love‘, which notably featured a sample from the iconic Barbara Tucker. Listen to ‘Love Shop’ on all streaming platforms now. Yotto, Something Good – Love Shop | Buy/Stream The post Yotto, Something Good – Love Shop appeared first on EDMTunes.

CRSSD is returning to San Diego's idyllic Waterfront Park September 27-28 with an electric lineup to celebrate the festival's 10-year anniversary. Known as the crown jewel of techno and house music in Southern California, CRSSD's fall edition features global superstars, genre-spanning innovators and rare B2Bs. Headliners include John Summit, Claude VonStroke, Cloonee and Empire of the Sun. The Palms Stage will host house music favorites like Purple Disco Machine, Dombresky and Chris Stussy, along with a b2b between Jamie Jones and Adam Ten. Techno fans can gather at the City Steps Stage for sets from Boys Noize, Brutalismus 3000, Eli Brown and KETBOI69, the high-energy alias of KETTAMA and Partiboi69. Other can't-miss highlights on the lineup include Cassian, Ben Böhmer, Elderbrook, Sultan + Shepherd and EDM.com Class of 2025 inductees Beltran and Max Styler. You can check out the lineup below and purchase tickets via the festival's website. c/o CRSSD Festival Follow CRSSD:X: x.com/crssdfest Instagram: instagram.com/crssdfest TikTok: tiktok.com/@crssdfest Facebook: facebook.com/crssdfest

When the world was opening back up after the pandemic, Christian Smith, better known as Crankdat, found himself considering walking away from music altogether. At that point, he'd been touring professionally since 2017 after dropping out of college to pursue music full-time. But after being dropped by his agency and watching bookings slow in an industry still adjusting to life post-global shutdown, he found himself questioning everything. It was 2022 and the electronic dance music industry felt like it had reset. Momentum was hard to come by. "I think my time's up, maybe it's time to just look at what's next for me in life," Smith recalls thinking in a candid interview with EDM.com. "Maybe I don't want to do anything in entertainment at all anymore. Maybe I want to go do something completely different." c/o Press An inflection point came that summer after a pivotal conversation with his manager, who challenged him to commit to just six more months and give it everything he had. "You've been giving it a hundred percent this whole time," he said his manager told him. "But give it 110%. Give it 120%." So he did. "If you’re going to quit, who gives a shit anyway?" Smith recalled hearing. "Just throw everything you have at the wall and let’s see what shakes. So that's pretty much what I did." That mindset shift was a turning point for the rising dubstep superstar, who stopped worrying about what others in the industry might think. He instead started taking creative risks, and they started to pay off. With perfectionism no longer looming, Crankdat's early comeback was in full force. TikTok, once a platform he avoided, became the key that reignited everything. He launched a remix video series, posted weekly content and stayed constantly visible on the platform "until people couldn’t get away from me," he jokes. The experiment worked as his channel ballooned to over 1 million followers, growing his fan base organically while reintroducing him to the EDM community. “It felt like I was starting over, but with experience this time," Smith says. By early-2023, the Crankdat project exploded with "STFU," a dubstep smash currently on the precipice of 10 million Spotify streams. The viral hit helped transform Smith's burnout into the feeling of forward motion. His cult following began translating over to the live music arena, culminating in a sold-out doubleheader at the famed Hollywood Palladium and a landmark set at North America's largest EDM festival, EDC Las Vegas, which became the most-attended performance in the history of its beloved bassPOD stage. Marcus Dossous Since then, he’s been on a tear: a sold-out North American tour, "GET CRANKED!"; a surprise appearance to close out Coachella's storied Do LaB stage; a coveted night-time slot at Ultra Music Festival's 25th anniversary; and a pair of DJ sets at EDC Las Vegas. Smith is now rolling into a jam-packed summer of festival sets at Bonnaroo, Electric Forest, Tomorrowland and HARD Summer, among many others. However, the North Star of his resurgence hasn't been the high-profile gigs, but his deep connection to his fans. "We talk about it every single week," he says. "I say that line more than any other sentence in my entire life: fan experience is the number one priority." That philosophy has shaped every aspect of his live show. At the Palladium, he debuted "Middle Fingers Up" (MFU), a giant pair of flame-throwing middle fingers tied to the lore of "STFU." What started as a one-off became a signature showpiece, later appearing at a secret show at Brooklyn's Under the K Bridge Park. c/o Press But that was just phase one. For his 2025 tour, he retired the "MFU" stage design and built something entirely new: the ambitious "Crank Deck." With its 360° stage design, the production brings fans in as close as possible—literally. At each show, Smith and his team hand out Charlie and the Chocolate Factory-style "Golden Tickets" to diehard fans in GA, often those decked out in Crankdat jerseys or merch. The special passes grant access to an elevated area onstage so fans can experience the shows alongside their charismatic headliner. This tour also marks Smith's first major-budget production, the development of which was "hands-on in the literal sense," he says. He flew in early to tour stops, worked alongside his crew at 9am load-ins and sometimes even built stage elements with his VJ just minutes before doors opened. Balancing large-scale production with this boots-on-the-ground energy is what makes Crankdat's shows feel personal, even as the rooms keep getting bigger. Developed specifically with his fans in mind, the "Crank Deck" is complete with immersive lighting elements and headbang-ready railings, infrastructure he called "really complicated." "Securing railings onto decking, because we wanted the railings to be headbang-able, we wanted the kids to be able to go ape-shit on those things," Smith explains. "And that’s actually really hard to do." Another key addition? Lasers. Lots of lasers. Crankdat performing at EDC Las Vegas 2025.Mike Hook Smith spent a lot of time considering how the dispersion of lasers would make his fans feel, no matter where they are in the crowd. "It is more than just seeing them," he says. They have got to be going over their head so that they can look up and they're like, 'Holy shit.'" But the connection doesn’t end when the lasers shut down. Through it all, a few things have stayed the same: build fearlessly and never take the crowd for granted. "That is literally my favorite thing to do," Smith says of fans tagging him in videos. "Just laying in my hotel room and tapping through all the tags I get. It’s the closest I’ll ever get to watching my own show. Phones pick up the crowd reactions, especially during big SFX moments. That's what I want to feel. That’s the version of the show I care about the most." And there’s plenty more new music on the way. "I have more original music than I have had basically in the past two years combined," Smith confirms. "It's going to come out this year, which is going to be fun." Follow Crankdat:Instagram: instagram.com/crankdat TikTok: tiktok.com/@crankdat X: x.com/crankdat Facebook: facebook.com/crankdat Spotify: spoti.fi/3l8FXz0

This October, Verknipt returns to Amsterdam Dance Event with two of the most anticipated showcases of the week: The Big Opening on Wednesday 22 October and The Big Closing on Saturday 26 October, both taking place at AFAS Live. Following one of the most outstanding, sold-out shows at the venue earlier this year, Verknipt is set to make history once again with its signature high-energy hard techno events at one of Amsterdam’s most iconic stages. Last year’s ADE editions at Taets Zaandam and AFAS Live drew over 8,000 fans and established Verknipt as a cornerstone of ADE’s harder styles programming. This year, the move to AFAS Live marks a bold new chapter – bringing even bigger production, a stacked lineup of international heavyweights, and Verknipt’s unrivaled intensity to the heart of Amsterdam. The Big Opening – Wednesday 22 October Verknipt kicks off ADE with a full-force opening night, transforming AFAS Live into a dark, pulsating arena of sound. On the lineup: 6EJOU b2b SNTS, DANIQUE b2b TANJA MIJU, INTRUDE b2b XRTN, Jowi b2b SLVL, KARAH b2b KLOFAMA, KRUELTY b2b VIEZE ASBAK, LS41 b2b Jayron, NZGÛL b2b RUDAKI, TOXIC MACHINERY b2b SANTØS. It’s the perfect start to the week for hard techno lovers who want to dive in headfirst. The Big Closing – Saturday 26 October On Saturday, Verknipt returns for The Big Closing, wrapping up ADE with a bang. Featuring A.N.I., BØĘRY b3b Jo3y3t b3b SANTØS, Cara Elizabeth b2b SZG, Johannes Schuster b2b Palø, NOVAH, Onlynumbers, SERAFINA b2b FUMI, EUBERREST, Zwilling b2b WILDERÍCH it’s a stacked night of raw energy and unrelenting BPMs – the only fitting way to close out the week. Known for its uncompromising sound and dedication to the harder styles, Verknipt has become a global reference point for hard techno fans, and their ADE editions are nothing short of legendary. After the success of their AFAS Live debut earlier this year, expectations are sky-high for these two unmissable nights in October. Tickets are on sale now via verknipt.org The post Verknipt Takes Over AFAS Live For ADE With Two Massive Shows appeared first on EDMNOMAD. View the full article

CRSSD Festival is back for fall and celebrating its 10th anniversary! The festival just revealed its full lineup for its Fall 2025 edition. It returns September 27 and 28 at San Diego’s iconic Waterfront Park. Celebrating a decade of music, CRSSD brings an expertly curated mix of global electronic artists and underground talent. Ocean View Firstly, the Ocean View stage will showcase leading electronic talent against the stunning Pacific coastline and San Diego’s downtown skyline. Empire of the Sun, Australian synth-pop royalty, headlines with their cinematic and theatrical live performance. House music superstar John Summit also headlines his chart-topping productions and electrifying shows as one of dance music’s most in-demand acts. It’s sure to be packed and a fantastic time. They’ll join ethereal German multi-instrumentalist Ben Böhmer (live), genre-defying Canadian visionary Caribou, and critically acclaimed experimental duo DARKSIDE. Plus, UK electronica outfit Maribou State. Additionally, disco-infused electronic group Midnight Generation, UK crossover favorite Elderbrook, and rising alt-dance vocalist and producer Mindchatter are also performing. Even Berlin-based melodic duo Sultan + Shepard (live), and enigmatic live newcomers Fcukers. The Palms Secondly, The Palms brings a diverse lineup of boundary-pushing selectors and dancefloor mainstays in house. You’ll find Jamie Jones B2B Adam Ten, Claude VonStroke, Purple Disco Machine, Dombresky, and Cassian. The bill expands to Chris Stussy, Cloonee, Beltran, and Max Styler. Lastly, enjoy Parisian deep house talent Alex Wann, and nostalgia-evoking French producer Swimming Paul. The City Steps Thirdly, the City Steps, a sanctuary for cutting-edge techno and underground club culture, presents a formidable lineup of uncompromising talent. The stage welcomes Boys Noize, ¥ØU$UK€ ¥UK1MAT$U, Brutalismus 3000, Eli Brown, and playfully experimental Berlin selectors DJ Gigola B2B MCR-T. They’ll be joined by fast-rising Turkish techno force OGUZ, KETTAMA and Partiboi69’s high-flying KETBOI69, Will Clarke, Blawan (making a rare US appearance), and Melbourne’s Tobiahs. They bring the next wave of high-intensity, progressive techno to the CRSSD faithful. Attendees can explore innovative stage designs, indulge in handpicked local food and craft beverage vendors, and dive into interactive experiences. That includes the CRSSD Lab, a music-tech lounge and on-site vinyl market. Set against the scenic backdrop of San Diego’s Waterfront Park, the festival certainly offers an unmatched daytime atmosphere that seamlessly transitions into the beloved CRSSD After Dark series. This series takes over select venues across the city with late-night sets and exclusive performances. CRSSD will reveal full afterparty programming closer to the festival date. Don’t delay in getting your tickets. Follow their link here for purchase. Check out the full lineup below. Alumni On Sale Begins 5/27 at 12PM PT | SMS On Sale Begins 5/28 at 12PM PT | General On Sale Begins 5/28 at 2PM PT The post John Summit, Empire of the Sun, and More Revealed for Official CRSSD Festival Fall 2025 Lineup appeared first on EDMTunes.

Since its inception in 2005, the Do LaB has always been different. Originally introduced at Coachella, the project’s intention was to showcase a modest art installation without a music component. Its founders, however, refuse to go anywhere without speakers, so when the festival started turning down, Do LaB started turning up. Now, the party outfit has its own independent lineup at Coachella, which many anticipate more than the main event. Similarly, the Do LaB’s flagship festival, Lightning in a Bottle Music Festival (LIB), spawned from an intimate birthday party in the woods, hosted by three brothers and attended by local friends, music-lovers, and creatives alike. Now growing to nearly 20,000 attendees and staging some of the most iconic surprise guests in electronic music, Lightning in a Bottle has earned a reputation as an event fans can’t miss and an event where artists show out. Every music festival claims to be different, but LIB is. Read on below to discover the ins and outs of Lightning in a Bottle, and why its legacy is unmatched. Do LaB Sets The Tempo The Do LaB has built quite an impressive reputation since its humble beginnings at Coachella. What was once a small art installation has become one of the most sought-after stages at one of the most prestigious festivals in the world. Coachella invites artists to debut never-before-seen performances at the festival, and with all eyes on the event, swelling anticipation and pressure surrounding the weekend yield some of music’s most iconic performances. Tucked away within the bustling venue is the Do LaB—a stage that thrives on spontaneity and earned moments. Electronic DJs utilize this delicate balance at the Do LaB to premiere new songs, invite VIP guests to join their performances, and stretch the party into the early morning hours. By forgoing livestreams, Do LaB performances remain exclusive and intimate with attendees, but their reputations and stand-out moments set the trends for dance music ahead. Just a few months later, the Do LaB reignites this flame at Lightning in a Bottle. The Do LaB trusts performers’ creativity and gives them performance autonomy while perfecting the allure of mystery and surprise that festivalgoers love. A rare blend of creative freedom and a carefully cultivated community spirit has made the festival a magnet for high-profile artists, who aren’t just eager to play, but are leaving it all on the stage. Historic visits from Skrillex, RÜFÜS DU SOL, Bonobo, and Four Tet at Lightning in a Bottle and surprise appearances from ODESZA, Billie Eilish, Skrillex, and Major Lazer at Do LaB’s Coachella stage are hailed as watershed moments in electronic music history. Whatever they’re cooking up, ecstatic energy surrounds the Do LaB, as artists and fans alike await musical ingenuity and unpredictable moments that simply can never and will never be recreated in this lifetime. Not Your Regular Ol’ Festival Despite its reputation as one of the most renowned transformational festivals in the United States, Lightning in a Bottle has remained a remarkably intimate and boutique music experience. As festivals turn to corporate support in states of economic distress, Lightning in a Bottle stays true to its roots in providing a safe, experimental space for its attendees to tap into a deeper realm. You may know what a transformational festival is, heard it tossed around, or have no clue; but at it’s core, a transformational festival is one that exceptionally executes an environment that is welcoming of new ideas, encourages its attendees to embrace the community around them, celebrates humanity from all walks of life, pushes the bounds of the human experience, and often physically cuts off the outside world as we know it. Like the name implies, attendees leave Lightning in a Bottle with a new outlook on the world and a sense of freshness; truly transformed. Featuring a lineup riddled with superstars like John Summit, Subtronics, TroyBoi, Hamdi, Tape B, PEEKABOO, Jade Cicada, and plenty more, it’s easy to believe music would be center stage at this festival. But perhaps LIB says it best themselves: “The magic isn’t always where you expect it. It’s found in the moments between.” The bread and butter of Lightning in a Bottle is the experiences that stimulate the body both physically and mentally. With over 150 talks and workshops throughout the weekend, it would be impossible to leave the festival without learning something new, expanding your mind, or experiencing newfound appreciation for life. Similarly, yoga and movement courses invite festival attendees to slow their minds while activating their muscles. With a commitment to community, LIB hosts a lineup of events that stimulate connection, charity, sustainability, and camaraderie. With free camping included in every festival pass and seamless upgrades available online, LIB makes slipping off the grid effortless and enticing. Walking into a brand new experience, leaving any baggage at the door, and fully immersing oneself in the surrounding environment is crucial to have a transformational weekend, and it’s clear that this positive and revitalizing journey is a priority in the ethos of Lightning in a Bottle. While music is only officially curated for three days of the festival, attendees are invited to set up shop from Wednesday to Monday, allowing time to acclimate to the surroundings, set intentions for a fulfilling weekend, and form bonds within the community, without feeling rushed. Elevated Engagement Smaller crowds, more time on site, and a remote location that makes camping a popular choice, if not a requirement, mean that Lightning in a Bottle typically draws a more experienced audience. Attendees often adopt a more holistic view of festivals, where the focus is less on lineups and the party fosters a different vibe from other, more mainstream festivals. Some may label it a ‘wook fest,’ but I think that’s because the festival inspires us to tap into our truest form. It shows us that everyone in our community is deserving of respect and love, no matter how ‘out there’ they may be. Regardless, the engagement at LIB is undeniably elevated with neighbors looking out for each other and ensuring safety while embracing the ambiance of the festival to cultivate an atmosphere of connection and play. Lightning in a Bottle 2025 will take place from May 21-25 at Buena Vista Lake, California. For more information or to purchase tickets, visit libfestival.org. All photos courtesy: Lightning in a Bottle. The post Do LaB Does It Different: A Look Into Lightning In A Bottle appeared first on EDM Maniac. View the full article

Since its inception in 2005, the Do LaB has always been different. Originally introduced at Coachella, the project’s intention was to showcase a modest art installation without a music component. Its founders, however, refuse to go anywhere without speakers, so when the festival started turning down, Do LaB started turning up. Now, the party outfit has its own independent lineup at Coachella, which many anticipate more than the main event. Similarly, the Do LaB’s flagship festival, Lightning in a Bottle Music Festival (LIB), spawned from an intimate birthday party in the woods, hosted by three brothers and attended by local friends, music-lovers, and creatives alike. Now growing to nearly 20,000 attendees and staging some of the most iconic surprise guests in electronic music, Lightning in a Bottle has earned a reputation as an event fans can’t miss and an event where artists show out. Every music festival claims to be different, but LIB is. Read on below to discover the ins and outs of Lightning in a Bottle, and why its legacy is unmatched. Do LaB Sets The Tempo The Do LaB has built quite an impressive reputation since its humble beginnings at Coachella. What was once a small art installation has become one of the most sought-after stages at one of the most prestigious festivals in the world. Coachella invites artists to debut never-before-seen performances at the festival, and with all eyes on the event, swelling anticipation and pressure surrounding the weekend yield some of music’s most iconic performances. Tucked away within the bustling venue is the Do LaB—a stage that thrives on spontaneity and earned moments. Electronic DJs utilize this delicate balance at the Do LaB to premiere new songs, invite VIP guests to join their performances, and stretch the party into the early morning hours. By forgoing livestreams, Do LaB performances remain exclusive and intimate with attendees, but their reputations and stand-out moments set the trends for dance music ahead. Just a few months later, the Do LaB reignites this flame at Lightning in a Bottle. The Do LaB trusts performers’ creativity and gives them performance autonomy while perfecting the allure of mystery and surprise that festivalgoers love. A rare blend of creative freedom and a carefully cultivated community spirit has made the festival a magnet for high-profile artists, who aren’t just eager to play, but are leaving it all on the stage. Historic visits from Skrillex, RÜFÜS DU SOL, Bonobo, and Four Tet at Lightning in a Bottle and surprise appearances from ODESZA, Billie Eilish, Skrillex, and Major Lazer at Do LaB’s Coachella stage are hailed as watershed moments in electronic music history. Whatever they’re cooking up, ecstatic energy surrounds the Do LaB, as artists and fans alike await musical ingenuity and unpredictable moments that simply can never and will never be recreated in this lifetime. Not Your Regular Ol’ Festival Despite its reputation as one of the most renowned transformational festivals in the United States, Lightning in a Bottle has remained a remarkably intimate and boutique music experience. As festivals turn to corporate support in states of economic distress, Lightning in a Bottle stays true to its roots in providing a safe, experimental space for its attendees to tap into a deeper realm. You may know what a transformational festival is, heard it tossed around, or have no clue; but at it’s core, a transformational festival is one that exceptionally executes an environment that is welcoming of new ideas, encourages its attendees to embrace the community around them, celebrates humanity from all walks of life, pushes the bounds of the human experience, and often physically cuts off the outside world as we know it. Like the name implies, attendees leave Lightning in a Bottle with a new outlook on the world and a sense of freshness; truly transformed. Featuring a lineup riddled with superstars like John Summit, Subtronics, TroyBoi, Hamdi, Tape B, PEEKABOO, Jade Cicada, and plenty more, it’s easy to believe music would be center stage at this festival. But perhaps LIB says it best themselves: “The magic isn’t always where you expect it. It’s found in the moments between.” The bread and butter of Lightning in a Bottle is the experiences that stimulate the body both physically and mentally. With over 150 talks and workshops throughout the weekend, it would be impossible to leave the festival without learning something new, expanding your mind, or experiencing newfound appreciation for life. Similarly, yoga and movement courses invite festival attendees to slow their minds while activating their muscles. With a commitment to community, LIB hosts a lineup of events that stimulate connection, charity, sustainability, and camaraderie. With free camping included in every festival pass and seamless upgrades available online, LIB makes slipping off the grid effortless and enticing. Walking into a brand new experience, leaving any baggage at the door, and fully immersing oneself in the surrounding environment is crucial to have a transformational weekend, and it’s clear that this positive and revitalizing journey is a priority in the ethos of Lightning in a Bottle. While music is only officially curated for three days of the festival, attendees are invited to set up shop from Wednesday to Monday, allowing time to acclimate to the surroundings, set intentions for a fulfilling weekend, and form bonds within the community, without feeling rushed. Elevated Engagement Smaller crowds, more time on site, and a remote location that makes camping a popular choice, if not a requirement, mean that Lightning in a Bottle typically draws a more experienced audience. Attendees often adopt a more holistic view of festivals, where the focus is less on lineups and the party fosters a different vibe from other, more mainstream festivals. Some may label it a ‘wook fest,’ but I think that’s because the festival inspires us to tap into our truest form. It shows us that everyone in our community is deserving of respect and love, no matter how ‘out there’ they may be. Regardless, the engagement at LIB is undeniably elevated with neighbors looking out for each other and ensuring safety while embracing the ambiance of the festival to cultivate an atmosphere of connection and play. Lightning in a Bottle 2025 will take place from May 21-25 at Buena Vista Lake, California. For more information or to purchase tickets, visit libfestival.org. All photos courtesy: Lightning in a Bottle. The post Do LaB Does It Different: A Look Into Lightning In A Bottle appeared first on EDM Maniac. View the full article

Michael B. Tretow, an audio engineer who worked extensively with ABBA – and was often called the group’s ‘fifth member’ – has died aged 80. In light of the news, all four members of the Swedish pop powerhouse have issued emotional tributes praising Tretow’s role in crafting the ABBA sound over the course of their career. READ MORE: Zeds Dead sampled a century of sound to create their new sci-fi bass odyssey In a collective post on the ABBA Facebook page, Björn Ulvaeus says Tretow’s “importance for ABBA cannot be overstated”, adding: “He was curious and always willing to try new paths. It could be anything from the latest tech to a sound he had heard somewhere. “Without his thoroughness and talent, our songs would not be played as much as they are to this day.” Benny Andersson adds: “You meant more to the four of us in ABBA than any other person. I hope and think that you felt that throughout the years when working (and laughing non-stop) in the studio. “Our music lives on as it seems, and you are the one who made it sound timeless. You were a fantastic inspirer and bringer of happiness. And the finest sound engineer the world has ever seen.” Meanwhile, Frida describes Tretow as an “eternal part of the ABBA sound”, while Agnetha Fältskog notes: “You were not in good shape at all, but your laughs and your sense of humour were still ever so present. “So many wonderful memories are with us. Your encouraging words during the recordings meant a lot. We are sad now, such a unique and talented person has left us. Michael B. Tretow worked on all but one of ABBA’s albums, 2021’s Voyage. He also worked on Chess, a musical with music from Benny Andersson and Björn Ulvaeus, and created numerous jingles for Swedish radio television. While Benny Andersson and Björn Ulvaeus share production credits on ABBA’s albums, it’s widely thought that Tretow – always listed as an engineer – played a key role in creating the ‘ABBA sound‘. The post Engineer Michael B. Tretow – an “eternal part of the ABBA sound” – dies at 80 appeared first on MusicTech. View the full article