Ravebot

Photo Credit: Wesley Tingey Part I of this article discussed the different type of works and copyright rights in music. In Part II, we discussed different types of music licenses. In this final part of the article, we’ll discuss what happens when someone does not have a license to use the musical work or sound recording and the use is not otherwise allowed by the law. This is known as copyright infringement. When is a Musical Work or Sound Recording Infringed? Anyone who, without the authorization of the copyright owner, engages in an act that is covered by one or more of the exclusive rights of a copyright owner is an infringer of copyright unless: The musical work or sound recording is not protected by copyright (for example, if it’s in the public domain); or The act is permitted by an exception in copyright law. In other areas of law, in order to be culpable, the actor must have had knowledge or intent to do the wrongful act. Not so in copyright. Copyright infringement is determined without regard to the intent or the state of mind of the infringer. In other words, it makes no difference whether the infringer knew what they were doing constituted copyright infringement. The only time that the actor’s state of mind may come into play is when a court is determining how much money in to award to a copyright owner in damages for the infringement. How To Prove Copyright Infringement Courts usually require a copyright owner to prove that they owned the copyrighted work, and the defendant violated one of the exclusive rights of the copyright owner. In a case where infringement of the reproduction right is alleged, since there is seldom direct evidence of the offending act, a copyright owner may prove infringement through circumstantial evidence establishing that: (1) the defendant had access to the original work, and (2) the two works are substantially similar. It is not necessary that the entire musical work or sound recording be copied for an infringement of the reproduction right to occur, nor that the copying be literal. All that is necessary is that the copying be substantial and material and that protected expression is copied. Likewise, the similarity between the two works must also be a similarity of protected elements, not unprotected elements. For example, in music, this means that copying of common musical ideas like chord progressions or basic scales will not qualify as copyright infringement, but copying of more unique melodies might. The portion taken by the alleged infringer must also be more than a trivial amount to qualify as infringing. In music, this issue usually arises in the context of sampling. In most instances, a license is needed to use a sample of another song in your song. Typically, sampling (without a license) is only permissible in very limited circumstances, where the quantity and quality of what is taken is considered to be insignificant. Remedies for Copyright Infringement If one or more of the exclusive copyright rights of the owner of a musical work or sound recording have been infringed and the copyright owner wishes to seek monetary damages and profits, attorneys’ fees, and/or an injunction, they can initiate a lawsuit in federal court against the alleged infringer for civil copyright infringement. Before a copyright owner can initiate a copyright infringement suit in federal court, they must have applied for a copyright registration with the U.S. Copyright Office for the work at issue in the case and the Office must have rendered a decision om the copyrightability of that work by either issuing a registration or rejecting the application on copyrightability grounds. The various remedies for copyright infringement in federal court are available to copyright owners who registered their works in a timely fashion. These remedies are explained in detail below. Injunctions: In federal court, a copyright owner may seek a preliminary or permanent injunction to prevent or restrain the infringer from continuing the infringement. Courts often grant permanent injunctions where liability is established and there is a threat of continuing infringement. Damages: At any time before final judgment is rendered, a copyright owner may elect to recover either (i) actual damages and profits of the infringer or (ii) statutory damages (i.e., damages determined by the statute, here the Copyright Act). Actual damages may be awarded in the amount of the copyright owner’s losses plus any profits of the infringer attributable to the civil copyright infringement. Statutory damages are only available when the copyright owner registers their work with the U.S. Copyright Office either (1) within three months of publication of the work, or (2) before the infringement starts. Statutory damages in federal court may be awarded in an amount between $200 and $150,000 per work infringed, with the former available only for “innocent infringers” and the latter available in cases of willful infringement. Remember, intent is not necessary to prove infringement, but it is factored into a court’s analysis on damages. Court Costs and Attorneys’ Fees: Federal courts have discretion to allow the recovery of full court costs by or against any party, including the awarding of reasonable attorneys’ fees to the prevailing party under certain circumstances. However, plaintiff copyright owners cannot be awarded attorneys’ fees unless they have timely registered their works with the U.S. Copyright Office. Impoundment and Destruction: Federal courts may order the impounding of infringing goods at any time an action is pending. As part of a final judgment, the court may also order the destruction or any other reasonable disposition of the infringing goods. An Alternative to Federal Court—the Copyright Claims Board (CCB) The Copyright Claims Board (CCB) is a voluntary alternative to federal court for resolving certain types of small copyright disputes. The total monetary damages that can be awarded by the CCB is limited and cannot exceed $30,000 in one case and $15,000 per work. The CCB also cannot issue injunctions. However, if the parties reach an agreement where one party agrees to cease a particular conduct, the CCB can include a requirement in its final determination that the party abide by the agreement to cease the conduct. As a general rule, at the CCB, parties must pay their own attorneys’ fees and court costs. The CCB is often used instead of federal court where the infringement is not a large amount and/or the copyright owner may not be able to afford the cost of litigating in federal court. Conclusion Obviously, there is much more that we could discuss when it comes to music copyright. After all, there are many books written on the topic. Hopefully, the information provided in the three-part series offer a strong foundation for you to understand your basic rights and how to license your music to someone and what to do if they use it without your permission. It may have also sparked an interest to learn even more about music copyright. If you’re still looking for more information, here are few additional resources from the U.S. Copyright Office that we’d recommend: What Musicians Should Know about Copyright How Songwriters, Composers, and Performers Get Paid Musical Works, Sound Recordings & Copyright Sampling, Interpolations, Beat Stores, and More: An Introduction for Musicians Using Preexisting Music If that’s not enough, two other books you might find helpful include All You Need to Know About the Music Business by Donald S. Passman, which includes information about the legal financial and practical information about music copyright and is considered by many to be the industry bible on music copyright; and Music Money and Success by Jeffrey and Todd Brabac, which includes detailed information about licensing and royalties. And don’t forget to join the Copyright Alliance’s FREE Creator Membership to continue your educational journey on how to protect your creative work. View the full article

Another punch hits the Brooklyn Mirage as the venue postpones its fourth consecutive weekend. This time, the victims are popular EDM Duo the Chainsmokers. The artists even appeared in the construction promo video for the venue back in February. This would’ve been the glorious return of the ‘Roses’ producers, as they have not been back in the venue since 2022. Mirage Postpones Again It is unclear why the venue continues to postpone the show, and their social media clarifications stopped being cohesive and consistent recently. This marks four weeks since the venue should’ve opened its doors for the 2025 Summer season. Shows that have had to change venues or postpone their Mirage Shows include Sara Landry, City Fox Presents, Peggy Gou, Anjunadeep, Excision, Black Coffee, and of course, The Chainsmokers. We are not entirely sure whether the Mirage will get the right permits to open soon, but the anxiety and anticipation rise within fans and viewers alike. However, the venue has left it to the artists to break the news The Chainsmokers This is just a medium hurdle for the duo, nonetheless. The artists will bring their sound across major venues in the US starting in August. From coast to coast, the Chainsmokers will visit Seattle, LA, Boston, and New York. The post The Chainsmokers Forced to Reschedule Brooklyn Mirage Show Despite Promo Video appeared first on EDMTunes.

Over the past year, Tracklib has been expanding its musical offerings, from royalty-free sounds to a new desktop platform. Now, the platform has announced its latest venture – a mobile app to make beatmaking quick and easy on the go. The Tracklib app offers artists access to the platform’s existing library of pre-cleared and curated sounds. Producers can experiment with vintage sounds spanning from vintage ‘70s soul to rare funk grooves, or toy with samples packs provided by Grammy-winning producers. And you can work with the comfort that every sample is ready and legal to use. READ MORE: Will GTA 6 change the way gamers discover music? The app allows you to drag, mix and match different ideas in the palm of your hand. You can pinpoint perfect loops, adjust pitch and BPM, and let your creativity run rampant. Thankfully, Tracklib syncs up your mobile beats with your Tracklib account. This allows you to seamlessly transition your beats from your phone to your computer, so you can brainstorm on the go, get home, load up your computer and drag your new beat straight into your favourite DAW. The app is available to Tracklib premium subscribers, and is currently only available on iOS. Of course, you could test out the app with a free Tracklib trial, to see whether you gel with it. “Most beatmaking apps rely on generic stock sounds,” Andreas Liffgarden, Chairman of Tracklib, says. “What we’ve built is the first of its kind – a mobile app that gives producers instant access to an amazing, curated catalogue of hundreds of thousands of songs and sounds.” “It’s real sampling gold, right at your fingertips,” he insists. Tracklib is a favourite among many high profile artists, with Drake, Kendrick Lamar and Kaytranada all experimenting with Tracklib samples. The portability of the new Tracklib app could help these artists bash out more hits, allowing creativity to flourish even outside of the studio. While the new app is exciting on its own, the company has teased more new products down the line. “We’re just getting started,” Andreas Ahlenius, CEO of Tracklib, teases. “More is coming very soon.” The Tracklib mobile app is now available on iOS, and can be used with a free trial or a Tracklib subscription is required. The post “It’s real sampling gold, right at your fingertips”: Tracklib launches a new mobile app to make beats on the go appeared first on MusicTech. View the full article

With her highly anticipated headline performance at the vibrant Mighty Hoopla festival just days away. The pop sensation Kesha has excitedly unveiled a fresh and electrifying track from her upcoming album – “.(PERIOD)“. The new anthem, titled “Boy Crazy.” captures her enthusiastic celebration of romantic attraction. As she confidently exclaims, “I’m obsessive, I’m fixating. I want all the boys lately.” The infectious energy of the song builds with her declaration, “You’re my fix and you’re my craving. Oh oh, I’m boy crazy. Gimme gimme gimme all the boys.” Delivered in a catchy and irresistible refrain that promises to get fans singing along. This new release showcases Kesha’s signature blend of playful lyrics and upbeat production. Thus reinforcing her status as a pop icon ready to take centre stage. As Kesha gears up to unveil her highly anticipated new album, she shines a spotlight on an eclectic mix of musical styles. However, it’s the 80s-inspired electro-pop track “Boy Crazy.” that truly captivates my attention. This infectious anthem not only embodies the spirit of summer. Yet also promises to be a staple at music festivals, where its upbeat tempo and catchy hooks will surely get crowds moving. Especially so at lively Pride events where celebration and self-expression take centre stage. Compounding this excitement, Kesha will embark on the much-anticipated “The Tits Out Tour” alongside the iconic Scissor Sisters. Above all bringing their vibrant performances to cities across North America in July and August. Above all, with the combination of this electrifying song and the tour’s energy, “Boy Crazy.” is destined to become the soundtrack of the summer! Quite honestly, “Boy Crazy.” emerges as a powerful anthem in its own right. Its especially infectious hooks and catchy melodies make a music video unnecessary. In today’s landscape, where visual content plays a crucial role, a visualiser has been crafted instead. Furthermore, effectively complementing the song’s vibrant energy without overshadowing it. The clip beautifully encapsulates the song’s themes of youthful exuberance and the thrill of infatuation. It’s clear that Kesha’s return to the pop music scene is not just a comeback. But above all a full-fledged resurgence, reminding listeners of her unique charisma and artistry. This new track serves as undeniable proof that she is back on top, ready to reclaim her place in the spotlight. Pre-save/pre-order “.(PERIOD) HERE (Out July 4th) Connect with Kesha Facebook: https://www.facebook.com/kesha/ X: https://x.com/KeshaRose Instagram: https://www.instagram.com/kesha/ The post Listen to “Boy Crazy.” by Kesha appeared first on EQ Music Blog. View the full article

It has been some considerable time since we last explored the smoky-voiced alt-pop enchantress Charlotte OC in this blog. In her early years, she made a powerful impression, drawing us in with a haunting musical presence that resonated with intoxicating dark pop allure. While she has undeniably ventured into varied musical territories since then. The core of her artistry remains anchored in those signature brooding sensibilities and a profound sense of melancholy. As we look further ahead in 2025, Charlotte is poised for an artistic renaissance. Following her evocative March release “God, We Tried,” she unveils another intriguing facet of her reimagined sound with “Romeo“. A standout track from her newly announced EP, “Seriously Love, Go Home.” I’ve previously noted Charlotte’s vocal resemblance to Stevie Nicks, but on “Romeo,” this connection is strikingly evident. From the very first notes, the remarkable similarity between these two artists commands attention. The track’s music soundscape is expertly crafted with a folk-pop allure that echoes the timeless sounds of Stevie Nicks and Fleetwood Mac. This synergy is nothing short of perfect, further elevated by the exceptional production from Dimitri Tikovoi, whose credentials include work with Placebo, Purple Disco Machine, Charli XCX, and Nicola Roberts. While “God, We Tried” delved into the depths of grief and fractured love. “Romeo” above all emerges as its warm, redemptive counterpart. A swooning, soul-infused anthem about serendipitously meeting someone at precisely the right moment. This renaissance could not be more timely for Charlotte OC. Her EP “Seriously Love, Go Home” delivers a captivating new sound, offering an unflinching glimpse into a woman navigating chaos and reclaiming her strength. What Charlotte brings to the table is nothing less than invigorating and brilliantly original. Throughout the EP, she invites you into her journey, revealing new dimensions of herself and the world around us. “‘Seriously Love, Go Home‘ is the sound of me finally facing myself. It’s the aftermath of grief, self-sabotage, love gone wrong, and crawling back to the one place I never thought I’d return to. It’s hope and helplessness. It’s exactly what I needed to make to get myself through that time” – Charlotte OC Charlotte OC is to make a stunning return to the stage after a three-year hiatus, headlining shows in Manchester and London this July. Including a highly anticipated performance at SXSW London in June. Mark your calendars for these unforgettable dates: – Tuesday, 3rd June at Devonshire Square – BME (Western Courtyard) from 20:00 to 20:30 Thursday, 5th June at Hoxton Hall from 21:00 to 21:30 Wednesday, 2nd July at The Lower Third – London 19:00 Thursday 3rd July at SOUP – Manchester 19:00 These intimate performances promise to be emotional and powerful celebrations, heralding an exciting new chapter in Charlotte OC’s musical journey. Don’t miss this chance to witness her remarkable comeback! PRE-save EP / Pre-Order vinyl “Seriously Love, Go Home” HERE Connect with Charlotte OC Facebook: https://www.facebook.com/CharlotteOCOfficial/ X: https://x.com/CharlotteOC Instagram: https://www.instagram.com/Charlotteocofficial The post Watch “Romeo” by Charlotte OC appeared first on EQ Music Blog. View the full article

Somewhere Festival & Conference, returning June 13–14, 2025, redefines what a music festival can mean. For a city, its people, and the industry it serves. Wichita isn’t just a stop on the map this summer—it’s the beating heart of a not-for-profit festival movement. What began last year as Elsewhere Festival has evolved. Today it’s a full-scale celebration of creativity, social change, and grassroots empowerment. Wichita is no longer “elsewhere”—it’s somewhere worth watching. A Festival for Artists, Not Just Audiences Unlike traditional festivals driven by commercial agendas, Somewhere operates not-for-profit, reinvesting into the very culture it helps cultivate. Founded by Movement Musick and powered by organizations like Midtopia, the festival exists to support underrepresented artists, empower local communities, and provide access to education and recovery services through music. “The vision was never just to put on a show,” said Chase Koch, founder of Movement Musick. “It was about creating space for artists and music workers who weren’t finding support elsewhere.” Headliners like Deadmau5, Suki Waterhouse, Flying Lotus, and BigXthaPlug grab attention, but they’re only part of the equation. The lineup—genre-agnostic and exploratory—invites fans into a journey of musical discovery. With artists like Kim Gordon, Aloe Blacc with 2ŁØT, Cassian, and Jerro, the stage becomes a space for boundary-pushing, not chart-chasing. Where Art Meets Advocacy What sets Somewhere Festival apart this 2025 isn’t just who performs—but why it exists. It doesn’t just entertain—it activates. The event integrates community-centered initiatives directly into the festival experience. From The Phoenix and Empower North End to Create Campaign and FIRE, attendees will find immersive social impact activations. It will touch on addiction recovery, mental health, education, and more. Those who engage with these initiatives can earn exclusive festival swag through action, not just attendance. “This is about more than music—it’s about movement,” said Jessie Hartke, CEO of Midtopia. “We’re using music as a platform for discovery, healing, and growth—individually and collectively.” This year’s Somewhere Conference elevates that mission further. Aloe Blacc will headline a fireside chat on artistry and activism. Panels and workshops will cover practical career skills and personal empowerment. Artists like Rudy Love Jr. will lead sessions on music and how to build sustainable careers that center community. Somewhere Festival 2025: Built for Everyone, Not Just the Few With the 2025 edition rolling out free concert stages, accessible ticket pricing, and a fierce commitment to inclusion, Somewhere Festival walks the talk. The festival grounds offer more than music: interactive murals, live graffiti, and hands-on art workshops bridge the gap between visual and sonic storytelling, curated in collaboration with Harvester Arts. Even food becomes an experience. Wichita’s own culinary scene is spotlighted, with dozens of local vendors and creative activations like a Blind Taste Challenge and Foodie Photo Op to engage the senses and support local food entrepreneurs. Somewhere is staking a claim—not just for Wichita’s cultural presence but for a new model of festival culture. One that prizes impact over image, community over clout, and collaboration over spectacle. For artists, it’s a workshop. Fans, a playground. And the city, a cultural reset. “Somewhere Festival is more than a festival—it’s a movement,” said Rudy Love Jr. “It’s about giving artists tools, voice, and a community that actually shows up.” In a world where festivals often end with confetti and cash-outs, Somewhere Festival 2025 leaves behind something bigger: a lasting blueprint for change. Grab your tickets here. The post Somewhere Festival 2025 Makes Social Impact the Headliner with Free Concerts and Accessible Pricing appeared first on EDMNOMAD. View the full article

Vaughn Oliver, one half of the production duo Oliver, is no stranger to crafting killer drum loops. As the creator of Power Tools, one of Splice’s most downloaded sample packs, his sounds have featured in hits by the likes of Dua Lipa, The Weeknd, SZA, Doja Cat, Adele and many more. Now, in a new tutorial, the producer, DJ, and mix engineer peels back the curtain on some of the techniques behind his signature loops, and offers tips on levelling up your drum sound. READ MORE: Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and plugins One of the tricks in Oliver’s basket? Ableton’s Multiband Dynamics – a stock plugin many producers overlook beyond its famous OTT preset. “Reduce Ambience. This is a big hack,” says the producer. “If you guys don’t know about this, this might be one of the best gate plugins, the Multiband Dynamics from Ableton.” “And everyone knows it for OTT, right? People just go for the OTT preset, but I highly recommend going through some of the other stock presets because they do some insane stuff.” “Basically, this is like a gate,” Oliver explains, as he illustrates using the tool to “tighten” his loop and “get rid of some of that high-end stuff”. “You can really, really dial it in. Sometimes like say you have a loop that has a bunch of noise in the background or maybe there’s too much reverb – try Reduce Ambience and really play around with it.” “And it’s multiband, so if you only want to affect the low end in it… say you have a snare where the low-end decay is too long, you can dial it back with that while keeping the high-end intact.” As Oliver puts it, “People sleep on this because it’s like OTT. Everyone just always uses OTT and it’s like a really powerful multiband dynamics plugin and processor. So yeah, experiment with some of the other presets.” Before reaching for the latest third-party plugin, Oliver’s advice is simple: master your DAW and mess around with what you already have. “You might already have something that’s good or better than that in here that you don’t have to pay for,” says the producer. Check out the full video below. Take a look at the Oliver: Power Tools Sample Pack over at Splice. The post “People sleep on this”: Vaughn Oliver reveals his favourite hack for crafting drum loops appeared first on MusicTech. View the full article

Ad feature with DistroKid The rise of music streaming has brought an incredible opportunity for musicians, producers and beatmakers around the globe. Freed from the conventional model of physical distribution, you no longer need to hire a lengthy chain of expensive middlemen to get your music out to the world. But, in truth, that’s only the first part of the music revolution. More than ever, a producer also needs to manage other aspects of their creative business; releasing music on the ever-expanding network of online platforms, scheduling releases, promoting and marketing and, of course, coordinating the collection of their royalties. READ MORE: Zeds Dead sampled a century of sound to create their new sci-fi bass odyssey What you really need is one place to do all of this. That’s where DistroKid comes in. A one-stop shop for distributing your music digitally and much more, it has a variety of plans starting at just $2.08 a month or $24.99 a year. Designed to fit into today’s hyper-connected world, it has a mobile app and a web-based interface for managing and monitoring all your releases and building your audience. So, how can it help you do this? Why should I use DistroKid? We’re all familiar with the process of making tracks and albums — a satisfying pursuit, but one that can take a lot of time and effort. Once you’ve put the finishing touches to your masters, a whole new chapter begins, and, historically, this meant shopping your material around to labels. This decidedly hit-and-miss endeavour that could involve an awful lot of legwork. When streamers and online stores like iTunes and Spotify first appeared, it was possible to get your music onto them, but it wasn’t easy. Then, even more services started to appear, making the whole thing more complicated. Coordinating releases and payments could be a nightmare. DistroKid solves these problems by providing a single portal to do it all. Crucially, you receive 100% of the money you make, with DistroKid’s set monthly or annual fee covering their services. This means that the better you do, the more you make, without a third party taking a cut of each sale, or a percentage of monthly takings, as can be the case with some other services. So your costs as far as distribution go are set and a known quantity. Which platforms can my music be streamed on with DistroKid? DistroKid lets you upload to a wide range of services — you get to choose any or all of them, but the most popular are Spotify, Apple Music, iTunes, Instagram, Facebook, TikTok, YouTube Music, Amazon, Pandora, Deezer, Tidal and iHeartRadio. Plus, many smaller services are also available, and more are being regularly added. All the accounting is handled centrally in your account, removing the hassle of collecting royalties. The developers have even thought about the different kinds of releases that artists might need to do. It’s possible, for example, to upload a collaboration between multiple artists, both at a track and album level, so that everyone is credited and paid correctly. Which DistroKid package is best for me? The entry Musician package covers a tremendous set of tools for a small artist or band. It includes unlimited song and lyric uploads — many others would limit the amount you can upload but not here — as well as a Spotify verified checkmark, the ability to create royalty splits if there’s more than one person to be paid, 21 extra tools (more on these shortly) and access to the mobile app. That’s all just $24.99 per year. The Musician Plus package, which allows two artists or bands, is the most popular at $44.99 per year. Along with everything in the Musician tier, it adds synced lyrics on Apple Music, daily streaming stats, the ability to customise the name of your label, customise release and pre-order dates and customisable iTunes pricing for downloads. It’s not hard to see why this is the most popular tier, with streaming stats especially an invaluable tool for seeing the results of promotions and other campaigns that you might create. And customising pre-order and release dates gives you complete control over your promotional campaigns rather than having to build things around a date over which you have little control. Finally, the Ultimate tier, which is $7.50 per month or $89.99 a year, allows up to 100 artists or bands, making it ideal for someone running a record label, even a larger one. You get everything from the previous tiers plus 1TB of instant sharing space, the ability to monitor music on both Spotify and Apple Music and RIAA Gold and Platinum monitoring. What other services does DistroKid give me? So what about those extra goodies we mentioned earlier? After all, distribution is just one part of the process; an enterprising producer or musician will need to promote their work and create supporting content and campaigns as well. To this end, DistroKid also provides 21 extra services — and counting — most of which are included with all the tiers, including the Musician tier. For promotion, your account provides access to HyperFollow, a way to make pages that showcase your music, videos, social media links and more as well as Mini Videos to create free, short-form videos and Promo Cards, giving you dozens of customisable images you can use to promote yourself. In terms of getting heard, your account gives access to Playlister, Slaps.com, Playlist Spotlight and the Wheel Of Playlist — a chance to get on DistroKid’s Spotify playlist. There’s a bunch of other stuff too, notably the ability to add liner notes and credits to albums, AI analysis of your music, Twitch integration and much more, including Vault — free, unlimited backups of everything you ever upload. As creatives, we usually prefer making music — composing, arranging, mixing and producing — to the business of selling and distributing it. While some people love it, others just see it as a daunting part of the process. But DistroKid streamlines it so that it’s quick and easy rather than feeling like work. When even the founders of competitors TuneCore and CDBaby have joined DistroKid, you know it’s on to something. “I hate to say it, but DistroKid is simply the best distributor in the market.” — Jeff Price (via X), Founder of TuneCore “This is amazing. I’ll be sending everyone I know to DistroKid now.” — Derek Sivers (via HackerNews), Founder of CD Baby There’s never been a better time to take control of your music career by letting DistroKid handle the distribution of your tracks and albums and even promotion, while keeping 100% of the money you earn. With an easy-to-use interface and pricing that makes it accessible for everyone, it truly is the perfect way to get your tracks heard by the world and earn money. Why not check it out today and take the next steps towards building your career in music? Sign up now and start distributing your music today! The post Is DistroKid the best music distribution platform for independent producers and beatmakers? appeared first on MusicTech. View the full article

Home This is my favourite place, where comfort, calm, love, life, colours, and culture blend together. It’s what I need to be creative and inspired, so I know this is where I must work; this is where I feel free to let my instincts flow. My studio has long been nomadic—a laptop and headphones are convenient—but perhaps it lacked structure, a home, because being able to do it wherever you want can also, conversely, not create a stable routine that allows you to work a little more seriously and frequently. We moved a little over a year ago, and the new house allows me to incorporate my studio into the living room, between the kitchen and the living room. Just a desk with monitors and my laptop, away from the distraction of the screen (TV) and close to natural light. Being near a window overlooking the garden brings calm, comfort, and a depth of vision, essential for expressing our creativity. Having incorporated the studio into the living room allows me to work at regular and more intensive frequencies, I have never been so productive, because the set up is there, it is always ready, I can go there when I want, spend the afternoon there, or an hour in the evening after dinner, the studio is there, before my eyes, almost calling me, I am freed from the rules of an outdoor studio or an isolated, dedicated room, where having to go there requires mandatory productivity, we have been there, it has to be productive, otherwise it is a failure. Whereas now, if it does not work, because even if everything is designed to optimise my creativity, we are still human, and I know how to listen to myself, and know if my time will be more useful reading a book or cooking than forcing the elements and in the end my music will not be a winner.”

Photo Credit: SoundCloud SoundCloud and TikTok have announced a new partnership that will add SoundCloud to TikTok’s new music discovery feature, ‘Add to Music App.’ The ‘Add to Music App’ feature gives music fans the ability to save the songs they discover on TikTok to their preferred music streaming service. Since its global roll out in 2024, the feature has generated over a billion track saves on supported music streaming services, per TikTok’s data. The new integration begins rolling out today, making it simple to save TikTok tracks to a playlist on SoundCloud. The launch coincides with the debut of ‘Move Your Music,’ a new SoundCloud feature that makes it easy to transfer music libraries including liked songs and playlists. That feature allows SoundCloud users to import their favorites from Spotify, Apple Music, YouTube Music, Tidal, Deezer, and Amazon Music. Now with ‘Add to Music App’ on TikTok, music discovery centered around social media can also be added to SoundCloud. The ‘Add to Music App’ feature was designed for music fans to capture the songs they love in the moment of discovery. From the latest TikTok trend to the ultimate in personal music discovery, all music can be saved in one step. “SoundCloud has always been the go-to platform for discovering what’s next in music, from emerging artists to breakout genres,” says Emmy Lovell, SoundCloud’s Global Head of Music. “Partnering with TikTok makes it easier than ever for fans to save the songs they love and stay connected with the artists behind them. This integration helps turn casual listeners into lifelong superfans while strengthening our commitment to fueling the next generation of music culture.” ‘Add to Music App’ appears as a button that says ‘Add Song’ next to a track name at the bottom of any TikTok video on the ‘For You’ feed. It invites users to save the track to the digital streaming provider (DSP) of their choice. The first time a user presses the button, they can choose to save it to SoundCloud or other supported services. Users can choose to switch their preferred music streaming service at any times in the Settings of TikTok. View the full article

As one of the largest electronic music festivals in the world comes closer, Tomorrowland Belgium, the park in which it’s located will transform itself from green areas and rest to festival frenzy and magic. Construction for the massive gathering begins on May 26, 2025, at the De Schorre domain. This means parts of the park will be a construction zone until August, with some areas completely closed off for safety reasons. The entire De Schorre park will be closed from June 28 to August 14. During this time, only Brasserie De Schorre and its nearby playground will stay open until July 13. If you want to enjoy all the park’s activities, it’s best to plan your visit for August 15 or later. The Brasserie and playground will reopen earlier, on August 2. Before the full closure, some areas will still be open for local walkers until June 27, though certain zones might be harder to reach or blocked off. Below are the details as to which zones will be closed between which dates. De Schorre Reception Open with adjusted hours: June 2 to June 30 (weekdays from 9 AM to 12 PM and 12:30 PM to 5 PM, closed on weekends) Closed: July 1 to August 14 Recreational Rentals (pedal boats, kayaks) Open: Until June 1 Closed: June 2 to August 14 Dog Park Open all summer, but not during festival weekends (July 18-19-20 & July 25-26-27) From June 2, accessible via the neighborhood square at Sint Kathelijnestraat. Skatepark Fully open with all skate equipment until June 1. Limited opening on Wednesdays, Saturdays, and Sundays without skate equipment from June 2, accessible via the neighborhood park at Visclub De Boomse Vissers or the One World bridge. Wednesdays, June 4, 11, 18: 1 PM to 8 PM Saturdays, June 7, 14, 21: 10 AM to 8 PM Sundays, June 8, 15, 22: 10 AM to 8 PM Closed: June 23 to August 14 Troll Forest and Barefoot Path Open: Until June 27 From June 2, it’s best to park in P2 on Kapelstraat for a visit to the troll forest to avoid detours. Also accessible via the Sint Kathelijnestraat neighborhood park. Closed: June 28 to August 14 Mountain Bike Trail Open: Until June 1 Closed: June 2 to August 19 Intense Adventure Tower Open: Until June 27 Closed: June 28 to August 14 One World Bridge (walking route to Boomse Vissers) Open: Until June 27 Closed: June 28 to August 14 Brasserie De Schorre and Playground Open: Until July 13 Closed: July 14 to August 1 Parking Parking 1 (Schommelei): Closed from July 14 to August 1 Parking 2 (Kapelstraat): Closed from June 28 to August 14 Camper Pitches (Parking 1) Open: Until June 30 Closed: July 1 to August 14 [H/T] De Schorre The post Tomorrowland Begins Construction Starting May 26 — Here’s How It Will Affect The Park’s Areas appeared first on EDMTunes.

The Scottish artist has been in the eye of the hurricane lately since the release of his latest single. This one is no new topic. It’s an ongoing theme in the music scene that new songs will often sound similar to older releases, sometimes too similar. And the current debate takes place between two titans of Electronic music — Nick Chicane and Calvin Harris. The subject being the latter made a melody too close to the former’s hit ‘Offshore‘. Since the release of ‘Blessings‘, Calvin Harris’ collaboration with Clementine Douglas, the Internet started pointing out that his riff shares similarities with Chicane’s 1997 golden classic. People began taking sides, some downplaying this claim, and others pointing it out even more. Until Chicane himself stepped in and made a video transitioning from one track to the other, claiming a striking coincidence of notes and rhythms. In a video uploaded to his socials, Chicane states “This is my right to reply to all the comments online about the new Calvin Harris record ‘Blessings”s similarity to my 30 year old ‘Offshore’“, once again heating up the debate. With people for and against all over the place, recently Harris himself stood up and defended himself against the claims. In a somewhat satirical video, he mentions how there’s no easy way to make ‘Blessings’ sound like ‘Offshore’ without resorting to cutting loops and rearranging stuff. He also fires at Nick mentioning how he took that melody from an earlier release from Tangerine Dream. As expected, the Internet went up in flames all over again. Which side are you on? Do you think Chicane is right to call this a copyright infringement case? Do you think it’s a bit of a stretch? Let us know. And stay tuned to our page as we cover the newest chapters of this and many other stories. The post Calvin Harris Responds To Copyright Accusations Over New Single ‘Blessings’ And Chicane’s ‘Offshore’ appeared first on EDMTunes.

Photo Credit: Penn 2 by Vornado Realty Trust Universal Music Group is relocating its New York offices to The Penn District in the heart of Manhattan. As first tipped by Digital Music News earlier this year, UMG has now signed a 22-year lease in the newly renovated Penn 2 building. Universal Music Group (UMG) has officially announced the leasing of new office space at Penn 2, Vornado Realty Trust’s recently completed office tower along Seventh Avenue in The Penn District, one of the busiest hubs in the city. The building will serve as the headquarters of labels Def Jam Recordings, Island Records, Mercury Records, and Republic Records—all part of the Republic Collective—as well as Bravado, UMG’s merch company, and Verve Label Group. The building will also serve as the East Coast offices for leading global music publisher Universal Music Publishing Group as well as several UMG corporate functions. UMG will occupy the entire fourth through seventh floors of Penn 2 as part of a 22-year lease. The company will also occupy a ground-floor space along Seventh Avenue for a future premium retail experience dedicated to serving music superfans in the heart of Manhattan, and a private lobby on 33rd Street. The lobby will feature a visitor center and direct elevator access to its floors. In addition, UMG will have the ability to showcase its artists on a large-scale LED signage within The Penn District. The new headquarters will be located within The Bustle, a 430-foot-wide expanse of office space stretching from 31st to 33rd Street on Seventh Avenue. A dramatic centerpiece of the Penn 2 redevelopment, it includes 88,000 square feet of double-height, 23-foot-high, column-free office space. There, UMG will build its New York offices and state-of-the-art studio production facilities complemented by exclusive access to more than 3,500 square feet of landscaped outdoor space. The new production facilities will bolster UMG’s global network of the world’s leading recording studios that already includes the iconic Abbey Road Studios in London, Capitol Studios in LA, and East Iris Studios in Nashville. “UMG’s relocation of its New York offices to the new Penn 2 Tower reflects our vision and ambition,” said Boyd Muir, UMG’s Chief Operating Officer. “Located in the heart of Midtown Manhattan and literally adjacent to Madison Square Garden, one of music’s most storied venues where so many of our artists perform to a packed house, Penn 2 will serve as an ideal nexus for our employees, artists, and songwriters. Beyond office space, Penn 2 will house music studios and retail spaces, featuring a range of artist merchandise and exclusive products. We look forward to working with the team at Vornado as we work towards a 2027 move in date.” “We are delighted to welcome Universal Music Group to The Penn District, which has firmly established itself as the epicenter of Manhattan’s new West Side,” added Glen Weiss, Executive Vice President, Office Leasing & Co-Head of Real Estate at Vornado Realty Trust. “Universal Music’s commitment to Penn 2 is further evidence of the district’s appeal to the world’s most iconic brands in business, lifestyle, and entertainment.” As part of its recently completed $750-million redevelopment of Penn 2, Vornado installed a highly efficient modern glass curtain wall; a striking triple-height lobby; 16 distinctive double-height outdoor tenant loggias; and The Bustle. Penn 2 will incorporate 30,000 square feet of curated retail, including the Dynamo Room, a 7,100 square foot full-service restaurant and bar from Sunday Hospitality. The building also features 72,000 square feet of outdoor green spaces; The Perch, a rooftop glass pavilion and event space that opens onto a lushly landscaped 17,000 square-foot private green space available to all tenants; and a 280-seat Town Hall suspended above Plaza33. Penn 2 is also the headquarters for Madison Square Garden and Major League Soccer. The Penn District campus is situated directly above North America’s most accessible and active mass transit hub. A total of 15 subway lines, along with Long Island Railroad, New Jersey Transit, PATH, and Amtrak all converge in the district. They will be joined by Metro-North commuters beginning in 2027. View the full article

Adaptive Music’s Tony Alexander chats with soul artist MAJOR on indie marketing and branding at Music Biz in Atlanta last week (Photo: Music Biz) Music Biz switched cities and kept most of the music business crowd. Now, Atlanta is the chosen city for 2026 as well — leaving a potentially juicy opportunity for a Nashville industry event. Despite excessive hand-wringing over Music Biz’s switch to Atlanta from Nashville, the music business crowd showed up in relative droves last week. Attendance appeared slightly down from last year’s Nashville shindig, it should be noted, though the conference announced its intention to remain in Atlanta in 2026. Music Biz’s city-switch is vaguely reminiscent of the Grammys of yore, when ‘Music’s Biggest Night’ ping-ponged between New York and Los Angeles before largely being anchored in Tinseltown. For Music Biz, it looks like a ‘build it in a new city and they will come’ dynamic is at work: for those bumping elbows at Music Biz at the Renaissance Atlanta Waverly, crowds were solid and dealmaking brisk — all ingredients for a solid music industry fest. We’re still not clear on the machinations surrounding Music Biz’s shift from Nashville after several years in Music City, though organizers said they’ve always been planning to shift cities periodically. Apparently COVID complicated plans to shift cities, though now the original game plan is being implemented. That’s the official line and Music Biz is sticking to it, though some chatter suggests a political motivation for the shift — though that’s one hot potato we’ll politely pass along. Either way, the crowd’s showed up, and the event was chock full of core music industry companies and execs. So how does this shift the deck on the music industry conference scene? Music Biz continues to emerge as a marquee music industry event in the US, particularly given SXSW’s waning reputation for actual business and dealmaking. Nashville already has a smattering of good industry events — most notably CRS — but given the city’s density of music celebs, songwriters, and industry folk, is there suddenly a serious opportunity for someone to make a big industry conference run in Tennessee? Separately, Nashville’s sudden importance in the music industry’s critical lobbying agenda can’t be overstated, particularly given the huge shakeup at the U.S. Copyright Office. Suddenly, the music industry is waffling in Washington against the tech bros — can Nashville and its more red-leaning artists potentially turn things around on the AI and copyright protection fronts? Both were undoubtedly top topics at Music Biz, where a who’s who of ‘the biz’ was bumping around. And with that, here just a quick canvass of the companies on deck this year: Apple Music, Spotify, Warner Music Group, Universal Music Group, DiMA, ASCAP, A2IM, RIAA, SONA, The Orchard, OpenPlay, Empire Publishing, Rhymesayers Entertainment, Concord Music, CD Baby, Downtown Music Publishing, Downtown Music Publishing, Columbia College Chicago, DDEX, The MLC, AllTrack, Sound Credit, Encore Music Tech Solutions, MusicWatch, Luminate, New West Records, Music Canada, Criminal Records, Elektra Music Group, The Vinyl Alliance, Stem Disintermedia, Lark42, Sureel AI, University of North Texas, Drexel University, Music Business Toolbox, 24/7 Artists…. … and so forth. See ya’ll next year! — in Atlanta, that is. View the full article

Rampage is bringing its booming bass to North America for the first time ever. The powerhouse Belgian promoter announced on social media today that it will make its stateside debut at the end of the month, beginning with a doubleheader in Montreal before shows in Denver and Vancouver in June. Known around the world for its massive annual Rampage Open Air and Indoor Weekender festivals, Rampage will open its North American run on May 30-31, hosting sets from heavy hitters like Midnight Tyrannosaurus, Gentlemens Club, ÆON:MODE, Kanine, REAPER, Riot Ten B2B Murdock, STOOG3S (HAMRO B2B SQISHI B2B BLVNKSPVCE), Witching Hour (VAMPA & JEANIE), and many more across two nights at MTELUS Montreal. The breakneck bass brand will then head to The Church nightclub in Denver on June 5, inviting drum & bass favorites REAPER, Mozey, Turno, and a special guest set from Murdock, before closing the premiere tour with performances from Barely Alive, Sub Zero, Mudock, and many more at Vancouver’s Harbour Event & Convention Center on June 7. Check out the full lineups below. The North American tour announcement arrives more than a year after Rampage began teasing a U.S.-based event on social media in September 2023. Since its launch as a 1,000-capacity club night in 2009, Rampage has grown to become one of bass music’s leading event promoters, hailed for booking artists from nearly every corner of the genre across its flagship festivals, club nights, and stage takeovers, including a debut at Tomorrowland Belgium in 2024. For more information or to purchase tickets, visit rampage.eu/events. Featured image courtesy: Rampage. The post Belgium’s Rampage Announces First-Ever North American Tour appeared first on EDM Maniac. View the full article

The jury verdict in favor of Epic Games, which has prevailed in a marathon patent infringement lawsuit centering on the technology behind Fortnite concerts from Travis Scott and Ariana Grande. Photo Credit: Digital Music News Four years and one week-long trial later, Epic Games has triumphed in a patent infringement suit involving Fortnite concerts from Travis Scott, Ariana Grande, and others. The jury just recently sided with Epic, which a company called Utherverse Gaming sued back in June 2021. Letting this initial complaint take the wheel for a moment – and keeping the focus on brass-tacks details – the plaintiff said it’d assumed ownership in 2020 over several patents. As laid out by the filing party, three of the patents concerned “multi-instance, multi-user animation platforms,” with another describing tech purportedly allowing “for massively populated virtual worlds in which participants can share the same experience without overcrowding.” Citing, among other things, Scott’s mentioned 2020 Fortnite show, the plaintiff maintained Epic had “utilized the claimed inventions of the Asserted Patents to host repeatable, large-scale events for multitudes of participants.” That refers specifically to “the software that when executed on a server enables many Fortnite participants to experience the same virtual worlds for virtual social events and concerts,” according to the document. Unsurprisingly, in light of the newly concluded trial, Epic refuted the allegations – including by firing off counterclaims challenging the patents’ validity and more. When all was said and done, the trial and the jury’s assessment boiled down to whether Epic had infringed one patent, “Method, System and Apparatus of Recording and Playing Back an Experience in a Virtual Worlds System,” in its Grande and Scott concerts. In the jury’s eyes, neither of those digital happenings constituted infringement of the claims within the central patent, the verdict form shows. But the jury also found – perhaps, given the presence of some clarifying markings, after a bit of debate – that Epic hadn’t proven the patent claims to be “invalid as obvious based on the prior art.” Close but no cigar: Another page from the jury’s verdict form. Photo Credit: Digital Music News (On the debate front, it evidently wasn’t a good sign for the plaintiff when the already-deliberating jury asked the presiding judge if unanimous verdicts were required. “The jury must be unanimous when it answers any individual question on the verdict form,” the court reiterated in response.) Lastly, on the same form, the jury determined Epic had proven one of the patent’s relevant claims “involved only technology that a person of ordinary skill in the art would consider to be well-understood, routine, and conventional as of” 2014. With that, the jury necessarily left blank the verdict form’s damages page, including a section for a percentage-royalty obligation. View the full article

Darude is celebrating 25 years of “Sandstorm” with a fun run cruising past landmarks from the trance classic’s original music video. The 6K “Sandstorm Run” will take place in Helsinki, the capital of Darude’s native Finland, on August 31, commemorating the lasting legacy of the platinum-selling single and iconic music video that helped launch the producer and DJ to global notoriety in 2000. Along the 3.7-mile route, runners will pass through recognizable sights from the music video, such as Kaivopuisto park, the Helsinki Cathedral, and the church steps where its famous chase sequence begins, according to a press release. Darude will be there to cheer on runners at the finish line, and is encouraging participants to “dress in the spirit” of the famously odd and frequently memed video. He’ll help award the best outfits in individual, pair, and team categories with prizes such as a meet and greet, group photo, and show tickets to the Helsinki stop on his STORM 25 World Tour. Shot in 2000 and directed by Juuso Syrjä, the roughly four-minute “Sandstorm” video oozes budget action movie, as security guards chase a stolen briefcase down alleys, over fences, and down railroad tracks. After a classic double-cross, an all-seeing Darude, clad in headphones and wraparound shades, is there to help the thieves escape via yacht. Today, it has over 300 million views on YouTube and is regarded as one of Finland’s most recognizable pop culture exports. Watch it in full below. “It’s amazing to celebrate my career right where it all began,” Darude said in a press release. The ‘Sandstorm’ video is still watched around the world, and it’s incredible to see it come alive again through the runners. I hope as many people as possible join us to have fun and get moving.” Fans can find a full list of Darude’s STORM 25 World Tour Dates here. For more information or to purchase tickets to “Sandstorm Run,” visit sandstormrun.com. Featured image courtesy: Darude. The post Darude To Celebrate 25 Years Of “Sandstorm” With 6K Fun Run appeared first on EDM Maniac. View the full article

Fedde Le Grand was a defining figure for house music. His most iconic song, Put Your Hands Up For Detroit, was released in 2006, and So Much Love was released in 2010. Fedde Le Grand has accomplished many things in his life and career. For several years, he was ranked in the top 20 DJs by DJ Mag, had a number one hit single on the UK Singles Charts, and received various awards for his tracks. And now, the music legend can add one more accomplishment to his life, but this one has nothing to do with music. On May 9th, Fedde Le Grand held his wedding and married his wife, Sofia. Posted on all socials, he wrote: “Still speechless… On May 9th, I married the love of my life. Thank you to everyone who celebrated with us, supported us, and made this day unforgettable. Sofia you are my everything. From this day forward, we build our future together. Here’s to love, to life, and to every beat we’ll share.” The post Fedde Le Grand Got Married This Month appeared first on EDMTunes.

(l to r) Cherry Red Records MD Adam Velasco; Korda Marshall (a consultant on today’s deal); Cherry Red founder and chairman Iain McNay; Dome Records founder Peter Robinson; Dome GM Santosh Robinson; and Cherry Red director Matt Bristow. Photo Credit: Cherry Red Cherry Red Records has acquired Dome Records, with plans in place to “diligently” oversee the soul and R&B label’s catalog while continuing to release new material from signed acts. 47-year-old Cherry Red formally disclosed the buyout today. Founded in 1992 by Peter Robinson, Dome is said to have put out projects from talent including Lulu, Beverley Knight (whose “Mutual Feeling” was sampled by Playboi Carti earlier in 2025), Incognito, Hil St Soul, and the James Taylor Quartet, to name a few. Additionally, the likes of Drizabone Soul Family, Jarrod Lawson, and Shaun Escoffery have dropped new works via Dome as of late. Cherry Red itself is “concentrating more on” catalog at present, but it’s still releasing fresh recordings and, as initially highlighted, plans to unveil “some new albums” from Dome acts moving forward. “In recent years we have focused less on releasing new recordings (although we will still put out around 20 new albums this year) and concentrating more on catalogue,” Cherry Red founder and chairman Iain McNay elaborated in part. “We are very excited to be acquiring Dome from Peter and Santosh and will look after their catalogue diligently as well as releasing some new albums by their artists. Dome will live on within Cherry Red!” the AFCW PLC director proceeded. On the other side of the transaction, aforementioned Dome founder Peter Robinson is expected to “continue working with the label as a consultant” once the deal wraps. “After 55 years in the industry and more than three decades running Dome together with Santosh,” added Robinson, “it’s time to hand over the reins to a new custodian, and I’m very confident that Iain McNay, Adam Velasco, Matt Bristow and the team that have helped to build Cherry Red into one of the UK’s most respected independent label groups will maintain the Dome legacy in the years ahead.” Regarding Dome’s price tag, the involved parties rather unsurprisingly opted against diving into specifics as part of their announcement message. And Dome Records and Dome Publishing financials, though covering the 12 months ended March 31st, don’t appear to provide too much pertinent info on this front. In any event, today’s deal marks the latest in a line of 2025 indie sales – with the main attraction seemingly being IP holdings even at labels still releasing new works. Just in passing, these transactions include plays for Monstercat, !K7, Mack Avenue, New State, ARC Musicq, Symphony Recording, and Musicraft Entertainment. View the full article

Glastonbury is expanding its dance music areas for 2025. After the world-famous British festival unveiled its 2025 site map on Saturday, a report from Mixmag highlights that changes to its layout, stage placements, and campgrounds will revamp or expand several of Glastonbury’s electronic music party hubs, including Silver Hayes, Shangri-La, Arcadia, and The Glade. The site map announcement comes as Glastonbury continues to roll out lineups for each of the musical areas across its roughly 1,200-acre festival site at Worthy Farm in Pilton, Somerset, England. Shangri-La—set to host performances from Pa Salieu, KNEECAP, EXAMPLE, Katy B, Skepta’s Más Tiempo, Chloe Robinson, Sicaria, A Little Sound, Goldie, and more this year—will expand with more public space and four new stages. Hosting names like Amelie Lens, CamelPhat, Fatboy Slim, Vintage Culture, Seth Troxler, NOTION, PAWSA, and many more, Silver Hayes, also home to four stages, will change locations, allowing for more public space and expanded stage areas for all but its indoor Assembly stage. The Glade, featuring acts like Carl Cox & Eric Powell’s Mobile Disco, Shygirl, Skepta B2B Mochakk, Joy Orbison, and Fish56Octagon; and Arcadia, welcoming Job Jobse B2b Palms Trax, Sonny Fodera, Four Tet, Michael Bibi B2B Solomun, and more, will both accommodate larger crowds this year. The Prodigy will also play in front of an expanded crowd area at the Other stage. In the 35 years since dance music was first introduced at Glastonbury, it has grown into one of the festival’s most popular musical offerings. Drawing record crowds of more than 210,000 people in 2024, Glastonbury was criticised last year for overcrowding instances that led to the temporary closure of electronic music hotspots, including Silver Hayes and Block9, among others. Glastonbury will return to Somerset, England, for its 55th edition this June 25-29. Explore the map below and the full lineup here. For more information, visit glastonburyfestivals.co.uk. Featured image courtesy: Glastonbury. The post Glastonbury To Expand Popular Dance Music Areas For 2025 Festival appeared first on EDM Maniac. View the full article

Glastonbury is expanding its dance music areas for 2025. After the world-famous British festival unveiled its 2025 site map on Saturday, a report from Mixmag highlights that changes to its layout, stage placements, and campgrounds will revamp or expand several of Glastonbury’s electronic music party hubs, including Silver Hayes, Shangri-La, Arcadia, and The Glade. The site map announcement comes as Glastonbury continues to roll out lineups for each of the musical areas across its roughly 1,200-acre festival site at Worthy Farm in Pilton, Somerset, England. Shangri-La—set to host performances from Pa Salieu, KNEECAP, EXAMPLE, Katy B, Skepta’s Más Tiempo, Chloe Robinson, Sicaria, A Little Sound, Goldie, and more this year—will expand with more public space and four new stages. Hosting names like Amelie Lens, CamelPhat, Fatboy Slim, Vintage Culture, Seth Troxler, NOTION, PAWSA, and many more, Silver Hayes, also home to four stages, will change locations, allowing for more public space and expanded stage areas for all but its indoor Assembly stage. The Glade, featuring acts like Carl Cox & Eric Powell’s Mobile Disco, Shygirl, Skepta B2B Mochakk, Joy Orbison, and Fish56Octagon; and Arcadia, welcoming Job Jobse B2b Palms Trax, Sonny Fodera, Four Tet, Michael Bibi B2B Solomun, and more, will both accommodate larger crowds this year. The Prodigy will also play in front of an expanded crowd area at the Other stage. In the 35 years since dance music was first introduced at Glastonbury, it has grown into one of the festival’s most popular musical offerings. Drawing record crowds of more than 210,000 people in 2024, Glastonbury was criticised last year for overcrowding instances that led to the temporary closure of electronic music hotspots, including Silver Hayes and Block9, among others. Glastonbury will return to Somerset, England, for its 55th edition this June 25-29. Explore the map below and the full lineup here. For more information, visit glastonburyfestivals.co.uk. Featured image courtesy: Glastonbury. The post Glastonbury To Expand Popular Dance Music Areas For 2025 Festival appeared first on EDM Maniac. View the full article

Photo Credit: Solen Feyissa The digital app landscape is forever shifting—TikTok has been dethroned by ChatGPT as the most downloaded app worldwide. ChatGPT was downloaded 52 million times in April 2025 across both Google Play and iOS. This milestone marks a dramatic change in app dominance, especially among the younger Gen Z cohort—who often drive trends in both music and technology. TikTok has held the crown of most downloaded app for several years now. The short-form video format has fueled music trends, launched careers, and continues to shape global listening habits. But ChatGPT recently outpaced TikTok’s 39 million downloads last month to claim the most downloaded app title. OpenAI rolled out several major updates in March, including a significant upgrade to image generation and improvements to AI voice features. The app’s flexibility and creative potential has resonated with Gen Z, who prioritize tools that enable rapid content creation and personalized interaction. That’s one reason TikTok sister app CapCut gained such popularity—it makes editing videos for the platform much easier. Photo Credit: Backlinko ChatGPT’s conversational interface, image tools, and generation features align with Gen Z’s demand for instant, interactive experiences. The app saw a 12% increase in downloads from March to April—and a whopping 38% jump since January 2025. This growth reflects the broader shift in how young creators are engaging with technology. While TikTok’s influence remains strong, it’s no longer the top dog when it comes to downloads. Both TikTok and Instagram are neck-and-neck, reflecting the latter’s efforts to woo younger audiences with short-form content. Instagram enhanced its ‘Explore’ page to more accurately feel like TikTok’s ‘For You’ page. It has also included several interactive features for Reels, including polls, questions, and group chat capabilities. While both TikTok and Instagram vie for attention from Gen Z—ChatGPT is dominating downloads with several new updates intended to make AI-guided content creation even easier for the younger generation. View the full article

Photo Credit: Taylor Swift by Paolo Villanueva / CC by 2.0 Taylor Swift’s re-recorded version of “Look What You Made Me Do,” featured in an episode of Hulu’s The Handmaid’s Tale. Is Reputation (Taylor’s Version) on the way? Swifties have been theorizing that an announcement of the album is fast approaching. That theory was given further credence on Monday night, when “Look What You Made Me Do (Taylor’s Version)” featured prominently in a new episode of Hulu’s The Handmaid’s Tale. Taylor Swift’s most devoted fans have been anticipating the announcement from the star since Reputation became eligible for her to re-record in late 2022. This has been the longest stretch between re-records in the megastar’s discography. She released 1989 (Taylor’s Version) in October 2023. Alongside Taylor Swift (Taylor’s Version), Reputation will be one of the last albums up for re-recording from her previous contract with Big Machine Records. Fans noticed potential Easter eggs on Swift’s official merch site, with the home page reorganized as Apparel, Music, Accessories, and Sale—the first letters of which spell out AMAs. Swifties are therefore theorizing that Taylor could be gearing up to announce Reputation (Taylor’s Version) at the American Music Awards on May 26. Swift previously spoke about revisiting the album in an interview with Time in 2023. The magazine selected her as the publication’s Person of the Year. “It’s a goth-punk moment of female rage at being gaslit by an entire social structure,” she said of the original album. “I think a lot of people see it and they’re just like, ‘sick, snakes, and strobe lights.’” Further, she referred to the unreleased vault tracks from the project as “fire.” Taylor Swift’s sixth studio album, Reputation was originally released in November 2017. The project contained a slew of hits for the prolific star. They include “Look What You Made Me Do,” “Ready For It?,” “End Game,” “Delicate,” “Gorgeous,” and more. View the full article

Have you ever heard of electronic music street parties like Rave The Planet Parade in Berlin or the Paris Techno Parade in France? Well, the Netherlands, and more specifically, Amsterdam, is about to take the concept of a “street party” to the next level with Audio Obscura that will host a 9-hour rave on the A10 Zuid highway. On Saturday, June 21st, Amsterdam’s A10 Ring Road will be transformed into a 15-kilometer-long, car-free festival in celebration of the city’s 750th anniversary, with Festival Op de Ring. With 25 program elements spread across three zones along the highway, the event promises a vibrant mix of music, art, activities, and local entrepreneurs – all coming together on the longest day of the year. Among the most spectacular highlights is Audio Obscura’s Highway Rave, where the Dutch event collective, known for pushing the boundaries of raving into unconventional spaces, will host the largest stage of the day. From the tunnel beneath the Rijksmuseum to the passage under Amsterdam Central Station and even the G-Star headquarters during ADE in 2022, Audio Obscura has built a reputation for transforming unexpected locations into unforgettable dance floors. The full line-up is still under wraps but will be revealed in the coming weeks. However, looking at past Audio Obscura events, names like Benwal, Chris Stussy, Lucky Done Gone, Joris Voorn, and Moody Mehran have all graced the decks, so it’s safe to expect a carefully curated roster of talented DJs for the Highway Rave. The attendance to the Highway Rave is free for those who pre-register, with tickets becoming available on Wednesday, May 21st at 10:00 CEST. More information can be found on Audio Obscuras website, or by clicking here. Audio Obscuras upcoming takeover of the A10 will undoubtedly be a once-in-a-lifetime experience, and a unique celebration of history, community and how music has the power to bring people together in the most unexpected places. Whether you’re a local or a visitor, a seasoned raver or just curious, this is not the event to miss.

Photo Credit: Amazon Music Amazon Music announces the beta of its new AI-powered search, designed to help fans learn more about their music. Select Amazon Music Unlimited subscribers in the US can take a sneak peek at Amazon’s new AI-powered search. The idea is to enhance music discovery and help fans learn more about their favorite artists. To use this beta feature, users can tap the “Find” button at the bottom of the screen and enter an artist’s name in the search bar. By selecting the “Explore” tab at the top left, users can discover information about the artist. That info includes collaborations, similar artists, and highlights from their discography. For example, a search for Jelly Roll can highlight not only his solo work but his collaborations. Collabs like “Save Me” with Lainey Wilson, or “Should’ve Been a Cowboy” with T-Pain will appear—notably an Amazon Music Original. Users can also create AI-generated playlists. Last year, Amazon Music launched Maestro, its answer to Spotify’s AI DJ. That move came as part of continuing efforts to compete with the streaming giant. By incorporating Maestro into the new Explore feature, Amazon is hoping to encourage more users to try its AI playlisting. “This new feature is about transforming each search into a journey of musical discovery, and we’re thrilled to start introducing it to customers,” said Ryan Redington, General Manager at Amazon Music. “By leveraging AI to enhance search and discovery features, we’re making it easier for fans to dive deeper into the worlds of their favorite artists and find new ones they’ll love. This beta builds on our previous AI innovations and represents our ongoing commitment to connecting artists and fans in meaningful ways. We can’t wait to see how fans will use it to enhance how they’re enjoying music on our service.” Notably, Explore is rolling out today for select US subscribers in the iOS app. Currently, the beta feature is limited to 10,000 artists, including Bad Bunny, Blackpink, and Jelly Roll. View the full article