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The iconic pop anthem ‘Crush’ by Jennifer Paige, a chart-topping hit that defined the late ‘90s, gets a vibrant new life for the global dancefloor. Italian powerhouse producers Mattei & Omich join forces with dynamic vocalist Vittoria Hyde to deliver a fresh and sophisticated house remake of the beloved classic. Originally released in 1998, ‘Crush’ became a worldwide sensation, reaching the Top 10 in over 15 countries and peaking at No. 3 on the UK Singles Chart and No. 4 on the Billboard Hot 100 in the U.S. Its infectious hook and timeless energy have kept it alive through decades of playlists and radio rotations. Now, Mattei & Omich—known for their chart-topping house productions and deep catalog of club-ready hits—bring their signature blend of funk, soul, and house to reimagine ‘Crush’ for today’s audience. With millions of streams across platforms and releases on iconic labels like Defected, Glitterbox, and Soulfuric, the duo are fixtures of the international house music scene. Their tracks have been supported by the likes of Purple Disco Machine, Bob Sinclar, Claptone, and Mark Knight, and have landed in key playlists like mint, Housewerk, and Dance Party. In this case, Vittoria Hyde not only provided the vocals but also co-produced this song as a producer, delivers a magnetic performance that balances nostalgia with fresh energy. Born in Monza, Italy, to German parents, Hyde is a multilingual artist fluent in Italian, English, German, and French. She began her music career in 2006 with the single ‘Sunny People’ and gained national attention by participating in the first Italian edition of X Factor in 2008. Hyde has since established herself as a versatile performer, fronting the pop-rock band Vittoria and the Hyde Park, and working as a DJ and radio host on prominent Italian stations such as Virgin Radio, Radio Deejay, and currently Radio m2o. Beyond her role as a vocalist, she is a DJ and producer, known for her eclectic sets and energetic stage presence. With a strong background in both radio and live performance, Hyde is now stepping further into the club world as a producer to watch. Her creative direction and artistic vision are at the core of this new chapter, blending pop, electronic, and house influences with confidence and originality. With sleek production, modern dancefloor appeal, and an undeniable groove, this rework of ‘Crush’ is ready to win over a new generation of listeners while delighting longtime fans.

Tiësto returns to his trance roots this 2025 in a special EDC Las Vegas In Search of Sunrise closing set. After years of chart-topping big room and house anthems, the Dutch icon has surprised longtime fans with a major announcement. On Sunday, May 18, Tiësto will take over the EDC kineticFIELD at 4:13 AM for an exclusive In Search of Sunrise set. The announcement came through a nostalgic teaser video that immediately ignited conversations across the global trance community. Known for pushing electronic music to the mainstream, Tiësto’s decision to revive In Search of Sunrise feels both personal and historic. The series, launched in 1999, remains one of the most respected trance mix compilations of all time. It captured hearts worldwide by delivering deep, atmospheric soundscapes and seamless transitions that defined the magic of sunrise. For fans who have followed him since the early days, this return represents more than nostalgia—it marks the full circle of an artist who shaped a generation. The Legacy of In Search of Sunrise In Search of Sunrise first emerged as a mix series that transported listeners to distant places through sound alone. The original volumes, mixed by Tiësto from 1999 to 2010, carried names like Los Angeles, Latin America, and Asia. Each edition embodied a globally unifying spirit, reminding fans that dance music knows no borders. These mixes became legendary for their melodic progression and emotional storytelling, building toward euphoric climaxes that mirrored the breaking dawn. Tiësto eventually stepped away from the series, passing the torch to other artists who kept the legacy alive. Yet, nothing quite matched the original magic he crafted during that era. Fans have waited patiently, wondering if the superstar would ever return to the sound that started it all. Now, in 2025, they finally have their answer. In Search of Sunrise: Why Now Tiësto? Why EDC? Simply, the timing feels right. EDC Las Vegas, one of the world’s largest electronic music festivals, offers the perfect stage for an everlasting moment. The 4:13 AM slot is intentional—designed to align with sunrise as thousands of ravers prepare to welcome a new day. Tiësto’s teaser hinted at “a journey through sound”, bringing fans back to the emotional highs and deep, introspective lows that characterized his trance years. It speaks to the power of memory, the impact of melody, and the collective energy only sunrise sets can deliver. For many, this performance is not just another festival set—it’s a rare opportunity to relive the essence of trance music’s golden age. The Sunrise That Unites Generations The upcoming set promises more than music; it offers an experience that unites fans both old and new. Younger ravers, who may know Tiësto only for his commercial hits, will discover a different side of his artistry. Longtime fans will relive the soundtracks of their youth, finally hearing the melodies that first made them fall in love with dance music. As the kineticFIELD lights dim and the first rays of sunlight appear, Tiësto will step behind the decks not just as a performer, but as a curator of emotion. EDC Las Vegas 2025 is about to host one of the most anticipated sunrise sets in recent memory. And when it happens, thousands will remember why In Search of Sunrise remains timeless. The post It’s Really Happening, Tiësto Will Close EDC Vegas With In Search of Sunrise Set appeared first on EDMNOMAD. View the full article

The announcement is official, Fred Again.. will perform his first-ever Asia set at Fuji Rock Festival 2025 on July 25, but an expanded tour schedule might be in the works. This headline slot has fans speculating even further. Many believe this marks just the beginning of something bigger—a potential Asia tour in 2025. Nothing official has been confirmed yet, but clever fans have been piecing the clues together. A Secret Fred Again Account Hints at Asia Tour Fueling the speculation even further, Fred Again.. recently posted a mysterious image on his secret Instagram account. The viral post featured a red shirt displaying the word “again” in four different languages—each representing a major Asian country. Printed on the shirt were “again lah” (Singapore/Malaysia), “다시” (South Korea), “また” (Japan), and “อีก” (Thailand). This clever design sent fans spiraling into a social media frenzy, convinced it was a deliberate tease for upcoming Asia tour stops. While no official tour announcement has followed, the timing feels too calculated to ignore. The shirt references four key markets that have long supported electronic music on a massive scale. This has fans believing these cities could be next after Fuji Rock Festival. Could this shirt be more than just a merch drop? Fans seem to think so. The Asia Tour buzz is growing, and Fred Again.. might actually make it happen. TBF, Fred Again Does Has a History of Expanding Tours Fred Again.. is no stranger to extending tours after major festival appearances. In 2023, he closed his European run with five sold-out nights at London’s Alexandra Palace. He also wrapped nine consecutive sold-out shows at Los Angeles’ Shrine Expo Hall that same year. His 2024 Australia run was another record-breaker. He sold out three arena nights each in Melbourne and Sydney, plus a pop-up on the Gold Coast. His Sydney Opera House show sold out in 24 hours, drawing over 145,000 ticket requests, setting a venue record. He later added more sold-out dates in Wellington, Auckland, and Perth. Each expansion came after headline festival slots, fueling the belief that Asia could be next. Why a Fred Again Asia Tour Feels Like the Next Logical Step Fuji Rock Festival attracts fans from all over Asia, not just Japan. This presents an ideal moment to scale performances across the continent. Thailand, Korea, Malaysia, and Singapore are all key electronic music hubs. These cities frequently host major names like Martin Garrix, Zedd, R3HAB, Alesso, and more. Logistically, it makes sense. Artists often maximize travel by routing nearby shows after large festival appearances. Fred Again..’s team is known for adding surprise pop-ups and extended dates. The pattern matches perfectly with what fans are seeing now. The excitement across Asia is undeniable. Fans in Bangkok, Kuala Lumpur, Seoul, and Singapore are already bracing for announcements. Given Fred Again..’s surging demand worldwide, it seems likely these cities would instantly sell out. All Eyes on What Comes After Fuji Rock Right now, Fuji Rock Festival remains the only confirmed tour stop for Fred Again.. in Asia. However, the clues feel impossible to ignore. Fans have already started setting reminders and tracking official pages for news. If past tour expansions offer any hint, more shows seem not only possible but likely. Until an official announcement comes, all fans can do is wait—and keep their notifications on. Stay tuned for updates here. The post Fred Again.. Drops Strong Hints on His First Asia Tour with Possible Stops in Japan, Thailand, Korea, and More appeared first on EDMNOMAD. View the full article

Komodo Las Vegas sits inside Fontainebleau, but it feels far away from the late-night chaos we left after the afters. Earlier, Dabin b2b Said The Sky struck us with all the feels at LIV Las Vegas, followed by a private afters that carried us straight into the sunrise. We partied hard. Slept even harder. No alarms. No rush. Just a full recharge before heading to the Speedway for Day 1 of EDC Las Vegas. When the crew finally regrouped, some headed to Komodo and it felt like the natural move. We weren’t looking for flashing lights or pumping bass this time. We wanted something that hit different—something that felt like we earned it. Komodo gave us that. A space that felt upscale but welcoming to a crew that’s about to take on one of the most important weekends in rave history—EDC. Stars like Anitta, Ian Somerhalder, Paul Wesley, Kevin Hart, and more have been here. And let’s be real—if John Summit, THE man behind Experts Only and global DJ icon Peggy Gou dined here, we had to see why. Peking Duck, Pikachu, I Choose You We didn’t come to over-order. We came to savor the moment. Coming up first, the Dragon Roll—shrimp tempura, crab, pickled daikon, and a little tobiko sparkle on top. Then came the famous Peking Duck with pancakes. It wasn’t just food—it was a show. Crispy skin. Tender meat. Pancakes you wrap yourself like you’re crafting the perfect drop in your set. Every bite felt like it could bring a raver back to life. The combo felt light but flavorful, balancing out the richness of the duck. We could’ve stopped there, but someone spotted the Pikachu cocktail on the menu. We didn’t ask questions. We ordered. El Tesoro Blanco tequila, Domaine de Canton, wasabi honey shrub, yuzu, and lemon. It hit sharp and smooth, waking us up in the best way. Refreshing without wrecking us before a rave marathon ahead. It was the kind of drink you remember not just for the flavor, but for the vibe it created. Komodo Vegas, an After the Afters Spot Worth Coming Back For Komodo’s staff clocked us the moment we walked in. A crew in sunglasses and rave wristbands dangling from our wrists. But instead of giving us side-eyes, they welcomed us like we were the headliners. No pressure to over-order. No pushy upsells. Just real recommendations that matched our vibe. The server knew exactly when to jump in and when to give us space. It felt like they understood the art of letting a crew unwind without forcing the moment. When searching for an After the Afters spot, know that Komodo Las Vegas isn’t a bargain. It’s Vegas luxury with Vegas prices. But when you think about the money you already dropped on festival tickets, drinks, and VIP tables, what’s one more indulgence? It’s not the place for small talk or deep conversations. It’s the place to remember why you came to Vegas in the first place. To make memories. To laugh over pancakes stuffed with duck. To sip Pikachu cocktails while plotting your next festival run. With David Grutman’s signature Miami-meets-Vegas flair, Komodo feels like it was built for crews like ours. Crews who aren’t ready to let go of the weekend just yet. From Peking Duck to Pikachu cocktails, Komodo Las Vegas delivers upscale dining for rave crews refueling before diving into EDC magic or another afters. Check out Komodo Las Vegas here to refuel after, the afters. The post Peking Ducks, Pikachu, and Rave Crew at Komodo Las Vegas appeared first on EDMNOMAD. View the full article

Everyone has seen the ongoing feud between James Hype and deadmau5 over their opinions on pre-recorded vs live sets. This has sparked the ongoing discussion of whether pre-recorded sets should be allowed, and whether people who use them should be considered ‘DJs.’ The concept of pre-recorded sets has gradually grown over the past 15 years with some big festivals having it as a rule that DJs are not allowed mix live. This ensures that there are no mistakes, no surprises, and the visuals can be in time. While it is understandable as to why this has somewhat become the norm, it’s also understandable why some fans find this way of DJing to be disingenuous. To be watching your favourite DJs stand behind the decks pretending to mix can seem like a bit of a copout. But is it? On the flip side you have sets where tracks are being mixed/created live which does require a great deal of skill. It allows you to see DJs pushing their skills on the decks to really get creative with transitions and drops which allows for a unique experience at each set. The downside to this style of set is that syncing up visuals can be quite difficult/impossible which has been the centre of James Hype and deadmau5’s feud. Another thing that can happen in a live set is mistakes which can ruin the set with Grimes’ set at Coachella 2024 being a prime example of what not to do. Opinions are split on whether pre-recorded sets should be allowed with some people attacking this concept belligerently. However, is it really a big deal? It depends on what you enjoy seeing at a festival/event. Most people at a festival watching a DJ set won’t be able to tell the difference between a pre-recorded set and a live set as they have no view of what’s happening on the decks. If a DJ is performing well, the set will sound good. If the set is pre-recorded, it will sound good. Either way the crowd is going to get to see the DJ they want to see and hear the music they want to hear. Of course, for some they want to see the DJ performing. The entertainment of watching a world class DJ working the decks with such speed and accuracy is a truly impressive sight. While song choice is the centre of DJing, being able to mix in imaginative ways can elevate a performance to the next level. Along with this if the DJ is mixing live, they can adapt to the crowd so if a certain style isn’t working, they can switch to different music to capture the crowd. With these things in mind, is it okay to do a pre-recorded set? Yes. Are you entitled to prefer hearing a live set? Yes. Ultimately all that matters is that it’s enjoyable to watch and that whichever direction the DJ goes doesn’t take away from the experience for people. As long as everyone can get lost in the music and live in the moment, then nothing else matters.

There are few artists that can claim to have had as torrid of a journey to the top as Persian singer/songwriter Shab. She’s gone on a long and winding journey all the way from being a refugee to becoming a world-renowned pop star. After releasing her amazing album ‘One Suitcase’ earlier this year featuring the standout track ‘Dirty’, the world’s now being graced with 5 new sensational spins on the song. It’s clear that fans love the original track as it has now received over half a million streams on Spotify, so why not have some more of it? This set of remixes offers up a great collection of different styles that see ‘Dirty’ take on whole new vibes from each artist. From Beyond Chicago’s deep house twist to the big room elements injected by Dave Audé, each version is packed with club energy. For those that like a bit of funky feel, ManyFew and Wilson’s remix has it in spades while Cutmore’s spin on ‘Dirty’ is full of excellent percussion and chunky bass. There’s even a bit of UK garage in the mix from SHOSH which is a fantastically unique addition to this set of expertly crafted remixes. After Shab and her family were targeted for persecution, they had to flee their home country of Iran and seek political asylum in America. But the night is always dark before the dawn and Shab found her dawn in music where she channelled her experiences into her wonderful ‘One Suitcase’ album. This album was not only a way of voicing her journey, but also for making a change as all profits from it are going to ‘Choose Love’, a charity that provides vital aid to refugees. With her donations in addition to her position as an ambassador for ‘Choose Love’ alongside the likes of Oprah, Benedict Cumberbatch, Julia Roberts, and Olivia Colman, she is making a difference. Her dedication is worthy of recognition and admiration. With buckets of talent, over 25 million YouTube views, 13 million Spotify streams, and the drive to make a change in the world, Shab is definitely an artist worth following. The work of Dave Audé, Cutmore, ManyFew & Wilson, SHOSH, and Beyond Chicago on these remixes is phenomenal and should earn them and Shab some much deserved attention. You can follow Shab on her socials below:

In a musical era saturated with releases expressly designed for virality, Acyan’s new Ghost Town EP delivers a breath of hauntingly fresh air. Out now via Wubaholics, the five-track project growls and groans with the eerie ambience of the forgotten towns that inspired it. There’s an honesty to Ghost Town that makes it stand apart. Acyan, whose day job as a Fort Collins bus driver lends him an unpretentious mystique, brings a rare depth of intent. Where others settle for filthy beats and call it a day, he built a narrative shaped by a solo road trip through rural America. Ghost Town is a post-industrial tone poem told through trap beats both unsettling and captivating. The opening track “RAVEN” sets the scene with delirious, claustrophobic energy that evokes the terror of being followed by a malicious entity. But it remains curiously danceable, a tightly coiled track that presents Acyan as both technician and storyteller. “KEOTA” follows with more grime, unease and cleverness with delicately crafted sound design that conveys Acyan's chaotic emotional state. A tempo switch in the second drop adds notable flair, seeming as if the track itself is dodging ghosts. Each element feels ominously lab-grown, but the track's emotional potency keeps it afloat in a way that no amount of technical know-how could. By the time we reach the EP's closer "URAVAN," the tone shifts. It’s not quite catharsis, but it’s something like a sunrise over an empty landscape. Airier and quietly triumphant, it rounds out the EP with a brief release from the existential dread preceding it. With support from icons like Skrillex and RL Grime, and a fast-climbing profile bolstered by high-profile festival performances, Acyan is emerging as a force to be reckoned with in bass music. Ghost Town feels like a message sent from the edge of isolation, but it's sure to bring people together through its unique sonic identity and depth. Listen to Ghost Town below and find the new EP on streaming platforms here. Follow Acyan:Instagram: instagram.com/acyanmusic TikTok: tiktok.com/@acyanmusic Spotify: https://tinyurl.com/bd3p9ztu

After first appearing in 2021, Taapion Records’ ‘Fresh Blood’ series is now on its ninth edition which has dropped like a bomb. ‘Fresh Blood Vol. 9’ brings a plethora of heavy techno from some of the best and most promising rising talents in the scene. It’s a heavy right hook from Taapion Records featuring tracks from Royal, Encoded Data & Dissonne, Butler, Chast & Kaltewelle, and Ultimo who each make a statement. We’re here, we’re loud, we’re the next generation. ‘Fresh Blood Vol. 9’ brings a great diversity in sound while remaining cohesive thanks to the careful curation from Taapion Records’ founder, Shlømo, who’s knocked it out the park with his selection. From start to finish ‘Fresh Blood Vol. 9’ is a tour de force of spine-tingling techno with each track having its own unique qualities that make it standout. ‘Leaving You’ has a haunting intro and a lead synth that sounds like an F1 car from hell. ‘Drop That’ features a relentless rolling bass and amazing glitchy effects. ‘Finish Him’ has a gloriously chaotic energy that pumps through the track. ‘Fxck It Up’ is wonderfully dynamic with lovely crispy bass and barking leads. ‘Brazil’ pushes forward with an insanely crunchy, powerful kick and stabbing lead synths. All of this adds up to a seriously impactful compilation that’s a powerful statement from each artist of just how good they are. The ‘Fresh Blood’ series continues to bring the best talents in techno into the spotlight to help them grow which is always great to see. The only thing more exciting than what they’ve made so far is where they might go next. To check out ‘Fresh Blood Vol. 9’ on all streaming services, click the button below: ALL STREAMING SERVICESYou can follow all the artists featured on ‘Fresh Blood Vol. 9’ on their Instagram’s below: Shlømo CHAST KALTEWELLE ENCODED DATA DISSONNE BUTLER ULTIMO ROYAL

Downtown Denver will pulse to the beat of house music and cultural enrichment alike when FISHER headlines a high-energy block party at 16th & Welton, a landmark event celebrating the $175 million revitalization of the city's 16th Street Mall. Scheduled for May 26th, the open-air concert is set to transform one of Denver’s most historic corridors. The city, long stereotyped as a bass music stronghold, will turn into a tech house dreamland to celebrate Memorial Day. The event is the result of a strategic collaboration between AEG Presents Rocky Mountains, the Downtown Denver Partnership and the City of Denver. It has the feel of a turning point in the city's cultural evolution at the intersection of art, nightlife, music and community. "Events like this concert accelerates downtown’s economic vitality, drawing fans and visitors to our center city," said Kourtny Garrett, President and CEO of the Downtown Denver Partnership. "Activating downtown, especially on 16th Street, is fundamental to our mission of building a thriving urban core for all to enjoy." DJ support will come from a stacked undercard including SIDEPIECE, Odd Mob and Lauren Lane, guaranteeing a night that will thrill fans of groove-heavy dance music. But the real story is the city itself, leaning into its growth as an electronic music capital and bringing global talent to the very streets that define it. You can purchase passes to the block party here. Follow FISHER:X: x.com/followthefishtv Instagram: instagram.com/followthefishtv TikTok: tiktok.com/@fisher Facebook: facebook.com/followthefishtv.tv Spotify: tinyurl.com/ywmrm645

We’ve compiled a full guide to Dubai’s most outrageous season closing rave of the year as elrow Dubai 2025 transforms Jubilee Park at Expo City into a Roman-inspired party arena this May 17. Returning for its third and biggest edition yet, the world’s wildest immersive party brand is set to welcome thousands of ravers for one night of non-stop music, confetti, and theatrical madness. Featuring the Rowlympic Games theme, tonight’s show blends sporting chaos, costumed performers, and massive electronic beats into a fully immersive experience. Grab the final wave of tickets here. Whether you’ve followed elrow across Ibiza, London, and New York or you’re experiencing it for the first time, this edition promises to push boundaries like never before. Let this guide set you up for success, turning every moment at elrow Dubai 2025 into a memory that lasts long after the night ends. Get ready to go all in, because tonight, Dubai’s nightlife takes its place on the global stage. A Guide To The Madness: What to Expect at Elrow Dubai 2025 Themed “The Rowlympic Games,” tonight’s storyline brings you into a Roman-era showdown. Barbarows and Romans battle for the title of ultimate party animal. Inspired by 50 AC, the story begins with a tiny village of ravers resisting Roman rule, thanks to a magic potion of fun. The Romans, tired of defeat, invite them to the Rowlympic Games, turning rivalry to wild celebration. This is music, movement, and absurdity in one. Elrow Dubai Event Info: Location, Entry, Tickets, Parking, and More Jubilee Park transforms into Caesar’s playground, complete with Olympic torches, vaulting poles, giant rings, and weird athletic props only elrow could dream up. Expect gladiators in leather shorts, Cleopatra’s dancers, Greek gods, and roaming performers who blur the line between audience and stage. Every corner holds interactive surprises, every beat fuels a new wave of energy, and every raver becomes part of the madness. Date & Time: Saturday, 17 May 2025, 18:00 – 04:00 Location: Jubilee Park, Expo City Dubai Recommended Parking: Sustainability Parking Age Limit: 21+ only, strictly enforced Re-Entry: Not permitted after entry Tickets: Final wave via Platinumlist Bars: Multiple drink stations open all night Essential EDMNOMAD Tips When Attending elrow Dubai 2025 Small choices make a big difference at a party this big. Whether it’s your first elrow or your tenth, preparation is everything. A few simple decisions can take your night from stressful to unforgettable. From what you wear to how you pace yourself, the little things really do matter. Here are our quick tips to help you thrive tonight: Wear breathable clothing—comfort over costume if you plan to dance all night. Bring earplugs—protect your hearing without losing the vibe. Secure your valuables—use a zipper bag or fanny pack. Set a meeting point with friends—it’s easy to lose each other in the crowd. Save your rideshare location pin—Expo City gets hectic at closing time. Capture moments, not your whole night—stay present, not glued to your phone. Leave energy for the final set—sunrise is when the real magic happens. Who’s Playing at Elrow Dubai 2025: Full Lineup Guide and Set Times Tonight’s music marathon features a stacked lineup of international DJs, genre pioneers, and exclusive B2B sets designed to keep the energy sky-high. From Marc Maya’s opening session, setting the groove early, to Patrick Topping’s headline performance, the night builds toward a sunrise showdown featuring Franky Rizardo B2B Ilario Alicante. Every artist has been selected to match the insane pace of the Rowlympic Games, delivering deep grooves, rolling techno, and house anthems that promise to ignite the dancefloor. This isn’t just a night of music—it’s a test of stamina, rewarding those who go the distance. From start to finish, tonight’s lineup ensures there’s no slowing down. Prepare to dance like a champion in Dubai’s largest open-air rave arena. Final Lineup and Set Times: 18:00 – Marc Maya 19:15 – Hilde B2B Quilliam 20:30 – Stasi Sanlin B2B Arado 22:00 – Tini Gessler B2B Kasia 23:30 – Bora Uzer 01:00 – Patrick Topping 02:30 – Franky Rizardo B2B Ilario Alicante Elrow Is More Than a Party, It’s Community Elrow’s journey from a family-run social club in Madrid to a global party institution is nothing short of legendary. From Ibiza to New York, the brand has built its reputation on wild themes, massive production, and a fiercely loyal community. Powered by Bershka Music, tonight’s edition marks elrow’s biggest Middle East takeover yet—putting Dubai at the center of the global dance map. Dubai’s electronic music scene has never been louder. What started as a bold booking three years ago has become a tentpole in the city’s festival calendar. Industry voices like Shiraz Baziko of Dubai Dance District call this year a game-changer—more acts, a bigger venue, and yes, even more confetti. Elrow’s CEO, Juan Arnau Jr., credits Dubai’s energy and its growing dance community for pushing the brand to new heights. With fans and partners backing every move, elrow’s expansion here feels unstoppable. Elrow isn’t just a lineup or a theme—it’s a living, breathing universe where the dancefloor never sleeps. And with this guide in hand, you’re ready to step into that universe and make tonight your own. The Rowlympic Games await, Dubai. It’s time to go all in. Tickets here. The post Full Guide to Everything You Need to Know for Elrow Dubai 2025 appeared first on EDMNOMAD. View the full article

Joris Voorn enters his next chapter with Serotonin. The electronic pioneer confirmed today that his upcoming album Serotonin will arrive on July 18, 2025, via Spectrum and Armada Music. The announcement follows a weekend of sold-out shows in London, including a once-in-a-lifetime set at The Shard, Europe’s tallest building, and an all-night-long session at fabric. These exclusive performances not only kicked off his new era but also cemented Voorn’s place as one of the most respected names in melodic techno and progressive electronic music. Spanning 14 tracks, Serotonin reflects the emotional highs and lows Voorn experienced over the past several years. It was shaped during a period of deep personal loss, when he returned to his childhood home in the Netherlands in 2020 after losing both of his parents. That home, once filled with the music of his father, the late composer Joop Voorn, became the birthplace of the album’s emotional core. “That time was raw and emotional,” Voorn shares. “I reconnected with the piano I grew up playing, which shaped the soul of this album. Expect to hear a lot of piano throughout.” From those moments of reflection came an album that feels both intimate and expansive, balancing ambient soundscapes, melodic house, and immersive techno with Voorn’s unmistakable organic touch. Serotonin Captures Voorn’s Evolution and His Commitment to Timeless Sound More than just a personal statement, Serotonin celebrates Voorn’s artistic evolution. Having spent over two decades at the forefront of electronic music, Voorn describes the album as his most honest yet. “This album really reflects how I’ve grown into my own sound,” he explains. “I’m not chasing trends—just making something honest, hopefully timeless, and able to move people on the dance floor. I want listeners to feel Serotonin—to let go, be free, even if just for a moment.” Several singles from the album have already made waves. ‘Burn’ with Tom Walker, ‘Seventeen’ with Yotto and White Lies, and ‘You & I’ with Nathan Nicholson have all set the stage for what’s to come. Joris Voorn recently released another single, ‘Tomorrow’, offering one more glimpse into the album’s sonic universe before its official summer launch. The full tracklist also features collaborations with Jan Blomqvist, Pig&Dan, LIVI, Goodboys, Max Rad, and Lizz Cass, each contributing to the album’s emotional and musical depth. Joris Voorn – Serotonin Tracklist Session One Rose Flora (with Jan Blomqvist) Horizon Liquid Your Love (with Max Rad and Lizz Cass) Seventeen (with Yotto and White Lies) Burn (with Tom Walker) You & I (with Nathan Nicholson) Tomorrow Utopia (with Goodboys) Tryptamine Been There Before (with Pig&Dan and LIVI) Moon (with Nathan Nicholson) A Full-Circle Moment for One of Electronic Music’s Most Respected Artists With Serotonin, Joris Voorn invites fans into a deeply personal world shaped by both loss and hope. From the quiet solitude of his childhood home to the towering heights of The Shard, the album reflects an artist unafraid to share his truth. It marks a full-circle moment in Voorn’s career, one that feels both like a closing of a chapter and the beginning of something new. As he looks ahead to the album’s release on July 18, Voorn stands ready to deliver music that not only moves dance floors but touches hearts. Fans can pre-save the album now. The post Joris Voorn Marks the Next Chapter with Sold-Out London Shows and Emotional New Album appeared first on EDMNOMAD. View the full article

15 years after telling the world off with a synth hook and smirk, Mike Posner is back to prove his breakthrough debut single still runs the dancefloor. Armed with five heavy-hitting reworks and a brand-new vocal from Posner himself, Dim Mak Records has released a remix pack to breathe new life into "Cooler Than Me." The timing is no accident. Posner is set to make a high-profile appearance at EDC Las Vegas this weekend, and the EP, dubbed Headliner Remix Pack, sets the stage with ample firepower. Notably, it's also the first of three planned remix projects the artist will be releasing in partnership with Steve Aoki's storied label. For Posner, whose crossover appeal crystallized with SeeB's hit remix of "I Took A Pill in Ibiza" back in 2015, the remix bundle is a return to his roots with renewed perspective. "Cooler Than Me" was both his debut single and breakthrough, breaching the top 10 on the Billboard Hot 100 and reaching multi-Platinum status worldwide. The new remixes span a range of textures and tones, each transforming the original into something entirely its own. Deorro delivers a maximum-impact mainstage rework while Daniel Allan pulls the track into a UK garage groove, tightening the rhythm into a kinetic bounce. Getter, making a rare return to electronic music production, brings snarling basslines and mechanical grit. 4B crashes through with trap artillery while NIIKO x SWAE slow it down with a smoother, deep house gloss that simmers beneath Posner’s re-sung vocal. You can listen to Posner's Headliner Remix Pack below and find the new release on streaming platforms here. View the original article to see embedded media. Follow Mike Posner:X: x.com/MikePosner Instagram: instagram.com/mikeposner TikTok: tiktok.com/@mikeposner Facebook: facebook.com/therealmikeposner Spotify: tinyurl.com/yc3td26r

Because Las Vegas shouldn't have all the fun with immersive entertainment, Denver is now getting its turn through the US debut of "Dome Show 360," an audiovisual experience inspired by the one presented by the Vegas Sphere. Created by veteran DJ and electronic music producer Damian Force, the show is coming to Denver's Auraria Campus on June 13th, 2025. He says it took him over seven years to develop the "unified narrative" of the cutting-edge show, wherein the entire environment becomes the instrument. European crowds have already lost their minds at sold-out shows in Madrid and Limassol, according to Force. The one-night-only experience now lands in Denver within an expansive 25-meter dome, with projection-mapping covering every inch of its 500-square-meter surface. The dome will display story-driven, sci-fi-inspired visuals, enveloping the crowd at the intersection of live electronic music and digital art. Meanwhile, Force, who has played to audiences around the globe from Ibiza to Dubai, will DJ live. You can check out a trailer for "Dome Show 360" in Denver below and purchase tickets here. View the original article to see embedded media. Follow Damian Force:X: Instagram: instagram.com/damianforce TikTok: tiktok.com/@damianforceofficial Facebook: facebook.com/damianforcedj Spotify: tinyurl.com/9npm22xa

The Robert F. Kennedy Building, which serves as the DOJ headquarters. Photo Credit: ajay_suresh Live Nation is reportedly grappling with yet another wave of Justice Department scrutiny. Now, a reported criminal antitrust probe is zeroing in on alleged refund-related ticketing collusion during the early days of the pandemic. This possible probe just recently entered the media spotlight and was confirmed by Live Nation. At the time of writing, however, the DOJ itself didn’t appear to have publicly commented on the matter. Consequently, we don’t have an abundance of information with which to work. But as described by Bloomberg, the ongoing investigation revolves around whether the Ticketmaster parent and AEG Presents in early 2020 “illegally colluded on refund policies for canceled concerts and dealt with artists to limit losses.” Per the same outlet – which, potentially setting the tone for subsequent reports, opted to prioritize the probe’s significance for Live Nation as opposed to AEG – prosecutors have considered levying charges against Live Nation and CEO Michael Rapino. Of course, charges aren’t necessarily forthcoming; on the other hand, that the DOJ is turning back the clock half a decade isn’t exactly a good sign for the targeted companies. Though we’ll have to see what the future holds here, Live Nation EVP of corporate and regulatory affairs Dan Wall attempted to get in front of the subject with a prompt statement. (DMN reached out to AEG Presents for comment but didn’t immediately receive a response.) “‘While Live Nation contributed to this industry effort in good faith,’” Wall reportedly communicated in part, “‘we set our own unique policies and refund terms to support fans and artists. We did not collude with AEG or anyone else. We are proud of our leadership during those trying times, and if any charges result from this investigation, we will defend them vigorously.’” Closer to the present, it’s safe to say that the administration change, contrary to the prevailing sentiment beforehand, hasn’t brought any regulatory relief whatsoever for Live Nation. Most tellingly, the Justice Department antitrust suit seeking to separate the promoter from Ticketmaster is still in full swing. Then there’s a different DOJ and FTC inquiry, initiated earlier in May in response to a late-March executive order, centering on “unfair and anticompetitive” live/ticketing practices. For the latter, companies, members of the public, and others can submit comments until July 7th. Apparently, one has the option of weighing in anonymously; the appropriate docket displayed 68 remarks, many far from positive and pertaining to Live Nation despite the inquiry’s more general scope, at the time of writing. Especially important in light of these details is the Senate’s fresh bipartisan focus on the Live Nation/Ticketmaster agreement with Fanatics. With all that said, the market doesn’t seem too concerned; Live Nation stock (NYSE: LYV) rose 1.6% during today’s trading to $147.68 per share. The price represents a 14% increase since 2025’s start and a 53% spike from mid-May 2024. View the full article

Photo Credit: Library of Congress by Tomasz Zielonka Music organizations pen a letter about maintaining the Library of Congress and US Copyright Office under the control of the Legislative Branch. The Songwriters Guild of America, the Society of Composers & Lyricists, and Music Creators North America have banded together to pen a letter to members of Congress regarding the importance of maintaining the Library of Congress and the US Copyright Office under the jurisdiction of the Legislative Branch. The letter follows a string of firings orchestrated by President Trump and Elon Musk’s DOGE at the Library of Congress and US Copyright Office. “This is yet another existential matter for the American and global music industries, and one about which the independent music creator cannot remain silent,” said attorney Charles J. Sanders in a statement to Digital Music News. The music organizations’ letter begins by applauding the letter recently sent by members of the House Committee on Administration earlier in the week, requesting that the Inspector General of the Library of Congress investigate the firings orchestrated by the Executive Branch without cause. “At roughly the same time that House of Representatives letter was being drafted and delivered to the Library of Congress […], Senate Majority Leader John Thune was expressing concern over the need for greater consultation with the Executive Branch over the issue, hinting that the firings could potentially represent overreach by the Executive Branch into sacrosanct areas of Article I Congressional authority, duties, and responsibilities,” the letter reads. “Respectfully, it is our belief that a matter that engenders this level of bi-partisan and bi-cameral Congressional concern over separation of powers also calls for timely hearings to examine the various, complex issues raised by these actions. Moreover, while the motivations for the firings remain unclear, the circumstances surrounding them are acutely troubling to the creative community. “It has been widely and plausibly speculated, based upon the statements and actions of the principals involved, that the discharges of the Librarian and Register were orchestrated by the newly formed Department of Government Efficiency (DOGE), and seemingly designed to set the stage for weakening copyright protection in the era of generative artificial intelligence (GenAI). “More specifically, DOGE’s policies in this regard appear clearly to be an overreach of its intended authority, influenced by those who stand to financially benefit from the substantial elimination of copyright protections in the United States, starting with the debasement of the Library of Congress (LOC) and the US Copyright Office (USCO). “By way of illustration, technology industry leader Jack Dorsey recently issued a statement urging that American and global IP protection laws be ‘deleted,’ presumably in favor of free access to copyrighted works for GenAI uses such as preparing and distributing derivative musical compositions and recordings in direct competition with the original creators. “Unfortunately for America’s creators and copyright holders, DOGE’s leadership actually appears sympathetic to Dorsey’s calls, choosing to discount the facts that private, multi-national tech companies would thereby stand to benefit to the tune of billions of dollars in windfall profits by avoiding fair market value licensing fees, and stripping copyrighted works of protections in GenAI contexts that would make them freely available to all foreign GenAI competitors, not provide American tech firms with competitive advantages. “In sum, such a strategy of copyright dilution pushed by anti-property tech privateers, including a take-over of American IP policy through the LOC and USCO, would cause catastrophic damage primarily to US culture and commerce without benefit to anyone but multinational tech corporations seeking to evade royalty obligations. “In evaluating whether such actions truly pose a significant danger to the American creative community and to the US economy, we ask on behalf of those most skeptical whether it is mere coincidence that the attempted firing at the USCO occurred almost immediately after a draft version of a USCO report was issued concluding that the unauthorized ‘training’ of GenAI systems on existing copyrighted works will likely not qualify as ‘fair use.’ “We need not belabor the point that these events were almost certainly linked, and potentially intended to send a message that there will be negative ramifications for future, pro-copyright government policy and decision-makers. One might also inquire under such circumstances what the total value of the music and entertainment industries is to the United States economy, and whether it is a sector worth protecting. “In answer to that question, it should be noted that over the past century and a half, American composers, songwriters, and recording artists have not just led the world in musical creativity. They have utterly dominated that space during a golden era of excellence that continues to this day.” The letter concludes by urging all Members of Congress to take steps to preserve creative incentivizations under the protection of the Legislative Branch. Further, the letter stresses the importance of not permitting the technology sector, via Musk’s DOGE, to endanger “one of America’s most important streams of export income.” View the full article

Connaught Place, New Delhi. Photo Credit: Kabi1990 DSPs including Spotify India have reportedly removed “all” Pakistani music in response to a related government advisory. The Ministry of Information and Broadcasting issued that advisory eight days ago. Without diving too far into the underlying conflict – India and Pakistan have reportedly extended their ceasefire until May 18th – the notice compelled streaming platforms to boot content “having its origins in Pakistan.” “In the interest of national security,” the agency wrote, “all OTT platforms, media streaming platforms and intermediaries operating in India are advised to discontinue the web-series, films, songs, podcasts and other streaming media content, whether made available on a subscription based model or otherwise, having its origins in Pakistan with immediate effect.” Despite the “immediate effect” requirement, evidence suggests that Spotify India didn’t complete the multifaceted removals at once. “Not renewing my subscription until Spotify India bans these Pakistani artists,” one individual wrote on X after the advisory’s issuance. “No platform for them while tensions with India continue.” “Gonna cancel my membership withing [sic] 24 hours if you continue to show pakistani artists on the app even after the government’s ban,” another account penned. But as initially mentioned, the relevant works were ultimately rendered unavailable on YouTube, Spotify, and different platforms in the nation of 1.4 billion. The “all” descriptor and several removal examples come from outlets including New Delhi Television (NDTV). Furthermore, the same source indicated that the undertaking spans beyond straight takedowns. “Pakistani actors have been removed from the posters of their Hindi films,” NDTV relayed. On the music side, the outlet pointed as well to the soundtrack album for Indian film Sanam Teri Kasam. One of the 2016 movie’s two leads, Karachi-born Mawra Hocane, has been nixed from the cover image on Spotify and YouTube, per the report. Of course, the original cover is unaltered on Spotify in the States and elsewhere; on the other hand, Hocane is no longer part of the image as displayed on India’s JioSaavn. It remains to be seen when – and whether – the streaming situation will change. Just for reference, it’s worth reiterating that the Indian government was early to the TikTok ban party, having outlawed the app way back in 2020 and stuck to the position since then. In any event, the development underscores the many moving parts factoring into international streaming operations. Suffice to say that the removal of music from DSPs won’t improve the subscription situation in India, where some self-described paid users are lamenting the takedowns on X. View the full article

Photo Credit: Kelsea Ballerini by Jack Strutz SoFi’s Rising Stars program provides post-secondary students with financial skills and resources they need to achieve their ambitions. SoFi Technologies has teamed up with Kelsea Ballerini and tnAchieves, a nationally recognized nonprofit dedicated to college access and success, to launch the Rising Stars Program. This $2 million initiative is aimed at helping the next generation of Tennessee students achieve financial independence. SoFi will provide tnAchieves with over $500,000 in grants to expand its COMPLETE program. SoFi’s contributions will fund students’ 1:1 coaching and financial support as they prepare for a high-skill, high-wage career, as well as a specialized financial readiness curriculum for the 60,000 students across their programs. In addition, to help people start investing early, SoFi is offering every Tennessee resident between 18-24 the opportunity to receive a minimum of $5 in stock of their choosing, at no cost, with a chance to receive up to $1,000 in stock, with no minimum deposit or fees required. “It has taken me years of hard work to reach my ambitions, and I’ve been lucky to have the support of so many people along the way,” said Kelsea Ballerini. “I’m incredibly proud to be working with SoFi to give students in Tennessee the financial tools and education they need to succeed. Investing even small amounts of money in your 20s will go further than larger amounts invested later in life. Building true financial independence starts by investing in your future early… in all the ways!” The Rising Stars Program will enable tnAchieves’ COMPLETE to expand its support for students across Tennessee to help them meet college enrollment requirements and successfully earn a college credential, from 1:1 coaching to financial assistance for food, housing, laptops, textbooks, and emergency funds. SoFi will also equip all tnAchieves students with a financial planning curriculum covering topics like budgeting, investing, and saving for future life milestones. The organization’s impact is significant: students who participate in the COMPLETE program are six times more likely to graduate than their peers. “tnAchieves could not be more excited to partner with SoFi to bring financial literacy resources to our students and families, helping more Tennesseans achieve their ambitions of going to college and earning a high-quality degree,” said Krissy DeAlejandro, President and CEO of tnAchieves. “The Rising Stars Program will provide our students with the critical support and mentorship they need to get into college, pursue meaningful careers, and build generational wealth. We are grateful for their support as tnAchieves executes programs designed to build Tennessee’s future workforce by meeting each student where they are—at scale.” “At SoFi, we’re committed to helping people achieve financial independence to realize their ambitions. And we know access to financial education, coaching, and investment tools can drive generational wealth and long-term success,” said Lauren Stafford Webb, CMO at SoFi. “This partnership is about creating real opportunity for young people to get their money right and build the foundation for their financial future. As a mother and a Tennessean, I care deeply about investing in the state’s next generation, and SoFi is honored to work alongside Kelsea Ballerini and tnAchieves to make an impact.” SoFi is also making it easier for people to get started with investing and on the path to financial independence. To participate, students can register for an Active SoFi Invest brokerage account, with no minimum deposit required. Once their account is set up, they will be directed to a promotion where they can select stock values ranging from $5, $10, $50, $100, or $1,000. This offer is available to Tennessee residents between the ages of 18-24 who do not have an Active Investing brokerage account with SoFi. Registration is open from June 6 through July 31. The Rising Stars Program is part of the SoFi Generational Wealth Fund, which has contributed millions of dollars across multiple initiatives to help underserved communities build wealth for the next generation. These programs have made a meaningful impact by helping low-income families purchase their first home, funding high school athletic programs, providing financial aid for family planning, and empowering women’s financial independence. Kelsea Ballerini joins SoFi’s inspiring roster of Generational Wealth Fund partners, which includes NBA All-Star and Celtics forward Jayson Tatum, tennis champion and best-selling author Venus Williams, Los Angeles Chargers quarterback Justin Herbert, and Los Angeles Sparks forward and WNBA star Cameron Brink. View the full article

Photo Credit: Joshua Hoehne Apple has one again blocked the return of Fortnite to the iOS App Store—also impacting the game’s availability in Europe. The game could be installed on iOS devices through the Epic Games Store on European iOS devices, but no longer. This move marks the latest escalation in an ongoing legal and regulatory battle between Apple and Epic Games, developer of Fortnite. Fortnite was originally banned from the App Store in 2020 after Epic Games included a direct payment system to bypass Apple’s 30% commission fee—which the industry has dubbed the Apple Tax. Regulatory pressure from the European Union’s Digital Markets Act forced Apple to allow third-party app stores, enabling Fortnite’s return via the Epic Games Store in 2024 for European iPhones and iPads. However, after Epic Games attempted to resubmit Fortnite to the U.S. App Store in May 2025, Apple summarily rejected the submission. That move continues a streak of what U.S. District Court Judge Yvonne Gonzalez Rogers has characterized as ‘malicious compliance’ on Apple’s part. The official Fortnite account on X/Twitter announced that Fortnite was no longer available anywhere thanks to Apple’s rejection. “Apple has blocked our Fortnite submission so we cannot release to the US App Store or to the Epic Games Store for iOS in the European Union. Now, sadly, Fortnite on iOS will be offline worldwide until Apple unblocks it,” the statement reads. Apple has clarified that it did not block Fortnite in the European Union specifically, but rather requested that Epic resubmit the app update without tying it to the U.S. App Store submission. Apple says Epic’s decision to link the two led to the block, but Epic maintains that this is yet more ‘malicious compliance’ on Apple’s behalf. The latest standoff comes amid a recent court ruling that would force Apple to allow external payment options for developers in the United States. Despite the legal victory for Epic, the company’s attempt to return Fortnite to the App Store was met with silence and delays before the ultimate rejection. For now, Fortnite remains inaccessible on iOS devices across the globe. Epic Games has signaled that the game will stay offline until Apple reverses its decision. Both companies have yet to reach a resolution—so fans must wait while Apple appeals the recent court ruling in an attempt to overturn allowing third-party payment systems. Appfigures estimates that Apple earned $27 billion globally from iOS App Store commissions in 2024. In the United States alone, that figure is $10 billion—which highlights why Apple wants desperately to preserve that revenue stream. View the full article

Atlantic Records has released a new single from the highly anticipated soundtrack for F1® THE MOVIE, the adrenaline-fueled Apple Original Film starring Brad Pitt and directed by Joseph Kosinski (Top Gun: Maverick). This latest track follows the soundtrack’s exciting launch, which began with a major artist reveal and the debut of its first two singles, all part of the energetic and star-studded F1® THE ALBUM campaign. Marking his first-ever soundtrack release, the GRAMMY® Award-nominated producer/DJ Dom Dolla crafted the powerful ‘No Room For A Saint (ft. Nathan Nicholson)‘ specifically for F1® THE MOVIE after sitting down and watching early cuts of the film with its producer Jerry Bruckheimer, as explained on Dom’s TikTok HERE. This marks Dom’s first collaboration with Nicholson, one of the UK’s most sought-after songwriters, who co-wrote the lyrics and provides vocals on the track. ‘No Room For A Saint’ arrives hot on the heels of Dom’s headline performances at Ultra Miami and two SOLD-OUT nights at Madison Square Garden. F1® THE ALBUM is available now for pre-order HERE and arrives in stores and at all online retailers on Friday, June 27th along with the release of the feature film, distributed worldwide by Warner Bros. Pictures. F1® THE ALBUM ‘No Room For A Saint’ was preceded by global pop icon ROSÉ’s captivating ‘Messy‘ and the revved-up lead single ‘Lose My Mind‘ from multiplatinum Houston rapper, singer-songwriter, and Cactus Jack recording artist Don Toliver featuring GRAMMY® Award-winning, multiplatinum star Doja Cat. Dom Dolla, ROSÉ, and Don Toliver were all among the soundtrack stars who attended the recent immersive F1® THE ALBUM activation at the FORMULA 1 CRYPTO.COM MIAMI GRAND PRIX 2025. Held within a private VIP Paddock just a few feet away from the official FORMULA 1 team garages, the F1® THE ALBUM experience brought the film’s fictional racing team, APXGP, to life with a recreation of their actual garage from the movie. Pass holders enjoyed interactive games, racing simulators, movie memorabilia, and an official album preview, with visits from film and soundtrack talent including Kerry Condon, Jerry Bruckheimer, Tiësto, Sexyy Red, Roddy Ricch, Myke Towers, and Burna Boy. To further celebrate the official F1® THE ALBUM announcement, the FORMULA 1 drivers’ names on their garages were replaced with those of the artists featured on the soundtrack. The unprecedented soundtrack launch also saw GRAMMY® Award-winning international icon Tiësto making FORMULA 1 history when he became the first artist ever to deliver headline performances from the bridge over the grid moments before the formation lap and from the podium after the race, capping off a truly memorable and momentous Grand Prix weekend. The post Dom Dolla Releases ‘No Room For A Saint’ From ‘F1® THE MOVIE’ Soundtrack appeared first on EDMTunes.

The multi-media dance music duo Polar Bears—aka the characters of Zero and Snowball—have carved out a unique space in the electronic music landscape, evolving from underground party-starters to sought-after scene setters. What began as a playful experiment in blending visual storytelling with high-energy beats quickly transformed into a fully realized sonic identity, marked by rich textures and dynamic genre fusion. Their journey has led to high-profile collaborations with artists like Paris Hilton, Deorro, Cazzette, and BEAUZ; releases on powerhouse labels including Dim Mak Records, Virgin Records and Smash The House; and unforgettable sets at iconic festivals like EDC Las Vegas, Global Dance Festival, Decadence Arizona, and Groove Cruise, as well as at the most recent Desert Nights – the famed Coachella afterparty thrown at the Zenyara estate. Through it all, Polar Bears have stayed true to their core mission: spreading joy, connection, and unfiltered creative energy to dance floors across the world. The duo has emblematized this artistic ethos through recent singles such as the nostalgia-infused “Postman” and the high-energy club anthem “Are You Ready?” Now, the duo is releasing “Good On You,” a collaboration with anonymous vocalist project Nevve, who’s worked with electronic music heavyweights such as Subtronics, KSHMR, Big Gigantic, Seven Lions, and many more. Combining Nevve’s angelic vocal prowess with an uplifting house instrumental, “Good On You” seamlessly weaves infectious pop instincts with cathartic dance bliss – resulting in a house banger filled to the brim with emotion, euphoria, and a liberatory spirit. “Good On You” kicks off with a jolt, immediately immersing the listener into a sonic world of thumping kick drums, futuristic synth melodies, deep bass tones, and striking vocals from Nevve. The track then introduces skipping hi-hat rhythms before building up with heart-racing risers and blazing percussion. Once “Good On You” drops in its central section, it begins an emotional, groovy journey that blends catchy melodic progressions with heart-tugging vocal chops and a dance-floor igniting drum pattern. The Polar Bears’ vision goes far beyond crafting infectious dance tracks—they’re on a mission to transform the dance music scene into a fully immersive, theatrical experience. Through their production company, Polar Productions, they’ve developed cutting-edge stage design and laser shows that have powered the live experiences of industry giants like ILLENIUM, Mau P, ANYMA, and even Coachella itself. Download/Stream Here The post Polar Bears tap Nevve for uplifting house banger “Good On You” appeared first on EDMTunes.

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg. Alesso & Becky Hill – Surrender (John Alto Remix) Anyone that was tuned into Alesso and Gorgon City’s back-to-back at Coachella’s Quasar stage about a month ago were likely wondering who was responsible for the then-unreleased remix of Alesso and Becky Hill’s Ultra ID-turned-collaboration, “Surrender.” The answer would be John Alto, one of Dancing Astronaut‘s Artists to Watch in 2025. And that remix has officially arrived as of May 16, with Alto flipping the original’s dance-pop structure into a brooding house weapon. Adam Sellouk & Aquarius Ezra – OUT OF SIGHT After flipping an iconic Kid Cudi classic alongside Konstantin Sibold at the end of April, Adam Sellouk is back for his third musical appearance of 2025. Teaming up alongside Aquarius Ezra, the Dancing Astronaut Artist to Watch in 2025 puts his melodic techno strengths on full display and flips the green release light on for an ID from his sets over the past few months, “OUT OF SIGHT.” Sainte Vie – Tres The moment for Sainte Vie‘s sophomore album Pablo is growing yet again. Fresh off road-testing material from the deeply personal tribute to his late father on stages worldwide—from the stunning Cercle Moment voyage in Mexico to his co-headline show in New York City with Colyn—“Tres” arrives as the third preview of Pablo, an album born of grief yet glowing with love and memory that invites listeners into Sainte Vie’s most vulnerable work to date. Roddy Lima & Lee Foss – Hold On Roddy Lima is continuing his rapid ascent into becoming another breakout dance music name from Brazil. And that is exemplified with a brand new collaboration alongside a house veteran, Lee Foss. Landing on Foss’s very own label Repopulate Mars, “Hold On” sees Lima elevated his U.S. presence once more. With appearances already under his belt at iconic venues like Miami’s Club Space and San Diego’s Beach House, Lima now sets his sights on New York City, where he’ll support Fisher’s massive headline show in Brooklyn on May 23. Dosem – Futuregate EP One of Anjuna’s finest is reconfirming his label stature once more. And Dosem is doing that by switching over from Anjunadeep to Anjunabeats, marking his long-awaited debut on the latter with a four-sided EP, Futuregate. Dosem explained that Futuregate culminates in hsi “vision of a crossover between progressive and trance, inspired by the spirit of the ’90s, but shaped as a mental gateway into tomorrow.” Featured image: Cory Ann Roberts The post Dancing Astronaut’s New Music Friday: John Alto, Adam Sellouk, Dosem, and more (May 16, 2025) appeared first on Dancing Astronaut.

Spotify is back on good terms with Snoop Dogg, as the rapper has returned to the streaming platform following an exit over royalty payments. Snoop has launched a new, surprise album titled Iz It A Crime?, which is now available to stream via Spotify. Back in March, he said he was moving his work over to blockchain-based streaming service Tune.FM following a dispute with Spotify, after he believed the payout for hitting a billion streams to be too low. READ MORE: Spotify’s AI DJ now takes requests However, Snoop and Spotify managed to patch things up by having an open conversation on how the money flows from its platform to artists. In a new Instagram post promoting his album, Snoop calls a “truce” with Spotify, and also shares an interview clip from an interview on iHeart Radio’s The Breakfast Club, in which he discusses the matter. “We had a great conversation with the executives,” he begins. “We decided to get in a room and stop talking about each other and talk to each other… The perspective I was speaking from was an artist, so I didn’t have a lot of information, but now, as a record label owner, I have full transparency and understanding which I can relate to my artists, and as an artist, I can understand it better.” When Snoop called Spotify out earlier this year, a spokesperson said it was “unfortunate to hear that Spotify’s payments didn’t make it through to Snoop”, suggesting the issue lay with rights holders instead. Spotify has been more open about how it pays artists in recent months. In its Loud & Clear report released in March, Spotify released a video on the matter. In it, it reiterated that it does not pay artists directly, but does pay rights holders. In general, it pays them roughly two thirds of every dollar it makes from music. Spotify was the highest paying retailer globally in 2024, paying the music industry over $10 billion in total. This was the largest payout in music industry history, and over 10x the contribution of the largest record store at the height of the CD era. Iz It A Crime? by Snoop Dogg is out now. You can stream or download the album via a number of platforms. The post Snoop Dogg returns to Spotify with new album following “open conversation” with its team on artist payouts appeared first on MusicTech. View the full article

Anthropic counsel has apologized for a citation ‘hallucination’ in an expert testimony submitted as part of a copyright battle with music publishers. Photo Credit: Igor Omilaev Time to lay off the use of AI in legal documents? Amid a high-stakes copyright battle with music publishers, Anthropic attorneys have apologized for an apparent citation “hallucination,” pinning the blame mainly on Claude. We broke down the citation crisis after counsel for the music publisher plaintiffs formally voiced related concerns to the court. Anthropic data scientist and expert witness Olivia Chen, the publishers maintained in more words, had seemingly referenced a non-existent academic paper. Unsurprisingly, the serious allegation prompted the presiding judge to order an explanation on the part of Anthropic. And this explanation arrived in the form of a declaration from Latham & Watkins associate Ivana Dukanovic. The way Dukanovic tells the story, an internal investigation confirmed “that this was an honest citation mistake and not a fabrication of authority.” Running with the point, the Anthropic attorney indicated that the relevant American Statistician citation “includes an erroneous author and title, while providing a correct link to, and correctly identifying the publication, volume, page numbers, and year of publication of, the article referenced.” So what happened? Well, according to the same declaration, Claude took some liberties when citing not just the American Statistician article, but other sources used in Chen’s testimony. “After the Latham & Watkins team identified the source as potential additional support for Ms. Chen’s testimony,” Dukanovic penned, “I asked Claude.ai to provide a properly formatted legal citation for that source using the link to the correct article. “Unfortunately, although providing the correct publication title, publication year, and link to the provided source, the returned citation included an inaccurate title and incorrect authors,” she continued. Claude is also said to have fumbled with “additional wording errors” in different citations. Though so-called AI hallucinations aren’t exactly rare – including in legal settings – the situation certainly draws attention to the law firm’s review approach. “During the production and cite-checking process for Ms. Chen’s declaration,” Dukanovic weighed in here, “the Latham & Watkins team reviewing and editing the declaration checked that the substance of the cited document supported the proposition in the declaration, and also corrected the volume and page numbers in the citation, but did not notice the incorrect title and authors, despite clicking on the link provided in the footnote and reviewing the article.” These remarks may raise more questions than they answer. Chief among them: If one has to make all sorts of corrections to AI-powered legal citations, wouldn’t it be preferable to tackle the process without consulting a chatbot at all? And at the risk of throwing salt on the imaginary-citation wound, it’s safe to say the reviewing team’s performance left something to be desired. But as the (incorrectly) cited article actually exists, the “embarrassing and unintentional mistake” doesn’t mean “Chen’s opinion was influenced by false or fabricated information,” per the text. “We have implemented procedures, including multiple levels of additional review, to work to ensure that this does not occur again,” added Dukanovic. DMN asked Claude about the episode, and even it advised against using LLMs for legal citations. “Regarding citation hallucinations more generally – this is a known limitation of large language models like myself,” Claude responded. “When asked to provide citations, if I don’t have perfect recall of specific sources, I might generate what seem like plausible citations based on my training patterns rather than accurate bibliographic information. “For any situation requiring accurate citations, the best practice would be to use dedicated academic search tools and databases rather than relying on an AI system to recall specific publication details from memory,” Claude continued. View the full article

Electronic music visionary Anyma has officially revealed the release date for his highly anticipated third studio album, The End of Genesys, arriving on May 30, 2025. While the album had been announced previously, fans were left eagerly awaiting the final release date—until now. This closing chapter of the acclaimed Genesys trilogy—following Genesys (2023) and Genesys II (2024)—brings Anyma’s ambitious narrative exploring technology, consciousness, and the human experience to a powerful and emotional conclusion. The announcement was made via a cinematic Instagram reel that also revealed the full tracklist, featuring an impressive lineup of collaborators including Ellie Goulding, Grimes, Sevdaliza, Yeat, Luke Steele of Empire of the Sun, and 070 Shake. The lead single, ‘Hypnotized’ featuring Ellie Goulding, has already made a significant impact, reaching No. 1 on the US Dance/Mix Show Airplay chart earlier this year. The End of Genesys Tracklist: 01. Lucente 02. Voices In My Head 03. Hypnotized (feat. Ellie Goulding) 04. Taratata (with Grimes) 05. Neverland (From Japan) 06. Fortuna (feat. Sevdaliza) 07. Atmosphere 08. Work (feat. Yeat) 09. The End of Genesys 10. Leave a Mark 11. In My Mind 12. Entropy (feat. FKNSYD) 13. Angel In The Dark 14. Human Now (feat. Luke Steele) 15. Joke’s On You (feat. 070 Shake) Anyma first teased this final installment during his groundbreaking residency at the Las Vegas Sphere, where he became the venue’s first electronic music headliner. The performances combined cutting-edge visuals with immersive storytelling, perfectly aligning with the album’s futuristic and emotional themes. “This project has always been about the intersection of human emotion and the digital future. The End of Genesys is not just the conclusion of a trilogy—it’s a reflection on where we’re headed as people and how we stay connected through it all.” -Anyma The End of Genesys will be available in digital, streaming, and vinyl formats through Afterlife and Interscope Records. A deluxe edition with remixes and unreleased material is also on the way. Fans can pre-save the album now and mark their calendars for May 30, 2025, as Anyma prepares to close out the Genesys era with what promises to be his most impactful release yet. The post Anyma’s Highly Anticipated Album The End of Genesys Drops May 30 appeared first on EDMTunes.

Imagine a pulsating rhythm, a sea of people moving in perfect harmony, and the energy electrifying the air – welcome to the soul-stirring universe of dance music. And this November, this universe is set to converge in the dazzling cityscape of Dubai, as the acclaimed dance industry conference, the International Music Summit (IMS), returns to the Middle East. IMS Dubai is more than just an event. It’s a sight to behold, a feast for the senses, and a nod to the power and impact of music and dance on our lives. And this year’s iteration promises to surpass expectations, bringing together a diverse fusion of music, culture, finance, and technology in the heart of the region. As IMS co-founder Pete Tong aptly puts it, “IMS Dubai has already become a vital touchpoint for the region. The energy, curiosity, and ideas we saw last year made it clear that this is a place that can provide lots of knowledge and value“. Spotlight on the Middle East: A Fast-Growing Dance Music Market The Middle East and North Africa (MENA) region is currently making waves as the world’s fastest-growing music market. The IFPI Global Music Report highlights that the region saw a staggering increase of 22.8% in recorded music revenues in 2024 alone. And what’s even more telling is the fact that the music industry here is almost entirely dominated by streaming, with these revenues accounting for a whopping 99.5% of the total. This rapid growth and the shift towards digital streaming paint a vibrant picture of a region that’s ready to dive headfirst into the future of music. And the return of IMS to Dubai is a testament to this readiness. It’s a recognition of the region’s potential, a nod to its appetite for innovation and a celebration of its passion for dance music. And the world is indeed watching. The eyes of DJs, festival attendees, ravers, music and technology enthusiasts from around the globe are firmly fixed on Dubai, keenly awaiting what promises to be an unforgettable experience. The Heart of IMS Dubai: Music, Culture, Finance, and Technology IMS is not just a dance music conference – it’s a melting pot of ideas, a platform for innovation, and a hub for cultural exchange. Here, music, culture, finance, and technology don’t just exist side by side – they intertwine, interact, and influence each other in fascinating ways. At IMS Dubai, you can expect to see DJs and producers showcasing their latest tracks, tech enthusiasts demonstrating cutting-edge music technologies, and finance professionals discussing the economics of the music industry. But more importantly, you’ll see a diverse community coming together to share, learn, and celebrate. “What’s even more inspiring is the way music, culture, finance, and technology come together at this event. We’re really building something here,” says Pete Tong. And that ‘something’ is a vibrant, dynamic, and exciting future for dance music – a future that’s being shaped right here, right now, at IMS Dubai. As November approaches, the anticipation is building, the excitement is mounting, and the rhythm is quickening. IMS Dubai is not just an event – it’s a movement, a celebration, and a beacon of the future of dance music. It’s a testament to the power of music to unite, inspire, and drive innovation. And as the Middle East continues to grow and evolve as a key player in the global music scene, one thing is certain: the beat goes on, and it’s getting louder. So mark your calendars, music lovers, tech enthusiasts, ravers, and festival-goers. This November, let’s meet at the crossroads of music and technology, culture and finance. Let’s meet at IMS Dubai. Tickets HERE! The post IMS Conference Returns To The Middle East For Dubai Edition appeared first on EDMTunes.