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Calvin Harris is going to be a dad. The global DJ and music producer is expecting his first child with wife and BBC Radio 1 host Vick Hope. The couple, who usually keep things private, shared the happy news live on air in a moment that caught listeners by surprise. A Heartfelt Radio MomentDuring a live segment with co-host Jamie Laing, Vick casually revealed that this would be her final week before going on maternity leave. As she touched her growing bump, Jamie responded with warmth, calling her an amazing person and a soon-to-be amazing mum. Vick’s quiet “thank you” made the moment feel even more personal for listeners tuning in. From Ibiza Romance to Family LifeCalvin Harris, 41, and Vick Hope, 35, have kept most of their relationship away from the spotlight. After a whirlwind one-month romance, Calvin proposed during a private moment under a tree at his Ibiza property. They married in September 2023 at a Glastonbury-themed ceremony in Northumberland. Since then, the pair have continued to keep things low-key, appearing together at award shows but avoiding overexposure. Baby on the Way and a New HomeThe pregnancy announcement follows photos Vick shared recently from what appeared to be her baby shower. Friends gathered for a meal and games, offering a glimpse into the couple’s quiet celebration. Alongside their growing family, Calvin Harris and Vick Hope are also preparing to settle into their new countryside home. The property, located in a quiet Gloucestershire village, is a custom-built three-storey house surrounded by nature. It’s a far cry from the nightlife of Ibiza, but it seems like a fitting choice as they prepare for a more peaceful chapter. Looking AheadWith the baby expected within the next two months, fans of the couple are celebrating alongside them. While Calvin Harris has spent years playing to vast number of crowds, his most important role yet is about to begin. For now, it looks like the couple is happily embracing the balance between private life and occasional public moments that mean something more.

£1,299 / $1,300 / €1,300, somasynths.com Soma Labs doesn’t necessarily have a monopoly on oddball instruments that seem custom catered to film scores and experimental noise makers, but it’s certainly a leader in the area. The Lyra series, The Pipe, The Pulsar 23, Ether, RoAT, Terra… The list goes on and on. READ MORE: Arturia’s V Collection 11 Pro almost made me forget I had other plugins Flux is the latest addition to its stable of wild instruments. Underneath the hood, there’s a complex digital synth with physical modeling and abrasive FM capabilities. But what makes the Flux special isn’t the synth engine — it’s how you play it. Flux seems inspired by the likes of the Theremin and modern controllers like the ROLI Seaboard. You don’t touch Flux, you wave your hands over it while holding magnetic ‘bows’. These look nothing like the sort of bow you associate with a cello, however. Instead, they’re small, hourglass shaped, with north and south magnetic poles at either side. Your hands’ position is then tracked in three dimensions, both over the ‘timbral sensor’ on the left and the note board on the right to control various parameters from volume to filter cut-off or tremolo speed. Essentially, it combines the complex multi-dimensional control of the Seaboard with the touch-free heritage of a Theremin. The appeal of Flux is 100 per cent in the way you interact with it. It requires patience and accuracy, which can be frustrating at first. It doesn’t necessarily lend itself to lightning-fast licks or expansive chords, even though it is capable of polyphony. Instead, it’s best approached as a machine for drones, pads and lilting melodic passages. It can be beautiful when you gently coax melodies out of it, or suffocatingly ominous when you lean into long, low drones. Getting comfortable finding notes on the right-hand side is a lot easier than I expected it to be. The markings make it pretty easy to visualise your place, and there is note quantisation if you need it to help ease into things. Quantisation does come in handy when using plucky or bell-like sounds, where you’re likely to come down from the top more quickly to ‘strike’ notes. For smoother patches, I prefer to come at the notes by sliding up from the bottom of the board, which I find more accurate. Gliding over the board to string notes together is satisfying, but the more interesting part of Flux is the timbral sensor on the left which gives you a ton of control over the expression of individual notes. It’s comprised essentially of three magnets in a row that turn the area in an XYZ pad that you wave a second ‘bow’ over. This can turn thin vox-style leads into low rumbles, strum notes like a guitar, or play back arpeggios faster as you move to the right. This also opens the filter as you move upwards and increases velocity as you get closer in the Z axis. It’s a shockingly simple but powerful tool that elevates the Flux beyond just being a big fancy Stylophone. Adding even more versatility, the magnetic bows have two poles, which give you different effects when you flip them over. On the note board this usually just transposes everything up or down. But on the timbral sensor it can completely transform a synth patch into something new or control a completely different set of parameters. While playing the Flux might sound intimidating, it’s actually pretty approachable. It’s everything else about Flux that gets a little confusing. Changing presets, synth algorithms, controlling release… Basically everything on the Flux requires placing your fingers on one or two touch-sensitive nubs and then moving the bow over the note board. The act of touching ‘R’ and then moving to the right to extend the release of a note makes sense. But trying to remember what each button does both in normal mode and bow flipped mode is difficult. Thankfully, there’s a cheat sheet that I keep handy when having a play. Creating custom patches is also annoying. That all said, you don’t have a ton of control over the synth engines anyway, so this is an instrument where I’m inclined to just stick with presets. There are 37 synth algorithms in total, with eight variations of each, providing plentiful jumping-off points for designing sounds. But your actual ability to tweak settings is limited beyond that. Your best bet for actually crafting unique timbres is through manipulating the magnetic bows and adding external effects pedals. Flux has a built-in reverb and delay, but they’re somewhat mediocre, with limited controls and you can only use one at a time. Certain Flux algorithms can also sound thin. Sometimes this is by design, for instance with the VOX algorithm which is based on classic Theremin designs. A Theremin can sound beautiful, otherworldly, creepy, but rarely is it described as thick or meaty. To bring body to many of its patches, I heartily recommend bringing an analogue delay to the party, as well as a spacious reverb. I often pair it with the Chase Bliss Thermae and the Death by Audio Rooms and the results are thrilling. That combination feels custom-tailored to score work. Melodies are bigger and cut more, drones rattled your guts, and plucks become atmospheric abysses. Like most of Soma Labs’ instruments, Flux is decidedly niche. It’s £1,299, which isn’t prohibitively expensive, but also isn’t cheap. You also need to be invested in the particular sound and style of Flux, which is decidedly experimental. If you’re often doing game score work, or work in what Soma likes to call ‘academic music’ (what most would probably just call experimental), Flux will certainly seem appealing. Key features 37-note touch-free note board 37 synth algorithms 12-note polyphony (polyphony dependent on the preset) 6-pole magnetic ‘timbral sensor’ 4 magnetic ‘bows’ Onboard reverb and delay Balanced stereo outs Headphone out Dimensions: 1000 х 114 х 30 mm Weight: 1.7 kg The post Soma Labs Flux is what happens when Theremin heritage meets modern sound engine appeared first on MusicTech. View the full article

“Ideas? I got a million dreams. That’s all I do is dream. All the time.” A Million Dreams by Zeds Dead begins with these wondrous sentences spoken by the piano legend, Duke Ellington. READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album? “This is not piano, this is dreaming,” he continues. Ellington passed away in 1974. In order to include his whimsical oration on their new album, Return to the Spectrum of Intergalactic Happiness (RSIH), Zeds Dead, consisting of Zachary Rapp-Rovan and Dylan Mamid, had to find a sample…one they almost didn’t clear. “It was difficult to get in touch with [Ellington’s] people about it. We thought it wasn’t gonna happen. Then his grandson responded and apparently liked the song. We were really stoked,” Rapp-Rovan tells MusicTech. “It’s hard to clear samples. We would get to these places where we’d have something in the track, and then we would have to take it out and replay it, and it wouldn’t sound as good.” The bass-fueled production duo didn’t just splice in Ellington’s voice, though. In the video they sampled, his hands float around on the piano, providing a brief aural glimpse into his dreams. Zeds Dead took an instance of his playing and built a serene drum & bass track around it. As two producers who started their music careers making hip-hop, sampling is their lifeblood. But over the years, they faced many frustrating cases with the opposite outcome of A Million Dreams. “It’s hard to clear samples. We would get to these places where we’d have something in the track, and then we would have to take it out and replay it, and it wouldn’t sound as good,” Rapp-Rovan says. For a while, they enjoyed the challenge of creating music from scratch, but on RSIH, they renewed their affinity for the historic production technique. “In the last three years, we’ve been sampling like crazy, and for this album, we just said, ‘Let’s just have fun with it and try to clear it at the end.’” RSIH is Zed Dead’s first LP in nine years, and sampling is at the core of the album’s multi-layered artistic concept. The fictional “spectrum of intergalactic happiness” is where the sound and light waves from all the TV shows, music, video games, and movies have been living after they left speakers and screens and floated out into space. Each song on the album represents a channel on an old-timey TV cruising through the cosmos, transmitting these frequencies as sound and visuals, with the samples serving as the most direct connection back to the original source. The full breadth of the concept exists in the album’s accompanying film, which is filled with visual samples. Everything broadcast after 95 years of copyright protection enters the public domain. So, with the help of visual director Callum Gillies, they combined their chosen clips from the massive public library with found footage to create a psychedelic visualiser that pairs seamlessly with each song. “We were playing around with those kinds of ideas. Where could the channel be changed to?” Rapp-Rovan says. The next layer of the concept is the live show. Zeds Dead project clips from the film and display the videos associated with the samples on-screen during the live set. From Al Pacino’s threatening speech in Scarface that fuels their hard-hitting house cut, Bad Guy, to Ella Fitzgerald performing her soaring vocals of Summertime by George and Ira Gershwin. Zeds Dead morphed the latter into their gripping dubstep track, One Of These Mornings. “The live show is a representation of musical culture over the last 100 years through the lens of bass music,” Rapp-Rovan says. This historical exploration goes back to Mamid and Rapp-Rovan’s earliest years together. When they were first breaking through, they’d remix songs from pop artists into their bass-heavy signature to bring familiarity to the audience (a technique they still recommend to younger producers trying to get noticed). “Early on, I thought remixing a popular song was a cool way to showcase your style and creativity, because if they know the original, then they’re like, ‘Oh, that’s kind of clever,’ versus a song that comes out of nowhere,” Rapp-Rovan says. This instinct proved right when their 2009 dubstep remix of Eyes on Fire by Blue Foundation catapulted them into popularity. The track was an unofficial bootleg at first, then Blue Foundation eventually permitted them to release it. It remains Zed Dead’s highest-streamed song on Spotify with over 63 million plays, and the UKF YouTube video has over 174 million views. Remixing and sampling are two sides of the same coin in repurposing a previous work, and both Eyes on Fire and Ella Fitzgerald’s iconic voice are united in the inspiration they provided to Zeds Dead. “[Sampling] gets your juices flowing. You might hear something, and it might move you in a certain way. We might make something based around the sample, and the sample might not even stay in at the end of the process. But it could have sparked something or inspired something,” Mamid says, leaning into their interest in musical history. “You’re connecting to a different era. You’re bringing something back; connecting to a real moment.” “There’s some sort of magic in the studio those people were in at that moment, and it’s sometimes intangible. You’re honing in on something that they didn’t necessarily even see,” Rapp-Rovan continues. Zeds Dead created a framework for the album by visiting different moments throughout time via samples. Each moment was populated by different kinds of artists, whether it be musicians, actors, or anything in between. Then each of those moments created a framework for a track. “Focusing on individual songs is zooming in heavily to a micro level, and then zooming out and thinking about everything else conceptually was really interesting,” Mamid says. “Once you open this rabbit hole, you can keep going down. It led to a lot of discussions between us, thinking about the overall project as one thing. It’s not that we hadn’t done that before, but we definitely went in more on this project.” As they went deeper into the rabbit hole of the concept, production served as a source of light. Shifting away from the magical and the mystical and towards the technical, in the modern era, where there are thousands of plugins, modules, and synths, it was samples that helped them lessen choice paralysis. “Once we figured out the concept, it helped to get our heads around what it could be and what made sense for it,” Rapp-Rovan says. “We wanted to make an album like some of the classic albums we listen to, where you listen to the whole thing. They all have some sort of criteria. That’s always been a big part of our whole thing: the challenge of taking some source material and flipping it into something that’s interesting and unique.” However, the inspiration from that source material also led them down endless roads. Every song on RSIH has multiple versions in different tempos and drum patterns on a hard drive somewhere (ideal for switching things up during their live sets). “The options are still overwhelming sometimes because not only are there so many choices, but we are also passionate and make so many styles of music. Even with a sample, we might try to flip it into 10 different styles,” Mamid says. In their quest to follow their endless creative interest, they approached every track with a new set of plugins, hardware, and other pieces of tech. One dictum that guided the process was simple. They wrote on a whiteboard while they were making the album, “fuck shit up,” and one method of doing so was resampling. They took a sample or an original piece of audio they created and manipulated it until they landed on a version miles beyond where they started. Not only did this create a unique sonic palette, but it also added to the gritty audio aesthetic related to the concept of frequencies coming through retro TVs. “One thing I’m a big fan of is removing a lot of high and mid frequencies from a sound, using distortion to add back in harmonics, and then continuing to do that over and over and over again to bring certain things out of sounds,” Mamid says. Beginning this process with another sample adds a unique flavour to the final product, no matter how mangled it may be, or even if the sample was at a low bitrate. “The characteristics of the sample are something that you can’t necessarily get through synthesis.” “This album went through many phases,” Rapp-Rovan says. “It ended up being remixes of ideas and remixes of those ideas, which I think was interesting for us because remixing is something that is very much like sampling, and something that we’ve done our whole time making music. So it was an interesting journey,”. Zeds Dead would quickly shirk the notion that they are on the same level as a legend like Duke Ellington, but RSIH was the product of a million ideas coming together in the same way Ellington had a million dreams. The duo would certainly encourage artists sampling their ideas 50 years after their time. The post Zeds Dead sampled a century of sound to create their new sci-fi bass odyssey appeared first on MusicTech. View the full article

Soft Changa are set to unveil an intoxicating new single, ‘Surely’, on the 9th of May 2025 via House Of Frequency. The track marks a powerful new chapter for the genre-defying pair, formed by producers Jo.Ke, the voice behind ‘Who Loves The Sun’ – one of the biggest tracks to come out of the Burning Man scene over the last decade, who boasts over 350 million streams across his projects, and his long-time collaborator, ulises. With standout performances at WOMOON (Ibiza), Burning Man, and BRAVO GNP, Soft Changa continue to affirm their place as one of electronic music’s most captivating emerging acts. Emerging from Berlin’s eclectic underground, Jo.Ke first came to prominence through the legendary BAR25 scene. A poetic polyglot with over 2.2 million monthly listeners on Spotify alone, he has spent the past decade touring the globe as a solo act, DJ, and a core member of the revered electronic/ organic downtempo collective Feathered Sun, releasing music on Platon Records, Circus Company, and Denature. ulises, originally from Buenos Aires, embarked on a sonic odyssey to find a miraculous sound merging folk circus, techno, and spirituals. A multi-instrumentalist with a boundless curiosity, his work is shaped by diverse influences – from Zen Buddhism and Borges to Dadaism and Depeche Mode. ulises fuses native instrumentation from indigenous cultures with contemporary tools and textures of electronic music. His releases span across labels like Sol Selectas, Scorpios Music, MoBlack Records, and Kiosk ID. Together, Soft Changa channels an alchemy that feels at once ancient and futuristic – soulful, danceable, and undeniably immersive. Deeply influenced by spirited icons like David Bowie, Brian Eno, and David Byrne, the pair offer a versatile sonic palette of Indie Electronica, sure to be enjoyed by fans of WhoMadeWho, Monolink, and RÜFÜS DU SOL. ‘Surely’ is a kaleidoscopic marriage of movement and introspection. A steady four-on-the-floor guides shuffling percussion, pulsing pads, hypnotic synth layers, deep dreamy guitar licks, and a mesmerically melancholy vocal floating atop the haze, singing yearnfully for someone that, despite the euphoria around them, remains in their thoughts. ‘Surely’ is co-written by both members, produced by ulises, while Jan Siebert handled the track’s mixing and mastering. Soft Changa shared: “Our newest release ‘Surely’ talks about the feeling of missing that special person, especially and even more so when surrounded by people in the euphoric mood of a party. How no matter if you‘re having a really good time and with plenty of friends and beautiful others you just wish your loved one was there with you.” Follow Soft Changa: Instagram – Soundcloud – Youtube – Spotify Follow Jo.Ke: Instagram – Facebook – Soundcloud – Youtube – Spotify Follow ulises: Instagram – Soundcloud – Spotify The post Genre-Defying Duo Soft Changa Release ‘Surely’ on House of Frequency appeared first on Electric Mode.

Hot off the heels of her debut single and the launch of her new label UNDERGROWTH, Fleur Shore returns with her second release, ‘Bless The House’ feat Émilie Rachel Featuring the tripped out vocals of Émilie Rachel, ‘Bless The House’ delivers a no-nonsense dose of classic four-four energy. It’s understated house music at its finest—the kind of track diverse enough for sweaty intimate club nights, to pulsing through packed dancefloors, and soundtracking sunrise afterparties. © Photography by Daisy Denham (www.daisydenham.co.uk) UNDERGROWTH is a record label, a party series, and more importantly, a community of art lovers who want to break free from mundanity and embrace the unknown. No rules, no expectations, and no concessions to the market. The first single ‘Higher’, which came out last month, received praise and plaudits from tastemakers and fans alike and was highly touted on BBC Radio 1 by dance music authorities Danny Howard, Sarah Story and Arielle Free across their respective shows while also being singled out on Beatport as one of the Hype records of the month. The mantra is simple: we are connected, we are one, we are undergrowth. UNDERGROWTH is a safe space where artists – new, legendary, forgotten or under the radar – can express themselves however they want. BUY / STREAM ‘Bless The House’ feat Émilie Rachel’ [UG002] The post Fleur Shore announces sophomore single ‘Bless The House’ feat Émilie Rachel on her new label UNDERGROWTH appeared first on Electric Mode.

Following on from dark technoid beast ‘Feeling All The Pressure’, Cevin Fisher returns to Jack Said What with a release that drops more sunny side up. Rolling tribal drums set the basis of the track, soon to be joined by shakers, a muted horn and a deep burrowing bassline. But it’s the expansive mid-section — an exultant “Everyday” refrain, fit for sunshine terraces everywhere — that brings the winning smiles. Simple but deadly, ‘Everyday’ is a feelgood summer anthem that’s going to bring dollops of joy to dancefloors whenever it gets an airing. Cevin Fisher is a US house producer/DJ with pedigree. He had a purple patch around the millennium with tracks like ‘The Freaks Come Out’ and ‘(You Got Me) Burnin’ Up’, both of which conquered the UK and US charts. But even by that point he’d been in the music game for a decade. He began DJing in his father’s bar in New Jersey before scoring a residency at 17 in the infamous Club Zanzibar, where Kerri Chandler and Tony Humphries also cut their teeth. Moving to New York, he got engineering work at Arthur Baker’s Shakedown Studio and with Motown, and remixed Chaka Khan and Quincy Jones, before the one and only Danny Tenaglia suggested to Cevin that his talents merited branching out on his own. A string of productions followed on Nite Grooves, Groovilicious, Subversive and Tommy Boy before he hit big with ‘The Freaks’. Cevin has continued to release quality house music this century on labels such as Strictly Rhythm, Big Love, Olmeto, Nettwerk, Nervous, Toolroom and Glasgow Underground, working with producers as varied as D.Ramirez, Prok & Fitch, David Morales, Jack Back, Layo & Bushwacka and Seamus Haji. Most recently, last year he co-produced wiggly, syncopated rhythmic house smash ‘Move That Body’ with Danny Tenaglia, and released ‘Give Me My Pleasure’ on Faith. Play ‘Everyday’ every day this summer for maximum joy. The post US House Master Cevin Fisher Drops ‘Everyday’ For Sunshine Terraces Everywhere appeared first on Electric Mode.

Globally adored, Chicago-born icon Honey Dijon unveils weekly line ups for her Honey F#cking Dijon 8 date residency at Chinois Ibiza. She’ll be joined by her supreme selection of the world’s best guest DJs every Thursday night, June 5th to July 24th, including Jamie XX, Uncle Waffles, Major League DJz, Âme, Derrick Carter, Benji B, Patrick Mason, Honey Luv, Gina Jeanz amm. Check out the full rundown for each week below and get ready for an incredible f#cking summer… “I’m excited to be back at Chinois this summer – we’re bringing the heat straight to the dancefloor,” Honey says. ‘Nothing beats the raw, unfiltered energy of the club – the lights, the bass, that connection between me and the crowd. It’s where music breathes, where it lives. Chinois has that energy, that vibe. I’ve got some of my favourite artists joining me on Thursdays throughout June and July, and I’m really looking forward to it. Can’t wait to see everyone there.” Apart from igniting Chinois dancefloors, recently Honey has increased her already global status in music and fashion, inc. walking in WILLY CHAVARRIA’s show at Paris Fashion Week; her contribution to the DJ Kicks compilation series (October); her latest release C*NTY with Kevin Aviance; and press support inc. Vogue, L’Officiel, GQ, New York Times, Notion, Guardian… All since emerging from the underground to produce with Beyonce, collab with Jamie XX et al, play the biggest venues, and create runway soundtracks for Vuitton and Dior. Weekly Schedule: Thursday 5th June (Opening): Honey Dijon, Âme (DJ), Cameron Jack Thursday 12th June: Honey Dijon, Derrick Carter, Honey Luv, Tommy Gold Thursday 19th June: Honey Dijon, Patrick Mason, Isaac Carter, Pascal Moscheni Thursday 26th June: Honey Dijon, Luke Solomun, System Olympia, Makadsi Thursday 3rd July: Honey Dijon, Benji B, Blck Mmba, Keyrah Thursday 10th July: Honey Dijon, Major League DJz, Gina Jeanz, Remixia Thursday 17th July: Honey Dijon, Jamie xx, TSHA, Manu Gonzalez Thursday 24th July (Closing): Honey Dijon, Uncle Waffles, Malix, Rosey Gold Connect with: Chinois – @chinoisibiza Honey Dijon – @honeydijon The post ‘Honey F#cking Dijon’ weekly line ups revealed at Chinois Ibiza appeared first on Electric Mode.

Austrian electronic duo Klangkarussell return with their latest single, ‘Holy Father’, set for release on May 16, 2025. Teaming up with Colombian rising star Oliva, the track is a seamless fusion of melodic house and Afrobeats with Latin influences, delivering an emotionally charged summer anthem about temptation, regret, and redemption. ‘Holy Father’ tells the compelling story of a woman entangled in a forbidden affair. Overwhelmed by guilt and inner conflict, she seeks solace in prayer, asking for the strength to resist temptation. Oliva’s powerful vocals and Latin-Caribbean influences bring raw emotion to the narrative, while Klangkarussell’s signature production weaves hypnotic rhythms and captivating melodies—resulting in a track that could resonate everywhere, from dance floors and festival stages to beach clubs and the airwaves. Blending Klangkarussell’s dynamic beats with Oliva’s vibrant energy, ‘Holy Father’ is poised to be the anthem of this summer. BUY / STREAM: KLANGKARUSSELL, OLIVA: ‘HOLY FATHER’ HERE Connect with Klangkarussell: https://www.instagram.com/klangkarussellofficial/ https://soundcloud.com/klangkarussell https://www.facebook.com/klangkarussell The post Klangkarussell returns alongside Oliva for new single ‘Holy Father’ on Bias Beach Records! appeared first on Electric Mode.

Don Diablo’s alter ego CONTROL ALT DΞLΞTΞ crashes into the UK grime and drum & bass scene with his most creative cut yet – “Head Banger” with Scrufizzer, proudly representing the British grime scene, via the UK’s legendary label and platform UKF. This marks the CONTROL ALT DΞLΞTΞ project’s debut on UKF, and Don Diablo wastes no time making his presence felt, teaming up with grime powerhouse Scrufizzer for a genre-bending namesake banger that slaps from the very first bar. The track opens with a warped vocal riff and spirals into grimy synth stabs and digitized melodies that sound ripped from an AI-doomsday video game, before exploding into a pulse-racing, bass-heavy drop built to detonate dancefloors. With CONTROL ALT DΞLΞTΞ, Don Diablo pushes his boundaries wide and into the underground, signaling he’s dead serious about this new chapter of his career. One thing is for certain – “Head Banger” is just the beginning. “Dropping my first official release on UKF with my brother Scrufizzer, our second record together is a full circle moment! I have always loved the label and their unique sense of community. This one hits harder, faster, and deeper. Don Diablo pres. CONTROL ALT DΞLΞTΞ is just getting started… and I couldn’t be more excited.” – Don Diablo Don Diablo / CONTROL ALT DΞLΞTΞ Currently voted the world’s #15 DJ on the prestigious DJ MAG Top 100, Don Diablo has long been a trailblazer in electronic music, known for pushing genre boundaries with hits like “On My Mind” and “Cutting Shapes.” The sought-after Dutch producer has collaborated with and remixed an eclectic roster of global superstars including Dua Lipa, Justin Bieber, Gucci Mane, Ed Sheeran, Mark Ronson, Travis Barker, Miley Cyrus, Rihanna, Madonna, The Chainsmokers, Coldplay and many more. A true visionary, Don’s creative output spans far beyond music – his hybrid physical-digital fine art pieces have broken records on SuperRare, been auctioned by Sotheby’s, and exhibited at the Venice Biennale, Art Basel, and beyond. In fashion, he helms HEXAGON’s streetwear line, releasing capsule collections with the likes of Disney, Lucasfilm, and Netflix. A consummate presenter, Don has hosted his globally syndicated Hexagon Radio show for over eight years, currently broadcast in over 68 countries. His label HEXAGON, launched in 2015, remains a powerhouse in championing new talent. Ever the innovator, Don is also one of the world’s top-selling crypto artists, making history with the release of his GΞNΞSIS NFT and the groundbreaking digital concert film NFT DΞSTINATION HΞXAGONIA. As CONTROL ALT DΞLΞTΞ, Don is all about creating something sharp, modern, and unapologetically different from his four to the floor output, a new lane, not a new mask. The name is no accident, either. Like the keyboard command, it’s a reset and a creative override. Scrufizzer First arriving on the scene as a producer coming straight out of west London, Scrufizzer has had quite the career so far. Starting out spitting on pirate radio, he quickly caught the ear of some of the UK’s finest and became part of the nascent grime scene, building up kudos with every set and feature, a quick search for his appearances on radio show freestyles and SBTV demonstrate why he caused such a stir and amply convey his ability. There has always been a variety of different layers to the Scrufizzer sound, from bashment to house & garage, from hip hop to jazz, funky to acoustic guitar, and he refuses to be pigeonholed to one particular style, preferring to be able to express himself on a variety of different beats and with a range of vocal styles. A true product of the melting pot of the UK music scene, his versatility and taste shine through on his tracks as his storytelling art. Don Diablo’s forthcoming dates (North America 2025 tickets): May 16 – Duplex – Prague, CZ May 31 – Jun 02 – NAMELESS Festival – Annone Di Brianza, IT Jun 13 – The Church – Denver, CO Jun 14 – New City GasM – Montreal, QC Jun 26 – Holika Festival – Calahorra, ES Jul 09 – FEQ – Québec, QQ Jul 11 – Ramova Theatre – Chicago, IL Jul 12 – Echostage – Washington, DC Jul 18 – The Midway – San Francisco, CA Jul 19 – The Rooftop at Pier 17 – New York City, NY Jul 20 – Cabana Pool Bar – Toronto, ON Jul 30 – Opium – Barcelona, ES Download / Stream More info on Don Diablo / Scrufizzer / UKF: Don Diablo: Facebook | Instagram | Spotify Scrufizzer: Facebook | Instagram | X | Spotify UKF: Facebook | Instagram | X | Spotify The post Don Diablo’s Alter Ego CONTROL ALT DΞLΞTΞ Unleashes Grime and Drum & Bass Power with “Head Banger,” Featuring Scrufizzer – Debut on Iconic Label UKF and North American Tour Announcement appeared first on Electric Mode.

Mau P’s Baddest Behaviour is set to become one of the hottest new nights on the island this summer. Running every Wednesday from 6 August to 8 October 2025, it will feature a unique mix of pioneering legends and new school innovators from across the house spectrum. Dutch DJ and producer Mau P is one of the hottest names in house right now. He is best known for his breakout 2022 single ‘Drugs from Amsterdam’ and has dominated the scene ever since. His always sold out shows have taken him to some of the biggest clubs and festivals stages on the planet, always with a raw energy and direct connection with his dancers. This summer, he will play a select extended set as well as going back to back with several legends. The season in full will feature CAMELPHAT, Patrick Mason (house set), Discip, Mau P b2b Seth Troxler, Mahony, Hot Since 82, LP Giobbi, HAAi, The Blessed Madonna, Quest, Mau P b2b Nic Fanciulli, Mano Le Tough b2b Henrik Schwarz (live), Deer Jade, Mau P b2b BLOND:ISH, Sally C, WhoMadeWho (hybrid DJ set), Jan Blomqvist, Karretero, Mau P b2b Innellea, Mind Against, Pole Position, Mau P b2b Jimi Jules and Mall Grab. Ahead of Mau P’s Baddest Behaviour residency is an exclusive Introducing Baddest Behaviour party on 1 June with Mau P and CamelPhat that offers the island a taste of what’s to come later in August. Mau P’s Baddest Behaviour is the most essential place to be for lovers of edgy, up front house music so secure your ticket now. Sunday 1 June 2025 Introducing Baddest Behaviour CAMELPHAT B2B Mau P Kimonos Tini Gessler WEDNESDAYS 6 August, 2025 Mau P Patrick Mason (House Set) Discip 13 August, 2025 Mau P B2B Seth Troxler Mahony 20 August, 2025 Mau P Hot Since 82 LP Giobbi 27 August, 2025 Mau P (Extended Set) HAAi 3 September, 2025 Mau P The Blessed Madonna Quest 10 September, 2025 Mau P B2B Nic Fanciulli Mano Le Tough B2B Henrik Schwarz (Live) Deer Jade 17 September, 2025 Mau P Mau P B2B BLOND:ISH Sally C 24 September, 2025 Mau P WhoMadeWho (Hybrid DJ Set) Jan Blomqvist Karretero 1 October, 2025 Mau P B2B Innellea Mind Against Innellea Pole Position 8 October, 2025 Mau P B2B Jimi Jules Jimi Jules Mall Grab STAY UPDATED HERE Instagram | Website | TikTok TICKETS The post Mau P Announces Full Season Line-Ups For Baddest Behaviour at Pacha Ibiza appeared first on Electric Mode.

The award-winning Brighton Music Conference (BMC), the UK’s leading electronic music and networking event, is gearing up for its 12th edition this week. Taking place from 21st to 23rd May 2025, the award winning BMC will once again bring together Industry-leading professionals and present a jam-packed programme of insightful talks, workshops and networking events. BMC is a hub for the next generation of talent. New Health, Wellbeing and Lifestyle Programme The new Health, Wellbeing and Lifestyle programme in collaboration with Skiddle at the Harbour Hotel will provide a treat for the body and mind with yoga and soundbath sessions to help delegates start the day with a calming mindset. Tonic Music will present a session on ‘Breaking The Stigma – Severe and Enduring Mental Illness in the Music Industry’, Skiddle and Music Minds Matter will discuss ways to foster a healthier and more supportive event community in the session ‘Who Is Looking After The Industry’s Mental Health? A Collective Remedy’ and registered dietitian Sally Freeman will bring her ‘Eat Sleep Rave Relax’ concept to BMC, highlighting the best strategies for health and resilience in the music industry. Protecting your hearing will also be a key topic with ACS presenting a session on ‘The Tinnitus Toolkit’ and the NTIA ‘Listen for Life’ initiative to prevent hearing loss. Other important topics to be discussed include; ‘The Power Of No: How To Thrive In The Music Industry’, ‘Burnout’ hosted by Sound Mind, ‘Motherhood & Djing’ which will deep dive into the unique challenges and triumphs of balancing motherhood with a thriving career in the DJ and production world, shesaid.so will host the session ‘Beyond The Buzzword – Why Community Is Essential In The Music Industry’ and ‘Neurodiversity & Djing’ will return after the huge success of last year’s event, bringing together some of the brightest minds in the industry to discuss the intersection of neurodiversity and electronic music. Keynote Artist Interviews There will also be several keynote interviews across the 2 two-day event featuring the legendary Graham Massey of 808 State, Arthur Baker and Paul Oakenfold, plus an exclusive showing of the Frankie Knuckles Documentary followed by Q&A. The Tempest Programme Jam packed with practical knowledge for artists and industry professionals the programme kicks off on Thursday with ‘PR & Marketing’ sharing insights into spending your marketing budget in 2025 followed by ‘How To Earn A Living From Music – Where Does Your Money Come From?’ presented by PRS For Music and Fuga/Downtown will highlight strategies for a successful releases campaign in ‘Behind The Release: Mastering Your Campaign Strategy’. The ‘Social Media’ session hosted by Data Transmission will discuss what no one is telling you about social media for artists and events in 2025, Label Radar will help artists learn by their mistakes in ‘Don’t Play Yourself: Red Flags, Hacks & Power Moves for Artists in 2025’ and the ‘Artist Development Workshop’ with ellevate will provides artists with a practical a guide to brand development and how to grow a fanbase in 2025. The Association For Electronic Music will present two sessions to support the next generation of talent in the industry with ‘Where Are The Party Starters?: Support the next generation of promoters’ and ‘Finding The Right: Agent/Manager/Publisher/Publicist / Label’. They will also host their ‘Meet the Experts’ session giving delegates the opportunity to book in one to one sessions with industry professionals. Other key topics include ‘A&R’ with the Wonk Creator Clinic, Cavendish Music will share tips on how to pitch and sync a track into some of the biggest reality TV shows in ‘Get Synced On TV’ and Beatport will host their annual ‘Industry Hour’ sharing insights from the market, reveal new genres and features as well as share results from a recent study. ‘Money and Royalties, Demystifying the Numbers’ is another hot topic alongside ‘Artificial Intelligence’ and the sustainability challenges facing the vinyl industry today in the ‘VINYL’ discussion. The programme will end with the new ‘Ask Us Anything’ session, giving the opportunity to obtain definitive answers to questions that you have always wanted to ask. The Horizon Programme Popular Brighton nightclub Horizon (previously the renowned Honey Club and formerly Shooosh) is a new venue for the 2025 edition, giving more space to expand the programme and offer even more value for delegates and a line up of top artists and industry professionals. Attack Magazine will explore the growing trend of DJs turning into authors in ‘Long Live The Dj Narrative: When Djs Become Authors’, the ‘Sync’ panel promises a deep dive into the cutting-edge world of sync licensing and music in media and the ‘Vocals’ session brings together an all-star lineup of vocalists and songwriters who have shaped the sound of electronic music. The ever popular ‘DJ Q&A and ‘Producer Q&A’ sessions return, promising dynamic discussion with the industry’s most influential selectors and esteemed producers. The annual ‘DJ Agents’ panel brings together some of the most influential agents in the industry to share their insights on navigating the fast-moving world of electronic music bookings and ‘Jungle’ will discuss the evolution and enduring impact of Jungle music, featuring an all-star lineup of pioneers and innovators. In today’s rapidly evolving music landscape, the battle for listeners’ attention is fiercer than ever and ‘Who Rules The Airwaves’ will deep dive into Radio vs Playlists vs Podcasts. The ‘DIY’ panel brings together industry experts to offer insights and practical advice for independent electronic musicians navigating the world of self-release, promotion, distribution, and label management. Vocalists are high on the agenda with the ‘Vocals’ session exploring the evolving role of vocalists in dance music and ‘Crediting Vocalists’ focusing on the crucial issue of properly crediting vocalists for their work in high-profile collaborations and releases. Friday’s edition of the ‘DJ Q&A’ will be another insightful conversation filled with personal stories, technical expertise, and an inside look into the lives of DJs who are truly embedded in their communities and the ‘Promoter Q&A’ brings together another powerhouse lineup of industry professionals with decades of experience, offering an exclusive look into the world of event promotion and artist collaboration. Rounding off the days sessions will be a topical discussion on grassroots electronic music venues being vital incubators of innovation, talent, and community within the UK’s cultural landscape presented by the Night Time Industries Association (NTIA) in ‘Amplifying the Underground: Supporting Grassroots Electronic Music Venues Across the UK’ A&R Sessions The ‘A&R Sessions’ at The Tempest is where artists can bring their demos and have some of the most discerning ears in the industry listen to them. Headed up by prolific DJ and music producer Steve Mac, a wide variety of labels covering different genres have been lined up to give more opportunities for immediate feedback on productions and one-to-one meetings with leading A&Rs in the electronic music industry. Last year was a sell-out success, with a high quality of music being submitted and several signings during the event. The sessions will be booked on a first come first served basis. Limited spaces available, book your tickets now here. Confirmed labels and A&R professionals Include; Armada, Axtone, Beatport, Critical, Data Transmission, Defected, Eve Records, Fabric Records, Freakin 909, Helix Records, Inflyte, Krafted, Label Radar, LNADJ Records, Maraki, Mesh, Mixmasters, Perfecto, Prime Direct Distribution, R&S Records, Rinse FM, Shogun Audio, Sleazy Deep, Toolroom Records, Trusted Rhythm Records, We Are The Brave and Wh0 Plays. Networking Events & Clubnights Networking is a big part of the BMC ethos and there are plenty of opportunities to meet industry colleagues and connect with like-minded people at the many exclusive networking parties at some of Brighton’s best-loved venues. The Tempest will host the official BMC Welcome Mixer in association with AFEM with dj’s Anna Cee, Dorian Flagrant, Jess Bays, Miss Rae and Trophie and shesaid.so will host their annual ‘Breakfast Club’ Networking event will take place at the Lazy Fin with the opportunity to get yourself a free press shot. After each day of the conference, there will be a variety of networking events at some of Brighton’s best love venues. On Thursday PRS will host a mixer at the Harbour Hotel with dj’s Flambé, Hilit Kolet, Paris Cesvette, Ridney, Richard Earnshaw and Sophie Lloyd and local label Jack Said What will take over The Tempest with dj’s 20:20 Kag (R&S Records), Ben Westbeech, Carl Loben, Jon Carter, Nickelle and Zoe Vice. On Friday at The Tempest the NTIA will host a mixer with dj’s Arthur Baker, Banki, DJ Hatcha (UKG Set), DJ MJ, Graham Massey (808 STATE), Mini Da Minx, Nolan and a Groover DJ competition winner tba. Grahame Farmer teams up with Beatport & Plugin Boutique to host his popular Blueprint Breakfast at the Lazy Fin, helping DJ’s kick start their careers in this intimate round table session.Buy tickets here The official BMC25 closing party will be held at Oculist on Friday 23rd May in collaboration with Decadance UK radio with dj’s Charmain Love, Chris X, Elliko, SJMuel, Brett Maxey, SUPERClaud, McCauley and will be broadcast live. If that wasn’t enough, BMC has teamed up with some of Brighton’s best-loved seafront venues for electronic music with a variety of events taking place on Friday and Saturday. On Friday Horizon will present Paul Oakenfold, Black Octopus and Sarah Monument, Volks will host Ray Keith ft Degs, DJ Rap and Degs (Dj Set) and Adam, Angelo Ferreri, Craig Nook, La Rose, Lui Florez, Maslow Unkowen, Mov, MYSD, Paul Hilditch, Pique, Tom Yates will take the the decks with 4 to the floor/play presents at Tide. On Saturday, Graham Gold, Jody Cottier, Jonny Nelson, Matt Pook and Sterling will play at the Waterbear Venue, Jack Jeffery, Larnie, Nina Carina, PLVSTYK and Robin will play at Patterns and Mixmasters will take over The Tempest on Saturday. The post Brighton Music Conference Set To Unite Electronic Music Industry This Week appeared first on Electric Mode.

Today, critically-acclaimed Dutch electronic duo Weval (AKA Harm Coolen and Merijn Scholte Albers) announce their long-awaited new album ‘CHOROPHOBIA’, due for release on the 5th September 2025 on Ninja Tune imprint Technicolour. Alongside the announcement the duo share up-beat new single “JUST FRIENDS”, which follows on from UK-bass-infused “DOPAMINE” released last month – both tracks signalling an exciting new direction for the duo. Weval are also heading on a massive run of UK and EU shows this summer supporting Rüfüs du Sol, before a headline tour in Autumn. Please find full dates below. When it came to making their fourth album, ‘CHOROPHOBIA’, Weval faced their fears. Despite being grouped into the dance scene since their 2013-released debut EP ‘Half Age’ and going on to play festival stages including Nuits Sonores, Lowlands, Primavera, Best Kept Secret, Pukkelpop and DGTL Amsterdam with their five-piece band, Harm Coolen and Merijn Scholte Albers have actively pushed away from being known as a floor-filling act. But, more recently, when the pair stumbled across the phrase chorophobia – which means a fear of dancing – they decided to lean into the irony and get out of their comfort zones. “Until that point, we had always worked on records with a ‘listening’ mindset,” Harm reflects of Weval’s second and third albums (2019’s ‘The Weight’ and 2023’s ‘Remember’) – “we realised that we’ve been scared of making dance music for all of our journey as producers”. Jumping in at the deep end has resulted in Weval’s most extroverted collection to date. While they teased this new direction with 2024’s groovier ‘Night Versions’ EP for Technicolour, letting go of their inhibitions has required patient artistic evolution. “we wanted to commit in a way that still felt liberating and true to us”, Harm says, adding that calling it a dance record not only felt like a u-turn but freed them from the boundaries and cliches of certain categories. This unrestricted, genre-crossing ethos made room for guilty pleasures, higher BPMs, big drops and an increased number of hi-hats. The titular intro sets the scene and is ominous enough to soundtrack a 70s horror movie, before acid synths take it in a wiggier direction, flowing seamlessly into the spiralling build up of ‘MOVEMENT’. Comparatively, ‘JUST FRIENDS’ would suit a Tame Impala record perfectly, and the funk-infused ‘BETTER’ sits in a similar sphere to records from the Motown era. Featuring vocals from club favourite KILIMANJARO’s brother who spontaneously joined a studio visit, ‘HEAD FIRST’ – ups the ante, as does ‘DOPAMINE’, while the subtler ‘MERCATOR’ forms a bridge between Weval’s previous releases and this record. An album designed to be experienced with others – ‘CHOROPHOBIA’ is sure to satisfy both longtime fans and lead them to discover a new audience. Not only is it a hedonistic expansion to the sonic world that Weval spent almost a decade building, their stylistically-brave fourth record is proof that doing what scares you the most often ends up being the most thrilling choice to make. ‘CHOROPHOBIA’ is out 5th September. “JUST FRIENDS” is out now The post Weval Announce New Album ‘Chorophobia’ Out 5th September On Ninja Tune Imprint Technicolour appeared first on Electric Mode.

British audio brand Allen & Heath has unveiled six new Qu mixers that bring 96 kHz FPGA and DEEP Processing capabilities, Dante options, and a host of workflow and hardware enhancements to the digital mixing platform. “Every aspect of the mixer has been re-thought, the XCVI core, enhanced I/O capability, all the way to the screen and faders,” says Senior Product Manager Keith Johnson. “We’ve completely reimagined the UI, keeping the simple layout and workflow that Qu is known and loved for.” READ MORE: The best rotary mixers to buy in 2025: 15 best mixers for DJs Across the board, the mixers deliver 38 inputs (32 mono/linkable, 3 stereo), 12 mixes, 4 matrix, 6 FX engines with dedicated stereo returns, plus SLink port for connection to the Everything I/O ecosystem of remote expanders. Each model is also packed with versatile recording and playback options, with an integrated 32×32 USB-C audio interface, 32-channel multitrack support via SD card, and simple stereo recording and playback through the USB-A port, whatever your application. Users can choose between three frame sizes, each available with or without integrated Dante connectivity: the compact Qu-5 and Qu-5D offer 17 faders, 16 XLR inputs and 12 XLR outputs; the Qu-6 and Qu-6D expand that to 25 faders, 24 XLR inputs and 16 XLR outputs; and the Qu-7 and Qu-7D provide 33 faders, 32 XLR inputs and 20 XLR outputs. The three Dante variants include an integrated 16×16 48/96kHz Dante interface. And while the new mixers retain the much-loved look and form factor of the original Qu series, numerous hardware improvements have been made to enhance sonic performance and mixing experience. Updated mic preamps and high-performance 96kHz converters ensure pristine signal integrity from input to output. Every channel now includes a display and a chromatic meter for quick visual feedback, while the new touchscreen boasts improved clarity and responsiveness. The new Qu also continues to deliver on the brand’s “walk up and mix” ethos with four customisable fader layers, more assignable SoftKeys, and flexible routing options in addition to the classic 1:1 Qu routing. Users can also look forward to a revamped user interface that promises greater speed and ease of use, with key mixing functions always under your fingertips, be it via the dedicated hands-on controls, or the touchscreen. In addition, Qu now features the Feedback and Gain Assistants from the CQ series to take the stress out of setup and speed up soundchecks. And as mentioned, all new Qu mixers are DEEP Processing ready, with the upcoming V1.1 firmware offering a suite of optional add-ons from the flagship dLive series, including acclaimed emulations of legendary studio compressors and preamps. Learn more at Allen & Heath. The post Allen & Heath unveils new generation of Qu mixers featuring Dante support: “Every aspect of the mixer has been re-thought” appeared first on MusicTech. View the full article

In just a few short days, techno fans from all over the world will make their way to the birthplace of the genre for three days of music and art at Detroit's iconic Movement Festival. With performers from all over the world, the next chapter in this historic event promises to deliver a diverse mix of sound you can't find anywhere else. Here's everything you need to know before heading to Movement Festival 2025 this Memorial Day Weekend. Movement Festival Set Times and Stages Movement Festival Headliners Jeff Mills, Charlotte de Witte and John Summit will close out the Movement Stage each night. You can also see performances from Nina Kraviz, Jamie xx and Claude VonStroke on this stage, which serves as the festival's main stage. The Waterfront Stage will showcase sounds outside traditional techno, sitting alongside the river. Here, attendees can catch performances from Chase & Status, Hamdi, Sara Landry, The Blessed Madonna, TSHA, Avalon Emmerson, FERG and more. This is in contrast to the Underground Stage, which lies beneath the festival grounds and features intense sounds from heavy-hitting artists like Boys Noize, D.Dan, DJ Nobu, HorsegiirL and Helena Hauff. The Stargate Stage features the first showcase of the weekend, a Detroit Love takeover powered by closer Carl Craig. He will join Stacey Pullen, salute, Sammy Virji, Mau P and more on this stage overlooking the Detroit skyline. Movement's Detroit Stage gives back to its namesake with a lineup exclusive to Detroit locals. The Underground Music Academy will take over the stage on Sunday and host performances from Blackmoonchild, Ember LaFíamma, Shawescape Renegade, DJ SPHiNX, JMT and more. The Pyramid Stage is the only to feature two showcases this year. On Sunday, Kevin Saunderson will host a KMS Records showcase. This day will feature the sounds of Walker & Royce, Hiroko Yamamura, Layton Giordani and more. On the final day of Movement 2025, DJ Minx will host a House Your Life showcase with help from Ricardo Villalobos, Sarena Tyler, Soul Clap, Seth Troxler and more. Movement Festival MapBelow you can find the official map of the Movement 2025 festival grounds. Notated on the map are the locations of all six stages, restrooms, entrances and exits as well as food and drink vendors. Movement Festival 2025 Map Movement Festival 2025 AfterpartiesMovement is known for an extensive number of pre- and afterparties all across Detroit. There are more than a dozen official parties set to take place this Memorial Day Weekend. Green Velvet will host a La La Land showcase in the same building as Nina Kraviz's extended afterparty set. Defected Records, KMS Records and Repopulate Mars are also slated to host takeovers. Headliner John Summit will also headline a special Experts Only party. In addition to the late-night music, those who want to burn some extra calories can participate in the Detroit Techno 5K on Sunday afternoon. The race is for all skill levels and participants can choose to run or walk. All finishers will receive a t-shirt and medal as well as a ticket to a post-race performance from Will Clarke. You can purchase tickets to Movement's official afterparties here. Movement Festival Location, Parking and TransitMovement will return to Hart Plaza in downtown Detroit. The official address of the venue is: 1 Hart Plaza Detroit, MI 48226 There is paid parking available at the Huntington Place convention center on a first-come-first-served basis. You can also download the ParkDetroit app to find on-street and off-street parking near the festival. Attendees will be able to take advantage of buses and trains, including free options like Detroit People Mover or QLINE Detroit. Bus options include DDOT City Buses, SMART FAST Bus and D2A2. In addition to these options, Uber and Lyft will be running all night long as well as electric scooter and bike rentals. Additional transit information and guides can be found here. Movement Festival HoursAttendees are welcome to dance their troubles away at Hart Plaza from these times: Saturday, May 24: 2 PM-12 AM Sunday, May 25: 2 PM-12 AM Monday, May 26: 2 PM-11 PM Movement Festival WeatherThis year's Movement Festival is forecasted to be on the chillier side compared to previous outings. At the time of this writing, AccuWeather predicts highs in the sixties and lows down to 48° with some rain. Forecasts can change dramatically in just a few hours, so attendees should pack clothing for both warm and cold weather. Movement Festival LockersLocker rentals are available onsite at Movement 2025. There will be two locations for the rentals: one in the general festival grounds and one in the VIP-only area. The dimensions are 11” wide, 13 ½” high, and 18” deep. Attendees can choose to rent a locker for a single day or the entire weekend. If the entire weekend rental is purchased, renters are allowed to leave their belongings in the locker overnight on Saturday and Sunday. Each renter will also be able to get a mobile charging device all weekend long that can be exchanged for free when the battery has depleted. This service requires a $10 deposit, but renters will be refunded when the mobile battery is returned. Movement Festival 2025 TicketsGeneral admission and a limited number of VIP tickets are still available here.

Photo Credit: David Burke / CC by 2.0 Salt-N-Pepa is suing Universal Music Group for the rights to their catalog, claiming the label is holding their music hostage. Cheryl James and Sandra Denton of the legendary hip-hop group Salt-N-Pepa are suing Universal Music Group (UMG) for the rights to their catalog, which includes hits like “Push It,” “Shoop,” and “Whatta Man” featuring En Vogue. The duo claim the label is holding their music “hostage” and will not acquiesce to their request to invoke termination rights, by which songwriters can end their publishing agreements and regain their copyrights. In a 166-page lawsuit filed Monday in New York, Denton and James state they “will not tolerate disrespect” from the label. The pair assert that they “not only transformed the genre but created, recorded, and performed some of the most famous hits of the twentieth century.” As the “First Females of Rap,” they were instrumental in “paving the way for subsequent generations of powerful and commercially successful female rap and hip-hop artists.” According to the lawsuit, Salt-N-Pepa’s catalog has generated an estimated $1 million in the past five months in synchronization licenses alone, despite “little to no marketing efforts” on the part of UMG. The label has held a copyright grant since 1986, which has “given UMG the right to exploit Plaintiffs’ master recordings and retain a portion of all monies earned by Plaintiffs from the commercial exploitation of their work.” Denton and James attempted to exercise their rights to termination of their contract with UMG under Section 203 of the Copyright Act of 1976, which allows songwriters to terminate copyright grants after 35 years. But UMG has “refused to honor Plaintiffs’ Notices of Termination.” Instead, “UMG has indicated that it will hold Plaintiffs’ rights hostage even if it means tanking the value of Plaintiffs’ music catalog and depriving their fans of access to their work.” The lawsuit cites instances in which UMG removed Salt-N-Pepa songs from streaming platforms and made their music “unavailable for commercial exploitation in the US.” Denton and James are seeking a jury trial. The duo is seeking both actual damages for money lost and punitive damages to be determined at trial. According to the filing, the actual damages alone could “well exceed $1 million.” They are also asking the court for a permanent injunction confirming their rights to their catalog. UMG’s attorneys, in letters included as exhibits in the lawsuit, that they have pushed for mediation in order to reach a “mutually acceptable resolution.” However, lawyers for UMG also claim that Denton and James were not personally parties in the 1986 agreement that covered their initial albums. Further, there is “no evidence” that they ever granted the label copyright that could now be reclaimed. According to UMG, the recordings were “works made for hire,” which would make them ineligible for the rights to be reclaimed. But Salt-N-Pepa’s lawsuit asserts that the pair’s agreements with the label very clearly state that they were not. The lawsuit comes ahead of Salt-N-Pepa’s induction into the Rock N’ Roll Hall of Fame on November 8. The group was the first female rap ensemble to win a Grammy in 1995, and in 2021, they received a lifetime achievement Grammy award. View the full article

Photo Credit: DiFronzo / CC by 2.0 In a significant ruling for the music industry and artists’ social media practices, the Ninth Circuit Court of Appeals has definitively dismissed a copyright infringement case levied against Lil Nas X over Instagram photos. The lawsuit was brought forth by photographer Rodney Woodland, who alleged that Lil Nas X had posed similarly to several of his copyrighted images on Instagram. The case initially survived a motion to dismiss in district court, raising concerns across the industry about the legal risks associated with sharing images on social media accounts. Woodland’s photos were posted between August 2018 and July 2021 and received between eight and seventy-five likes. Meanwhile, Lil Nas X’s photos were posted between March and October 2021 and received hundreds of thousands of likes on the platform. The United States District Court for the Central District of California dismissed Woodland’s claims, including copyright infringement, declaratory relief, accounting, and unjust enrichment. The court found that Woodland failed to prove that Lil Nas X had previously viewed his photos on Instagram and that the photos Lil Nas X posted were not substantially similar to Woodland’s photos. The appeals court reviewed the case and affirmed the district court’s dismissal, putting the issue to bed. Judges agreed that Woodland did not plausibly allege that Lil Nas X had viewed Woodland’s content and the mere fact that they shared a platform (Instagram) was not enough evidence. Additionally, the court found that Woodland failed to show that Lil Nas X appropriated the poses and composition of the photos from Woodland. The Copyright Act only protects the selection and arrangement of individual elements in photos—with the court finding that the photos in question were not similar enough to be considered copyright violations. Many of the poses featured in both photographs are common photo poses used by hundreds of photographers who pose subjects for their work. View the full article

Photo Credit: AllHipHop An entire Kanye West album leaked onto the internet yesterday, prompting the rapper to respond. The announced album was once called WW3, but the rapper took to Twitter to say he renamed it to CUCK. Leakers say the benefit from the sale of the files went to the U.S. Holocaust Museum—with proof provided. The leak originated on Discord, a meassaging and community platform popular with gamers and music fans of specific artists. A folder containing the full CUCK album and other unreleased Kanye West songs began circulating in private Discord groups. From there, the files quickly spread to YouTube and other social media platforms—though YouTube was quick to remove them. The leak was part of a ‘group buy’ model, in which fans and critics pooled money (in this case $999) to obtain and release the files themselves. Those responsible for the leak said the funds were donated to the U.S. Holocaust Memorial Museum. The leak’s metadata and public statements included explicit criticism of Kanye West, referencing his recent controversies and antisemitic remarks. The files themselves contained derogatory messages about the rapper, and the album art was altered to include a picture of the young rapper wearing a ‘no nazis’ shirt. The original album art featured Ku Klux Klan members on its cover art. “Fuck Nazis. 50-year-old loser promoting fascism and hate speech. All proceeds from this group buy were donated to the U.S. Holocaust Memorial Museum,” the leakers wrote alongside the full track list. The album contains songs like “WW3,” “Cosby,” “Diddy Free,” “Dirty Magazines,” “Jesus,” “Bianca,” “Cousins,” “Uncle,” “Free My Kids,” “Heil Hitler,” “Gas Chambers,” “Hitler Ye Jesus,” “Jared,” and “Nitrous.” The tracks including “Diddy Free,” “Free My Kids,” and “Dirty Magazines” were never before released ahead of this leak. The song “Heil Hitler” was released by Kanye himself as a single, but several digital streaming providers (DSPs) removed the song due to its controversial nature and TOS violations promoting hate speech. “Shout out to the leakers but also Kanye music in 2025 ain’t worth being leaked,” wrote one user on X/Twitter. Kanye himself responded to the leak on X/Twitter, writing: “Somebody got a drive and threw it on YouTube and said this is CUCK. What I love about getting blocked on DSPs and having songs leaked and shows cancelled is it proves everything I’m saying and why I’m saying.” “Glorifying fascism is not ‘art,’” the original leaker wrote on Discord. “‘Speech of Love’ is just an excuse to say outrageous nonsense for attention. Kanye West is a 50-year-old spineless, brainless, drug addict, porn-addicted Nazi bitch,” the message continues. View the full article

A live performance from Ed Sheeran, whose legal team is urging the Supreme Court to reject a cert petition in a marathon ‘Thinking Out Loud’ copyright dispute. Photo Credit: Mark Kent Ed Sheeran is firing back against a Supreme Court cert petition in one of multiple “Thinking Out Loud” copyright suits. As the artist and his team see things, reversing the courts’ prior decisions could set the stage for a tidal wave of speculative infringement actions. Defendants including Sheeran just recently made their position clear in a 31-page brief opposing an appeal from Structured Asset Sales (SAS). The latter has an interest in the Marvin Gaye hit “Let’s Get It On” and, alleging unauthorized overlap with the aforementioned Sheeran track, fired off a related infringement suit the better part of a decade ago. Technically, this marathon legal battle is distinct from the similar complaint spearheaded by the estate of “Let’s Get It On” writer Ed Townsend. An appellate court closed out 2024 by denying a rehearing request in the SAS action – evidently laying the groundwork for the filing party to take the matter to the Supreme Court. As we previously explored in greater detail, the confrontation centers specifically on protectable elements of deposited works under the Copyright Act of 1909. Ultimately amended by the 1976 Act, the more than century-old copyright law required “two complete copies of the best edition” of a published work (meaning sheet music here) to be deposited with the Office to receive protection. The 1976 update officially brought recordings into the fold (effective in 1978, that is) for compositional deposit copies, but “Let’s Get It On” was registered in 1973. And while it probably doesn’t need saying given the nearly eight years of litigation at hand, the point proved important. Though the complaint alleged infringement of certain elements (like the bass line) contained in the “Let’s Get It On” recording, the courts in many more words found that the claims must be confined to the actual handwritten deposit copies. “The Copyright Office has claimed that the 1909 Act registration deposit strictly delimits the scope of copyright in a work,” SAS vented in its initial cert petition. “In fact, nothing in that Act states that the deposit defines scope—no court ever limited a copyright based on a deposit for over 100 years until Led Zeppelin.” Letting the brief from Sheeran and his counsel take the wheel, then, the purportedly “plain wrong” Structured Asset Sales is allegedly overlooking more than a century of well-established precedent. “For over a century,” Team Sheeran wrote, “as evidenced by consistent case law and even by copyright treatises, there has been nothing ‘unsettled’ about the scope of copyright protection for musical works being limited to what is literally expressed in the ‘complete copies’” deposited with the Copyright Office under the 1909 Act. “The self-serving free-for-all Petitioner posits would foment vast uncertainty and encourage rampant speculation, decades after the fact (and, in many cases, such as this one, long after the death of the composer in question), regarding the composer’s supposed intentions,” Sheeran and others continued. “It would expand copyright infringement litigation to encompass elements appearing nowhere in deposited sheet music under the 1909 Act, nor in deposited recordings under the 1976 Act, so long as an expert is willing to suggest that such elements can be implied,” the respondents drove home. View the full article

Photo Credit: Connie Francis for ABC Television, 1961 Connie Francis reacts to her 1962 song “Pretty Little Baby” becoming a viral hit on TikTok, 63 years after she recorded it. Connie Francis, 87, was surprised to learn her 1962 song “Pretty Little Baby” is having a massive resurgence, going viral on TikTok—even if she had to ask what exactly that meant. Sixty-three years after she recorded the track, it’s become a huge hit on TikTok, where even celebrities like Kylie Jenner have recorded lip-sync videos. Overall, “Pretty Little Baby” has been used in nearly 15 million TikToks this year, and has been streamed over 20 million times on Spotify. “My thanks to TikTok and its members for the wonderful, and oh so unexpected, reception given to my 1961 recording ‘Pretty Little Baby,’” said Francis in a statement posted to her Facebook page. “The first I learned of it was when Ron [Roberts] called to advise me that I had a ‘viral hit.’ Clearly out of touch with present day music statistic terminology, my initial response was to ask: ‘What’s that?’ Thank you everyone!” Francis was only 23 when the song came out as a B-side to her single, “I’m Gonna Be Warm This Winter.” The track was featured on her 1962 album, Connie Francis Sings Second Hand Love & Other Hits, but the record failed to make the Top 100 on the Billboard Top LPs chart. Nonetheless, Francis enjoyed a highly successful career in the late 1950s and early 1960s. Her hit “Everybody’s Somebody’s Fool” made her the first woman to top the Billboard Hot 100. Now, with such renewed interest in the track, “Pretty Little Baby” has been streamed more than 20 million times on Spotify, and it currently sits at No. 67 on the streaming platform’s Global Top 100. The song has also topped TikTok’s Viral 50 and Shazam’s new Viral Charts, and hit No. 2 on Spotify’s Global Daily Viral Songs chart. Over 600,000 daily TikTok creations use the track, and a new version of the song is in the works in six different languages. Connie Francis also features as a character in the new Broadway musical, Just In Time, based on the life of Bobby Darin. Francis had a brief relationship with Darin before he went on to marry Sandra Dee. Francis is played by Gracie Lawrence, while Darin is played by Jonathan Groff. View the full article

In a world inching toward dystopia, EDC returned to Las Vegas over the weekend and once again offered a welcome escape under the electric sky. Those who have attended North America's largest EDM event in the past know it's much more than just a festival. It's more of a temporary civilization with its own language, laws and gravitational pull. And in 2025, this rave utopia on the Las Vegas Motor Speedway was as inviting and colorful as ever. From trance to techno to trap and every genre in-between, the weekend reminded us that dance is still the universal language, even when you've been awake for 72 hours straight and think the totem next to you is giving good life advice. But as we all know, EDC's neon-drenched playground of bass drops and questionable fashion choices is all worth it. Continue on to watch EDC Las Vegas 2025 live sets by Alesso, Armin van Buuren, Tiësto, ISOKNOCK and more. This article will be updated as more performances are uploaded. AlessoArmin van BuurenEli BrownILLENIUM b2b SLANDERISOKNOCKJames HypeRay VolpeTiësto

Producer and DJ Alex Cecil delivers his latest Indie Dance single, ‘Deja Grooves’ via Nein Records; with bold beats and pounding energy, the track highlights his trademark sound, shaping a journey that is both refreshing and immersive. As he makes waves for an approach grounded in versatility and forward-thinking sound, Alex Cecil remains determined to carve out a place for himself on the Electronic Music scene; leaning on his passion and rich musical background, he is shaping an identity that bridges his roots with his forward-looking vision. From his growing discography to his live performances, he shows a continued commitment to evolution and creative growth – continually striving for more in his artistry as he draws from new ideas and influences, like Techno, Dance, and Nu-Disco. Having shared lineups with the likes of Bob Moses, DJ Tennis, and Maceo Plex, well-known talents within the Electronic Music space, his journey reflects his rising presence, seeing him navigate through the genre with intent, purpose, and focus. ‘Deja Grooves’ offers a driving energy; with a steady beat, pulsating rhythms, and groovy motifs, the track integrates reworked vocal samples from Tears for Fears’ ‘Mad World,’ balancing filtered hooks with a bouncy low-end and pulsing synth work. As it moves forward, maintaining a tight groove and engaging flow, the soundscape continues to unfold, with fresh details joining, like atmospheric pads, risers, arpeggiators and dynamic melodies. The funky motifs, from the bassline to plucked guitar progressions, take up a prominent space in the mix, carrying the arrangement whilst holding the rhythm steady and instilling the track with a clear sense of direction. As the sonic journey navigates each evolving layer, ‘Deja Grooves’ remains grounded in groove, offering a smooth yet engaging experience that is sure to resonate across the dancefloor and beyond. Staying true to his signature sound, Alex Cecil puts forward ‘Deja Grooves’ as a reflection of his evolving artistic vision and distinct approach. Remaining motivated to raise his bar and bring originality through his work, the Producer and DJ continues to expand his catalogue, with this newest release marking the latest addition and indicator of his creative direction moving forward. Be sure to stream ‘Deja Grooves’ today, out now via Nein Records and available to listen across platforms, and stay connected to Alex Cecil and his journey by following him across social media, keeping up-to-date with his latest news, updates, and releases. Listen and Buy ‘Deja Grooves’ Now: https://www.beatport.com/release/deja-grooves/5076001 Alex Cecil Online    Instagram | Beatport | Spotify    Nein Records Online    Instagram | Beatport The post Alex Cecil Taps into Groove-Forward Energy in New Single ‘Deja Grooves’ appeared first on EDMTunes.

Global Talent Services head Narcís Rebollo and Rosa Lagarrigue, who’s now GTS’ global EVP. Photo Credit: Universal Music Universal Music’s little-discussed Global Talent Services (GTS) Latin artist services agency has officially acquired Rosa Lagarrigue Management (RLM). Global Talent formally disclosed the buyout today, seven months and change after setting sail “independent of UMG’s local music labels.” As part of the latter pivot, GTS became “a standalone company” and tapped longtime Universal Music Spain exec Narcís Rebollo to serve as president and CEO. Evidently, the GTS expansion isn’t stopping there. Founded decades back by the namesake Rosa Lagarrigue, RLM is now expected to operate under the UMG/GTS banner, the involved parties indicated. That refers specifically to the just-sold entity’s being “integrated” into GTS, per the announcement. Long term, it’s unclear exactly what this means on the personnel front; among other things, RLM also owns a label called Sin Anestesia. More immediately, RLM has between 11 and 50 employees, its LinkedIn page shows, and the team members are poised to come aboard GTS. So is the mentioned Rosa Lagarrigue, whose company is active in Spain as well as Colombia and counts as clients Mia Lardner, Miguel Bosé, and more. Per the relevant businesses, Lagarrigue is signing on as GTS’ global EVP. “I have always believed that every artist needs unique and personalized support; one that combines listening, intuition, strategy, and honest work,” she added in a statement. “I’m excited to share this project with Narcís, undoubtedly one of the most brilliant executives in the industry, and with his team. What we started at RLM not only continues, but it is amplified and strengthened alongside them,” concluded Lagarrigue. Meanwhile, Rebollo in remarks of his own touted the deal as a step towards affording signed “artists the best service and strategic support to achieve their goals across all markets.” In the bigger picture, today’s purchase has arrived against the backdrop of strong Latin revenue growth. When it comes to the States, the RIAA placed the streaming-powered space’s 2024 recorded revenue at a record $1.4 billion or so. And on-demand listening is still fueling double-digit increases in markets including but certainly not limited to Brazil and Mexico. Unsurprisingly, then, Universal Music isn’t alone in looking to secure a bigger piece of the Latin music pie. Hybe Latin America last month unveiled a Mexico-focused music-competition program entitled Pase a La Fama, to name one example. The reality series is scheduled to premiere on Telemundo in early June. View the full article

Globo—the latest collaboration between Gordo and Colombian star Blessd—has officially arrived, setting a new benchmark for the fusion of house music and Latin street energy. This isn’t just another feature or remix. It’s a cultural meeting point that feels natural, fresh, and undeniably real. Filmed entirely in Blessd’s hometown, the Globo music video leaves behind the world of luxury stages and spotlighted DJ booths. Instead, it invites fans into the everyday rhythm of Medellín—a city known for its pulse, its people, and its pride. Gordo steps directly into that world, not as a tourist, but as a guest who fully embraces its spirit. Walking side by side with Blessd, the pair navigate the city’s neighborhoods, surrounded by familiar faces and street sounds. The camera captures every unfiltered moment, offering viewers a raw, street-level view that feels more like a living memory than a scripted production. Globo: The Gordo and Blessd Crossover That Feels Personal Globo stands as a statement piece in Gordo’s growing catalog of Latin-influenced house music. Known for blending cultures in his productions, Gordo once again proves he is not chasing trends—he is building bridges. The track combines deep, rolling house grooves with Blessd’s unmistakable urban vocal delivery, creating something both club-ready and culturally grounded. This release builds on Gordo’s history of working with major Latin artists like Maluma and Feid, both of whom helped solidify his reputation as a producer capable of crossing genres with respect and authenticity. Globo pushes that boundary even further, reinforcing Gordo’s role in bringing Latin sounds to the global dance scene without watering them down for commercial appeal. A New Chapter of Creative Freedom For Gordo, Globo isn’t just another single to add to his setlist. It represents a deeper connection to the music scenes that have shaped him. By choosing Medellín as the backdrop, Gordo highlights the real environments that give music its meaning. There are no luxury cars or flashy cameos here—just neighborhood streets, community pride, and the heartbeat of a city that has given the world some of its most exciting sounds. Blessd, one of Colombia’s fastest-rising stars, brings his signature energy to the project. His lyrics and delivery ground the track in Latin urban culture, while Gordo’s production stretches it toward global dance floors. Together, they create a record that feels as much at home in Medellín’s neighborhoods as it does at sunset sets in Ibiza. Positioned To Go Global The timing of Globo couldn’t be better. Gordo is currently moving through a massive international tour, bringing his Diamante era to stages around the world. This summer, fans can catch him at Sueños Festival in Chicago, TRIIP Festival in Malta, and Dubai, with more stops scheduled in US and Paris. Each performance promises to showcase not just his signature sound, but also his commitment to pushing Latin music deeper into the house music landscape. With Globo, Gordo and Blessd deliver more than a song—they deliver a cultural connection. And as Gordo continues to redefine the sound of global house music, it’s clear that this is only the beginning. The post Gordo and Blessd Take Over Medellín With New Track “Globo” appeared first on EDMNOMAD. View the full article

Photo Credit: Epic Games SAG-AFTRA has filed an unfair labor practice charge against Epic Games, alleging that use of AI to voice Darth Vader infringes on the union’s rights. SAG-AFTRA has released a statement about Fortnite’s use of an AI-powered James Earl Jones Darth Vader voice, claiming the game’s production company, Epic Games’ Llama Productions, infringed on the union’s right to negotiate major changes to its collective bargaining agreement. The union also filed an unfair labor practices charge against the company. According to the union’s statement, Llama Productions—a signatory to its collective bargaining agreement—made “unilateral” changes to terms and conditions of employment when Fortnite began using an AI-powered Darth Vader voice without notifying the union or giving it a chance to negotiate. SAG-AFTRA argues using this generative AI voice displaces “bargaining unit work,” suggesting actors could have been employed to play the Star Wars character in the game since James Earl Jones’ passing last year. “We celebrate the right of our members and their estates to control the use of their digital replicas and welcome the use of new technologies to allow new generations to share in the enjoyment of those legacies and renowned roles,” wrote the union. “However, we must protect our right to bargain terms and conditions around uses of voices that replace the work of our members, including those who previously did the work of matching Darth Vader’s iconic rhythm and tone in video games.” “Fortnite’s signatory company, Llama Productions, chose to replace the work of human performers with AI technology. Unfortunately, they did so without providing any notice of their intent to do this and without bargaining with us over appropriate terms,” SAG-AFTRA’s statement continues. “As such, we have filed an unfair labor practice charge with the NLRB [National Labor Relations Board] against Llama Productions.” Epic Games announced last week that Fortnite players would be able to “recruit and chat” with the Darth Vader character, and that the use of Jones’ iconic voice in the AI model was done “in close consultation” with the late actor’s estate. But not only does the use of AI run afoul of the union, it’s causing some issues for players too. As the voice of the character is provided not just by AI, but by a generative AI chatbot, players have reported getting it to say all kinds of silly—and sometimes inappropriate—comments. If you’re under the age of 13, you’re not supposed to talk to Darth Vader without your parents’ permission. If the Darth Vader AI says anything offensive, players are supposed to report it to Epic Games. Reportedly, the AI’s use of swear words has already been patched out. “We pushed a hot fix within 30 minutes of this happening in-game, so this shouldn’t happen again,” said the company. Notably, SAG-AFTRA members are not forbidden from working on Fortnite during the union’s ongoing Interactive Media Agreement strike. That strike is based on enforcing protections against AI for voice actors in video games. The union’s contract allows performers to work during a strike on titles that were in production prior to a certain date, of which Fortnite qualifies. View the full article

Photo Credit: Live Nation Billie Eilish announces 23 additional dates for her Hit Me Hard And Soft Tour in Japan and North America this year. Since launching last September, Billie Eilish’s Hit Me Hard And Soft arena tour has brought sold-out shows across North America and Australia. The tour is currently traveling across Europe, the UK, and Ireland, and has featured multiple-night stops in several cities. Now, Billie has announced 23 additional dates in Japan and North America. The newly added shows include two nights at Tokyo’s Saitama Super Arena on August 16 and 17, followed by a second US leg this fall with stops in Miami, Orlando, Raleigh, New Orleans, Austin, and more. Now with 106 dates in total, the tour will conclude on November 23 at Chase Center in San Francisco, more than a year after it first kicked off in the fall of 2024. The current tour leg continues Thursday, May 29 with two shows in Cologne, followed by stops in Prague, Vienna, Paris, Barcelona, and more. This July, she’ll also headline an impressive six sold-out nights at The O2 in London. US tickets for Billie Eilish’s 2025 dates will be available starting with an American Express Presale beginning Tuesday, May 20 at 12 PM local time, while supplies last. Tickets for Japan dates will be available starting with an American Express Presale beginning Thursday, May 22 at 12 PM local time, also while supplies last. Notably, Billie Eilish is using Ticketmaster’s Face Value Exchange to give fans—not scalpers—the best chance to buy tickets at face value. To make this work, tickets will be non-transferable and the tour may cancel tickets posted elsewhere for more than face value. In New York, where resale can’t legally be restricted, tickets will be transferable, and fans can still buy and sell their tickets at the original price paid on Ticketmaster. Hit Me Hard And Soft: The Tour 2025 Japan Dates 16 | Saitama Super Arena – Tokyo, Japan 17 | Saitama Super Arena – Tokyo, Japan Hit Me Hard And Soft: The Tour 2025 US Dates October 09 | Kaseya Center – Miami, FL 11 | Kaseya Center – Miami, FL 12 | Kaseya Center – Miami, FL 14 | Kia Center – Orlando, FL 16 | Lenovo Center – Raleigh, NC 17 | Lenovo Center – Raleigh, NC 19 | Spectrum Center – Charlotte, NC 20 | Spectrum Center – Charlotte, NC 23 | Wells Fargo Center – Philadelphia, PA 25 | UBS Arena – Long Island, NY 26 | UBS Arena – Long Island, NY November 07 | Smoothie King Center – New Orleans, LA 08 | Smoothie King Center – New Orleans, LA 10 | BOK Center – Tulsa, OK 11 | BOK Center – Tulsa, OK 13 | Moody Center ATX – Austin, TX 14 | Moody Center ATX – Austin, TX 18 | PHX Arena – Phoenix, AZ 19 | PHX Arena – Phoenix, AZ 22 | Chase Center – San Francisco, CA 23 | Chase Center – San Francisco, CA View the full article