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Riot Ten is back with a new album, Requiem for a Riot, out now via Monstercat. There's something charmingly contradictory about titling your album Requiem for a Riot when every track sounds designed to incite one. The project is a no-holds-barred showcase of the dubstep maximalism on which he's built his name. The El Paso-born DJ and producer has crafted something that feels like it was plucked out of a Mad Max chase scene, all grinding gears and explosive momentum. The album features 15 pummeling tracks, including collaborations with Deorro, TYNAN, Smoakland and Versa. Each bleeds into the next with relentless momentum, lacing gritty hip-hop influences through ferocious production. Highlights include the woozy banger "Bass Bop" and the genre-bending "2 Da Floor," where Riot Ten teamed up with Deorro and J. Cruze to produce a compelling blend of cumbia and dubstep. Opening up about the album, Riot Ten painted a picture of a project untethered from creative boundaries or expectations. "Requiem for a Riot is not only the largest body of work I've ever released, but I'm also the most proud of it as well," he said. "I think this album really encapsulates my diversity as an artist—and overall desire to not be held to any 'genre norms.' Many of these songs have lived in my live sets since the end of last year, so I'm stoked to finally be releasing them." You can listen to Requiem for a Riot below and find the new album on streaming platforms here. Follow Riot Ten:Facebook: facebook.com/RiotTen X: x.com/RiotTenMusic Instagram: instagram.com/riottenmusic Spotify: spoti.fi/2UiFzVn

Photo Credit: Apple Inc. Apple loses its request to pause a court order requiring it to let app developers direct users to payment options outside the App Store. On Wednesday, a ruling by a federal appears court in San Francisco has rejected Apple’s request to pause the court order forcing it to allow app developers to steer users to payment options outside the App Store. It’s the latest setback for the tech juggernaut in a long-running court battle with Fortnite developer Epic Games over the App Store’s anti-competitive conduct. Initially, Apple had sought a stay on the court order while it appeals a judge’s ruling in April. That ruling determined that Apple must comply with a 2021 injunction issued after the court found the company engaged in anti-competitive conduct, in violation of California law. “Apple ‘bears the burden of showing that the circumstances justify an exercise of [our] discretion,’” the appeals court wrote. “After reviewing the relevant factors, we are not persuaded that a stay is appropriate.” “We’ll continue to argue our case during the appeals process,” said a spokesperson for Apple, who noted the company is disappointed with the ruling. “As we’ve said before, we strongly disagree with the district court’s opinion. Our goal is to ensure the App Store remains an incredible opportunity for developers and a safe and trusted experience for our users.” Meanwhile, Epic Games’ CEO Tim Sweeney applauded the ruling in a social media post. “The long national nightmare of the Apple tax is ended,” he wrote. “May next week’s WWDC be the Apple-led celebration of freedom that developers and users have long deserved.” Several developers, including Amazon and Spotify, have already changed their apps to allow users to circumvent payment options relegated to the App Store. The court’s ruling in April blocks the company from charging commissions on transactions linked outside the App Store. It also prevents the company from controlling the language and app design developers use to direct their customers to their own websites to make payments. Apple argued that the ruling is causing the company “grave irreparable harm.” Further, the company disagrees with US District Judge Yvonne Gonzalez Rogers’ conclusion that Apple did not comply with her 2021 injunction. Interestingly, Gonzalez Rogers mostly sided with Apple following a trial in 2021, saying that its App Store policies did not violate federal antitrust law. But she ordered the company to allow developers to bypass its in-app payment tool to avoid a commission of as much as 30%. The US Supreme Court upheld that ruling last year when it declined to hear appeals. As a result of the 2021 injunction, Apple allowed developers to point users to the web to complete transactions—but required developers to pay the company a 27% commission of whatever revenue was generated as a result. Many developers, including Epic, complained about the new commission and a slew of restrictions Apple placed on their ability to link their customers outside the App Store, such as the design and placement of buttons and links. Epic accused Apple of circumventing the 2021 injunction. Ultimately, Gonzalez Rogers concluded that Apple “willfully” violated her 2021 injunction, and even referred the company to federal prosecutors for a potential criminal probe of contempt of court. View the full article

Photo Credit: William Hook As Apple continues to face regulatory pressure to open its App Store ecosystem, a new trend is emerging—users want discounts to abandon the App Store. For years, Apple has required that digital purchases within iOS apps go through its App Store, allowing the company to collect a commission. This amount ranges from 15—30% depending on the developer, but recent legal and regulatory changes in the European Union and United States could see that change. Developers linking to external websites where different payment options are available have become commonplace. Spotify previously charged a premium for users to subscribe on the App Store, whereas now it can direct users to payment options outside of the iOS ecosystem. A recent report from Morgan Stanley highlights that consumers expect to cash in on savings for going outside of the App Store—since developers will no longer have to pay the ‘Apple Tax’ on those purchases. Photo Credit: AlphaWise This survey conducted by AlphaWise for Morgan Stanley highlights just how much consumers expect to save. When asking U.S. iPhone users if they would purchase an app directly from a developer’s website, 28% of users said they were extremely likely to do so. 20% of users said they were likely to do so, while 19% said they were extremely unlikely to go outside of the App Store ecosystem. The vast majority of iPhone users appear more willing to stick with the iOS payments ecosystem rather than go outside of it. But those who do are more likely to expect a discount from developers for being willing to purchase elsewhere. How much? The survey results suggest users expect a 29% discount for an outside purchase to be justifiable—nearly the entire percent of the upper end of the ‘Apple Tax.’ So while developers may celebrate the win of abandoning Apple’s ecosystem—not many iOS users appear willing to go outside of it. That number has risen in 2025, too. Nearly 19% say they would be unlikely to go outside of the App Store, compared to 11% and 10% in previous years. View the full article

A new mini-documentary from Armada Music explores the history and recent revival of hard house in the electronic music landscape. Released today on the Dutch label’s official YouTube channel, The Comeback of Hard House charts the story of the high-speed subgenre from its origins in the Netherlands to a current resurgence in the years since the COVID-19 pandemic, buoyed by increasing post-lockdown demand for fast tempos and support from scene heavyweights like KI/KI, KETTAMA, and Peggy Gou. Directed by Denise Mulder and Emiel van der Burgt, the 10-minute film is led by interviews with foundational figures from hard house’s early years, including Mass Medium/Club Caviar, Klubbheads, and B.O.B. Ltd, as well as rising torchbearers Maruwa and Benwal. “Suddenly it combined with some raps and sirens and beeps and everything you normally use to evacuate your building,” Mass Medium/Club Caviar’s Bart Arens shares in the film, discussing the genre’s evolution from classic house to its famously fast and punchy sound. “That kind of became the hard house genre.” Watch Armada Music’s The Comeback of Hard House documentary below. Featured image courtesy: KETTAMA. Credit: @capturecharles. The post Armada Music Mini-Documentary Charts Hard House History & Resurgence appeared first on EDM Maniac. View the full article

One of the year’s most unexpected and captivating collaborations has just landed. Dance music icon Moby has teamed up with genre-defying producer BLOND:ISH and Brazilian powerhouse Kiko Franco to release a fresh version of his beloved track “Natural Blues,” out now via Defected Records. Originally released over two decades ago on Play, “Natural Blues” is one of Moby’s most iconic and emotionally charged productions. Now, in 2025, the song is reborn with new energy and summer flair — retaining its soul while embracing the pulse of today’s global dancefloors. BLOND:ISH explained : “Moby randomly called and asks: ‘Wanna remix one of my songs?’ I’m like, ‘Any song?!’ He’s like, ‘Yep, pick one.’” That spontaneous call kicked off what would become a cross-continental, feel-good anthem. With BLOND:ISH stationed in Miami and Kiko Franco in São Paulo, the duo began shaping a version that started as a remix and evolved into a full-blown collaboration. “We laid down two ideas in the studio… one felt special and before we knew it, the remix turned into a collab,” For BLOND:ISH, this release marks another milestone in her unstoppable rise. From her Abracadabra events and Bye Bye Plastic initiative to headlining the world’s top stages (Coachella, Tomorrowland, and a historic Pacha Ibiza residency), she continues to blend music, sustainability, and innovation in everything she does. Kiko Franco adds his signature touch to the track, infusing it with melodic leads and Afro House-inflected percussion that build into a soaring drop — a perfect complement to BLOND:ISH’s uplifting piano stabs and Moby’s timeless vocals. “It perfectly showcases how all of our strong points came together,” says Kiko Franco. “I’m happy to be able to add elements of my identity to the track… working with Moby, who has always been one of my main inspirations, is a dream come true.” Built for open-air festivals and late-night club sets alike, the 2025 version of “Natural Blues” bridges generations and continents, reminding us why electronic music’s power lies in its ability to evolve while staying emotionally resonant. Whether you’re a longtime fan of Moby’s work or discovering “Natural Blues” for the first time, this collaboration breathes new life into a classic — and delivers one of the summer’s most infectious house cuts. Stream “Natural Blues” now via Defected Records : The post Moby, BLOND:ISH & Kiko Franco Reimagine a Classic on Defected with ‘Natural Blues’ appeared first on EDMTunes.

Dance floors are about to catch fire. Legendary DJ Tiësto and rising hip-hop sensation Sexyy Red have fired up their engines for ‘OMG!,’ a high-energy banger that leads the charge for the upcoming F1® THE ALBUM. Blending bass-heavy club beats with explosive energy, the single sets the tone for what’s being called one of 2025’s most anticipated soundtracks. OMG! Is a Loud, Lusty, and Limitless Club Banger Built around a deep, throbbing bassline and glimmering synth loops, ‘OMG!’ Captures the intensity of both nightlife and motorsport mayhem. Tiësto’s signature build-ups and drops are in full effect here—clean, punchy, and tailored for massive sound systems. The production leans toward hypnotic repetition, giving Sexyy Red plenty of space to do what she does best: deliver a raw, bold, and completely unapologetic vocal performance. Lyrically, Red brings the same cunty, playful energy that launched her into stardom. There’s attitude in every line, but also sassiness—a balance that keeps her from ever feeling one-dimensional. Together, Tiësto and Red have created a track that doesn’t just hype up a party—it owns the room. ‘OMG!’ doesn’t try to be subtle. It’s loud, lusty, and meant to be looped all summer long. The kind of track you hear once at a party and immediately Shazam. Get ready for strobe lights, sweaty walls, and the kind of hook that gets shouted back from the crowd by verse two. “In F1’s soundtrack, Atlantic Records promises a high-rpm joyride for the ages.” – Rolling Stone. F1® THE ALBUM Shifts Into High Gear with Star-Studded Sound ‘OMG!’ serves as a teaser for the full-speed experience of F1® THE ALBUM, which features tracks by Ed Sheeran, ROSÉ, Doja Cat, Peggy Gou, and more. The soundtrack is the official companion to the upcoming F1® The Movie, starring Brad Pitt and directed by Joseph Kosinski (Top Gun: Maverick). Releasing on June 27, both the film and album aim to merge high-performance cinema with even higher-impact sound. Tiësto, a global streaming giant with over 5.9 billion plays, recently made history at the Miami Grand Prix as the first artist to perform live both on the grid and podium. His cameo in the film adds an extra layer of connection between the sound and the story. Meanwhile, Sexyy Red—fresh off major chart success and a breakout in 2024—cements her place in the cultural fast lane with this feature. You can listen and pre save the track here. F1® THE ALBUM Tracklist Don Toliver – Lose My Mind (feat. Doja Cat) Dom Dolla – No Room for A Saint (feat. Nathan Nicholson) Ed Sheeran – Drive Tate McRae – Just Keep Watching ROSÉ – Messy Burna Boy – Don’t Let Me Drown Roddy Ricch – Underdog RAYE – Grandma Calls The Boy Bad News Chris Stapleton – Bad As I Used To Be Myke Towers – Baja California Tiësto & Sexyy Red – OMG! The post Tiësto & Sexyy Red Drop OMG! – A High-Octane Hit from F1® THE ALBUM appeared first on EDMTunes.

Goldman Sachs has recently revised its near-term outlook for the music industry for the first time since implementing this tracking methodology. According to an article from Billboard, the multinational investment bank and financial services company just lowered global growth expectations for the music industry for the next five years, as well as its forecast for global recorded music revenues this year. The latest Music In The Air report from Goldman Sachs now projects a compound annual growth rate of 6.8% from 2025 to 2030, a reduction from the previously anticipated figure of 7.6%. The music business publication, Music Business Worldwide, stated that global revenues will expect to tip at $31.4 billion in 2025. Furthermore, the forecast for the period from 2031 to 2035 indicates a further slowdown, with an expected annual growth rate of 4.8%. The publishing revenue projections remain steady at $10.7 billion for 2025. In contrast, the live sector has experienced a modest upgrade, with expectations now set at $38.2 billion, an increase from the earlier estimate of $37.7 billion. Also, music industry observers and financial analysts can note the most significant adjustment within the ad-funded streaming segment, which Goldman Sachs now estimates at $11.3 billion for 2025, reflecting a decrease of $2.1 billion from prior forecasts. Additionally, the subscription-based streaming sector has seen a slight decline, adjusting from $33 billion to $31.3 billion. Analysts have identified several key factors contributing to these changes, including a shift in user behavior away from long-form content, limited growth prospects from new platforms, and more measured expansion in emerging markets. Goldmen Sachs revises how music industry revenue growth can improve projections Furthermore, projections for streaming subscriber growth and average revenue per user have received a revision downward to align with these new expectations. While the report indicates that pricing adjustments and regional service differentiation may offer some long-term relief, there are no expections for them to fully counterbalance the short-term impact. Despite these revisions, Goldman Sachs maintains a positive outlook regarding the structural resilience of the music industry. The long-term potential still connects itself to critical factors such as pricing power, opportunities for licensing expansion, and improved alignment between service design and consumer preferences. Acknowledgement of AI’s role in generating revenue in current music industry trends The report also acknowledges the rising influence of AI-generated music, noting that its current impact on royalties is relatively minimal, with AI tracks making up approximately 0.1% of the royalty pool. Advances in content identification and adjustments to royalty models are contributing to the management of this issue at present. Overall, while the significant long-term revenue adjustments that Goldman Sachs made were not according to AI output volume, its role remains an important variable in future modeling. The firm emphasized that the technology could lead to either fragmentation or consolidation of revenue, depending on how streaming platforms and rights holders approach attribution, licensing, and monetization in the future. The post Goldman Sachs Revises Global Music Revenue Projections appeared first on EDMTunes.

In a significant move within the live entertainment industry, Fever, a global live events discovery platform, has acquired UK-based ticketing company DICE. This acquisition aims to create the world’s leading independent live entertainment technology platform, enhancing experiences for fans, artists, and venues alike. Fever, founded in 2014 and valued at $1.8 billion, has rapidly expanded its presence, operating in over 40 countries and reaching 300 million people through its platform. The company recently secured over $100 million in equity funding from investors including L Catterton and Point72 Private Investments, bolstering its position in the live entertainment sector . DICE, established in 2014, has been recognized for its fan-first approach to ticketing, offering features like personalized event recommendations and a secure mobile ticketing system. The platform boasts over 10 million monthly active users and has partnerships with notable venues and festivals such as Club Space, Newport Jazz and Folk Festival, and London’s Alexandra Palace The merger of Fever and DICE is set to combine Fever’s extensive event discovery capabilities with DICE’s innovative ticketing solutions. This integration will provide fans with a seamless experience, from discovering events to purchasing tickets, while offering artists and promoters advanced tools to engage with audiences. The post Fever Aquires DICE appeared first on EDMTunes.

Armin van Buuren posted a video unveiling a surprising discovery – the sound of “Stinggg” echoing through the roar of an F1 engine. While isolating audio layers from a race recording, Armin noticed an uncanny resemblance between the engine’s pitch and the sonic builds in his music. The post piqued global curiosity, as fans, creators, and even F1 icons joined the conversation. And with that, Sting Energy surfaced. Not as a familiar face in Formula 1, but as a bold new force ready to make its mark. Joining the wave of excitement were Formula 1 legend Jenson Button and 2025 F2 Monaco Grand Prix winner Kush Maini, who amplified the moment with energized reactions – captivated by the sonic connection between Sting Energy and the roar of Formula 1. Their involvement added credibility to what many had dismissed as coincidence, showing it was something much more deliberate. Without any official announcement or clear branding, people started to wonder quietly: could Sting Energy have been part of Formula 1 all along? The frenzy reached its peak at the Monaco Grand Prix, where F1 fans and influencers from around the world were seen recording the races – reacting in real-time as Sting Energy’s now unmistakable sonic signature revealed itself within the raw, high-octane roar of the track. Making the discovery, world renowned DJ and record producer, Armin van Buuren said, “As a longtime F1 fan, I was revisiting some engine sounds in the studio when one frequency stood out, it almost sounded like ‘Sting.’ At first, I thought it was a coincidence, but the more I listened, the more melodic it became. It’s a great reminder that inspiration can come from the most unexpected places – even a car racing down the track.” Jenson Button, 2009 F1 World Champion driver, added, “I’ve spent my entire life around Formula 1 – from the garage to the podium, and everywhere in between – and I thought I’d experienced every nuance the sport had to offer. But, when Armin played that engine clip and pointed out what he heard, I was genuinely surprised. I played it back and… There it was. ‘Sting.’ Clear as day. It’s strange, but also kind of brilliant – how something so familiar can hide in plain sight for so long. Once you hear it, you can’t ignore it.” Commenting on the roar, Vandita Pandey, VP Marketing at PepsiCo, International Beverages, Energy, said, “Sometimes the most powerful brand moments aren’t manufactured – they’re discovered. This wasn’t just about launching a campaign; it was about listening to culture and amplifying what fans already felt. This partnership is more than regular sponsorship, it’s sonic alignment. Sting Energy didn’t just join Formula 1, it revealed it had always been there, embedded in the thrill, hidden in the sound; and now, the world knows. The brand officially takes its place on track with a future of vigorous fan experiences ahead.” Jonny Haworth, Director of Commercial Partnerships, Formula 1, said, “Formula 1 has always been about more than just speed – it’s about emotion, energy, and the sensory experience that comes with every race. This partnership with Sting Energy taps into that energy in a fresh, creative way. It’s a celebration of the power of sound, and how culture and sport continue to collide in exciting new ways.” With this partnership, Sting Energy will now supercharge fan experiences across 21 races– through immersive brand experiences, co-branded products, on-pack promotions, and digital storytelling. The post Armin van Buuren Discovers The Sound of Sting, joined by 2025 F2 Monaco Grand Prix winner appeared first on EDMNOMAD. View the full article

Live events platform Fever, which announced a $100 million raise yesterday, has officially acquired Dice. Photo Credit: Fever Moments after scoring a $100 million raise, live events platform Fever has set its sights on the ticketing world with the acquisition of Dice. New York City-headquartered Fever, which has secured at least $440 million from investors since 2022, unveiled the play today. As the purchaser sees things, the businesses’ “combined scale and capabilities” will power “a consumer-first, innovation-led platform” in the live arena. Also as described by the Goldman-backed buyer, however, London-headquartered Dice’s existing artist, venue, and promoter clients can “keep using the platform exactly as they are” – while simultaneously tapping into Fever’s own audience. The latter is said to consist of some 300 million individuals situated across north of 40 countries. “Together, we are strengthening our position as the leading global tech player for culture & live entertainment,” added Spain-born Fever co-founders Francisco Hein, Alexandre Pérez (formerly with Goldman and then KKR), and Ignacio Bachiller. “At Fever,” the three proceeded in part, “we are firm believers that data and technology have the power to elevate the live music experience—making it more accessible, more personalised, and ultimately more impactful for fans, artists, and venues alike.” Meanwhile, Dice founder and CEO Phil Hutcheon touted his platform’s current offerings and the perceived ability of today’s deal to fuel a buildout into new markets and crowd-based happenings. (Regarding recent growth trends, Dice claims to have “more than doubled its ticket sales, surpassing 10 million monthly active fans,” during the past two years, the formal announcement notes.) Not mentioned in these remarks or the wider release is the transaction’s price tag. Nevertheless, it’s been just shy of one year since reports pointed to Dice’s openness to a sale valuing it in the hundreds of millions of dollars range. (Unsurprisingly, Dice itself is far from light on investor support.) It’s unclear whether the newly revealed purchase actually delivered a sum in that ballpark. But it’s safe to say there’s ample capital in the live and ticketing world, where StubHub is reportedly still eyeing a massive IPO. Plus, Vivid Seats is said to be exploring a private equity sale at an eye-watering valuation, with the likes of TickPick ($250 million), Seat Unique ($20 million), XP ($6.2 million), and Celebratix ($1.2 million) having scored fresh investments during the last year or so. In other words, despite a few indications of slowing live event sales, the space doesn’t lack enthusiasm or dollars. And though it probably doesn’t need saying, those with stakes in the sector have a clear-cut interest in encouraging direct expansions as well as revenue increases in adjacent areas. View the full article

Photo Credit: NBA on ESPN An as yet unreleased Lil Wayne track featuring Bono from the eagerly anticipated ‘Tha Carter VI’ makes its debut in a preview for the NBA Finals. Lil Wayne is preparing to drop his hotly anticipated new album, Tha Carter VI, due for release tomorrow (June 6). Fans have waited eagerly for the album, and now they’ve been treated to a taste, just ahead of release. An unreleased track from the album, which features U2 legend Bono, has appeared in an ad for Game One of the NBA Finals between the Indiana Pacers and Oklahoma City Thunder. “Basketball’s been in my blood since day one,” said the rapper. “So to team up with ESPN less than 24 hours before the drop of Tha Carter VI for the NBA Finals is an incredible honor.” He added, “My music and the NBA are vibin’ on the same frequency. Because it’s perfect timing for fans to hear Tha Carter VI on the game’s grandest stage.” “Lil Wayne brings the energy, edge, and emotion that define the NBA Finals,” said Curis Friends, Vice President of Sports Marketing at ESPN. “Integrating his music into our NBA Playoffs coverage has been a strategic brand flex—amplifying our storytelling and connecting with fans as we showcase today’s rising stars on the league’s biggest stage.” Wayne also dropped a trailer for the project on his socials, showing the rapper at different stages of his career, culminating with a snippet from his forthcoming release. Lil Wayne announced a North American tour earlier this week, which is scheduled to kick off tomorrow to coincide with the release of his latest album. The hip-hop star will play in cities like Toronto, Detroit, Milwaukee, Los Angeles, Austin, and many more, concluding with a performance in West Palm Beach, Florida, in October. View the full article

Photo Credit: Denis Ladegaillerie by Anis Martin A consortium led by Believe CEO Denis Ladegaillerie doubles down on plans to acquire the remaining shares of the company from public shareholders. Back in April, a consortium led by Believe founder and CEO Denis Ladegaillerie (Upbeat Bidco), confirmed its plans to acquire the remaining shares of the music company from public shareholders. Now, the consortium has doubled down on the offer by significantly upping its bid for the remaining shares. According to an announcement by Believe, the consortium has decided to increase the price of its offer to 17.20 euros per Believe share—reflecting premiums of +12.6%, +13.1%, +17.5%, and +17.6% respectively. That’s compared to the volume-weighted average prices over the last 30, 60, 120, and 180 days as of June 2. Believe says that financial advisory from firm Finexsi has issued a report concluding that the new offer price is fair from a financial perspective. Finexsi was acting as an independent expert, as appointed by the Board of Believe at the recommendation of the Ad Hoc Committee. Believe’s board established the Ad Hoc Committee in April to evaluate the consortium offer, comprising its three independent directors: Orla Noonan, Anne-France Laclide-Drouin, and Cécile Frot-Coutaz. Now, following the report published by Finexsi and a “unanimously favorable recommendation” of the Ad Hoc Committee, Believe says the board “issued a favorable reasoned opinion on the proposed offer by a unanimous vote.” Notably, the filing states that only independent directors participated in the vote, and that other directors—specifically Ladegaillerie, Andrew Fisher, and John Doran—“being connected” to the offering party (Upbeat Bidco), did not take part in the vote nor deliberations. Further, Believe’s board feels the increased offer “was in the interests of the company and its employees, as it would enable [Believe] to pursue its development plan without changing its business model or its salary and human resources management policy.” Now, even if Upbeat Bidco’s increased offer is rejected by any of Believe’s public shareholders, Ladegaillerie’s consortium plans to operate a “squeeze-out” under French financial law, thereby forcing remaining shareholders to sell their stakes. Under the “squeeze-out,” shareholders affected would have to sell their stock at the same price as the new offer. The new offer “will be filed shortly” with the AMF, France’s equivalent of the U.S. Securities and Exchange Commission. Upbeat Bidco’s increased offer comes around a year after the consortium gained majority control of Believe, with a 94.99% stake in the company’s share capital through a 15 euro-per-share takeover bid. The transaction valued Believe at about 1.43 billion euros ($1.63 billion). View the full article

We believe the dance floor should be a place of connection, joy, and safety. These same pillars guide the mission of End Overdose, a Los Angeles-based nonprofit dedicated to preventing drug-related deaths through education, medical intervention, and public awareness. During EDC Las Vegas 2025, EDM Maniac connected with Anthony “A.J.” Banuelos, the End Overdose team’s director of community engagement and training, to talk about the work they’re doing to promote harm reduction in the electronic music community. From free naloxone distribution and overdose response training to their partnerships with major festival brands like Insomniac, End Overdose has established itself as a life-saving trailblazer in the scene. In this interview, we discuss why their presence at festivals is so important, how artists and promoters can help, and the simple steps every raver can take to look out for each other. Plus, Banuelos shares personal stories that underscore why this mission matters more than ever. EDM Maniac: For those unfamiliar, what is End Overdose, and what is your core mission? Anthony: End Overdose is a nonprofit organization based in Los Angeles, California, working to fight against drug-related overdose death through education, medical intervention, and public awareness. So on the education aspect, we like to educate individuals on the signs and symptoms, what to look for, and also the steps to take; What to do, medical intervention; we cover the Good Samaritan law that protects you in the state. We want you to be comfortable and confident with getting medical assistance on the way, and we also distribute naloxone, aka Narcan, the medication that they use to reverse an opioid overdose, for free. And public awareness. We’re just destigmatizing the conversation. EDM Maniac: Why is your presence at music festivals like EDC so important? What kind of impact have you seen so far, and what other festivals do you attend to raise awareness and educate? Anthony: There’s no better place to connect than a music festival, right? Those most affected from drug-related overdose deaths are 18 to 45, so we actually hit our age demographic here at music festivals. Also, it’s a fun, engaging way to incorporate public health. It’s not a boring, lifeless setting. We hope to be at all festivals all across the board. Special shout out to Insomniac—we partner with Insomniac, we’re at all Insomniac events, raising awareness, and we really focus on the educational aspect. Just educating individuals, so if they ever find themselves in a situation, they’re a little more comfortable and confident that they could do their part to save a life. EDM Maniac: What’s one story or moment that really affirmed the importance of your work? Anthony: I talk about this all the time—it’s just the gratitude that headliners or any festivalgoers express when they take this training. We hear it multiple times, “Hey, you’re the first booth that we come and see;” “We actually love what you do.” When you feel that gratitude, that makes it worth it right there, when they’re just like, “Oh my God, we love you so much, thank you so much.” And it’s just like non-stop online, people going like, “We love End Overdose.” We love you too. EDM Maniac: What role do you think artists and promoters can play in supporting harm reduction and overdose prevention? Anthony: They have the platform to raise awareness. They have a big fan base. Whatever they say, individuals or fans will listen. So I think using that platform for the better and just speaking up, raising awareness on certain situations. Their reach is far-reaching. Their fan base is all over. Tons of people listen to their music. They tune in, and if they hear a message that their favorite artist has to say, you know that that’s important because people are gonna listen to that message. EDM Maniac: What are some ways ravers can look out for each other even if they’re not directly involved in an organization like End Overdose? Anthony: If it’s another individual, another headliner, another raver out there, if you see something, check up on another individual. It’s all about the P.L.U.R. community. That’s what this community revolves around—looking out for one another. There are times when I’m walking, somebody might be sleeping on the floor: “Hey, excuse me, are you OK? You alright?” They’re like, “Yeah, I’m good, I’m just taking a nap right now.” And I’m like, “OK, cool, I’m just checking on you.” So I think that’s really important. Don’t be afraid to call for help. Don’t be afraid to be like, “Hey, this person needs assistance,” whatever the case may be. I think just checking up on one another, making sure everybody’s okay, and just spreading love and kindness, you know? EDM Maniac: How do you approach conversations with people who may not see harm reduction as a priority? Anthony: Yeah, we’ve actually had a couple of those conversations. I’ve been training outside of here, and I just tell them my experience, my story. I’m currently four years clean and sober from any minor mood-altering substance. I’ve overdosed in the past, and the only reason why I’m here today is because somebody did their part to save my life. Just having those open conversations with people. It could be a friend; it could be a family member; it could be a complete stranger. You just never know. Anytime we have those conversations, it definitely opens up their minds. It could be anybody, anytime, anywhere, and usually after that, they’re usually like, “You know, we’ll take the training.” EDM Maniac: Thank you so much for everything that you do and for being so influential in this space. Anthony: Thank you. Of course, you’re so welcome. I just want to thank you and everybody for having us here today. For more information about End Overdose, visit endoverdose.net or reach out via email: [email protected]. Featured image courtesy: End Overdose. Credit: Canvas Rebel Magazine. The post Interview: End Overdose Talks Harm Reduction EDC Las Vegas 2025 appeared first on EDM Maniac. View the full article

Photo Credit: Reservoir President & COO Rell Lafargue, Fool’s Gold Co-Founder A-Trak Reservoir Media announces a new deal with independent label Fool’s Gold Records, seeing the former acquire the catalog master rights of the latter. Reservoir Media has announced a multifaceted deal with independent record label Fool’s Gold Records. The deal sees Reservoir acquire the catalog master rights of the label’s artists, A-Trak, Danny Brown, Grande Marshall, The Brothers Macklovitch, and Low Pros. Reservoir will also exclusively market and distribute all other recordings on Fool’s Gold, including future releases, via the Reservoir label platform. Founded in 2007 by DJs A-Trak (Alain Macklovitch), Nick Catchdubs (Nick Barat), Dave 1 (David Macklovitch), and the late Dust La Rock (Joshua Prince), the Brooklyn-based Fool’s Gold has earned its reputation as an innovative label created by artists for artists. The label’s early success came from releases by Kid Cudi, Kid Sister, Flosstradamus, and Danny Brown, as well as A-Trak’s own music. In 2010, his duo Duck Sauce released viral hit single “Barbra Streisand, which reached No. 3 in the UK and No. 1 on Billboard’s Dance Club Songs chart, and earning a Grammy nomination for Best Dance Recording. A-Trak also earned success as a solo artist with his remix of the Yeah Yeah Yeahs’ “Heads Will Roll,” and singles including “Ray Ban Vision,” “Believe,” “DJ’s Gotta Dance More,” and “My Own Way.” The Fool’s Gold catalog also includes releases by Treasure Fingers, Hoodboi, Tommy Trash, Falcons, G-Worthy, Malaa, and Michael Christmas. The deal, facilitated by Fool’s Gold Chief Financial Officer Jorge Mejias, label manager Nathaniel Heller, and A-Trak’s management team at TMWRK, sees Fool’s Gold join Reservoir’s recorded music division alongside cornerstone independent labels Chrysalis Records, Tommy Boy Music, and the newly acquired New State. Fool’s Gold will be marketed and distributed through Reservoir’s label platform. As part of the deal, Reservoir will also now distribute A-Trak & Friends, a new sub-label of Fool’s Gold featuring music by A-Trak and several other artists. The first release was “Reaching” by James Juke featuring LION BABE, which was released last month. “I’ve been thoroughly impressed by Reservoir ever since the first time we all spoke,” said A-Trak. “Everyone at the company has a deep passion for quality music. A big part of what’s helped Fool’s Gold navigate 18 years in the music biz is staying very nimble and malleable. Reservoir was able to craft a creative deal with us that showed real agility—that’s exactly what we were looking for in a new partner.” “As both founder and artist, A-Trak has built Fool’s Gold into a genre-blurring label that has been at the forefront of hip-hop, house, and everything in between for nearly two decades. We’re proud to welcome A-Trak, Fool’s Gold, and its artists into the Reservoir family as we continue to champion culturally significant independent music,” Reservoir President and Chief Operating Officer Rell Lafargue added. “This multifaceted deal also highlights Reservoir’s ongoing expansion in recorded music and our team’s ability to deliver across the full spectrum of the music business.” View the full article

Photo Credit: Concord Originals + RKO Pictures Concord Originals acquires RKO, the film studio behind such classic films as ‘King Kong,’ ‘Citizen Kane,’ ‘It’s a Wonderful Life,’ and more. Concord Originals, the film and TV division of Concord, has announced the acquisition of RKO Pictures, the film studio behind classics such as King Kong, Citizen Kane, The Best Years of Our Lives, It’s a Wonderful Life, Suspicion, and The Woman in the Window. RKO was acquired from Ted Hartley, who served as Chairman and CEO of RKO for 35 years. The deal also sees Concord Originals securing the derivative rights to over 5,000 titles, which include the remake, sequel, story, stage, and copyrights (including unproduced screenplays) of the company’s storied film library. RKO will continue to operate as an imprint under Concord Originals. Sophia Dilley and current RKO President Mary Beth O’Connor have been named Co-Presidents of RKO and will jointly run the company with the support of the Concord Originals team. Dilley will also maintain her current role as head of Concord Originals, and will continue to oversee its current mandate: to develop and produce projects drawing from Concord’s vast library. “Concord’s commitment to championing legacy is unmatched,” said Ted Hartley. “We are confident that RKO has found its next big step into its future at Concord. They have committed to continuing and enhancing the rich history of the iconic studio. I am proud to build this with them and look forward to what this power team will bring to our industry.” Hartley will remain as lead producer and Chief Storyteller on a slate of active RKO projects and will function as Chairman Emeritus at RKO. Alongside partners, Hartley is concurrently launching Roseblood Pictures, which focuses on book pick-ups, original programming, and becoming a home for selected writers, storytellers, and independent producers. “RKO is a treasure trove of filmed storytelling that has had a permanent and profound impact on global popular culture,” said Concord CEO Bob Valentine. “We are honored that Ted Hartley has entrusted us as the next stewards to shepherd the studio and its storied catalog alongside our constantly growing roster of important IP.” He adds: “As we continue to expand our catalog and content capabilities, RKO makes sense as a strategic step in widening Concord’s foothold in film, television, and theatrical rights, providing our Originals and Theatricals divisions with an extraordinarily deep collection of titles to develop and reimagine.” Known as one of the last privately held of the original eight big studios, RKO’s iconic tower and globe logo has lit movie and television screens for over 90 years. The studio was owned at various times by Joseph P. Kennedy and billionaire Howard Hughes. “Concord has embraced RKO and its proud legacy as a symbol of bold, imaginative storytelling,” said RKO Co-President Mary Beth O’Connor. “We are thrilled to be launching anew with Concord’s powerful platform and deep creative vision, anchored by the heart and spirit of our shared goals for RKO’s next chapter. Working alongside Sophia and the extensive Concord teams across divisions, I’m filled with gratitude and excitement to help carry RKO’s singular identity into a vibrant future.” “Concord Originals takes pride in being a trusted partner for reinventing IP,” said Dilley. “This acquisition marks a thrilling new chapter for both companies. I am looking forward to working with Mary Beth and our teams to unite a prestigious history of storytelling with bold, forward-looking creative ambition. The combined catalogs offer an extraordinary foundation for reimagining beloved classics and launching entirely new franchises across film, TV, and theater. It’s a rare opportunity to honor the past while shaping the future.” The RKO deal was negotiated by DLA Piper: David Markman, Tom Ara, and Alex Meiseles, for Concord Originals. RKO was represented by Chris O’Brien at Venable. View the full article

Photo Credit: Gary Musick Productions AEG Presents has acquired Nashville-based special events production company Gary Musick Productions and affiliated entity Destination Musick City. The partnership will bring together decades of expertise in corporate event production, scenic fabrication, and destination management. Under the new structure, Gary Musick Productions will retain its name and continue to provide its corporate and social event services, including audio-visual production, scenic fabrication, custom set design, live streaming, and branding integration. Destination Musick City will remain a specialized destination management company focused on providing immersive experiences and full meeting execution services for inbound groups visiting Nashville, and part of a network of destination management companies in major destinations worldwide. “For 45 years, Gary Musick Productions has built a legacy of excellence, producing more than 10,000 events, concerts, and corporate meetings,” says Gary Musick, Founder & President. “Our commitment to crafting unforgettable productions remains unchanged, and as part of AEG Presents, we now have access to even greater resources, venues, and creative opportunities for our clients.” The acquisition marks a significant milestone for both companies, allowing Gary Musick Productions to expand its design and fabrication services in music festivals and concert touring while introducing clients to AEG Presents’ extensive network of event venues and entertainment offerings. “I couldn’t be more thrilled to welcome Gary Musick Productions to the family,” adds Shawn Trell, Executive Vice President and Chief Operating Officer for AEG Presents. “Gary and his team have built an exceptional business in event production and destination management, and their expertise is an ideal complement to our commitment to delivering outstanding live experience worldwide.” The partnership ensures continued excellence for Gary Musick Productions’ extensive client base, which includes Fortune 500 companies, nationally recognized associations, professional sports teams, cruise lines, and charitable organizations. The team will remain based in Nashville, with Gary Musick continuing to lead the company during its next phase of growth. View the full article

Spotify has once again raised its prices in France and appears to be taking other monetization-minded steps amid slowing subscriber growth in established markets. Photo Credit: Henrique Ferreira Spotify has once again upped its prices in France, where subscribers are now paying €12.14 (currently $13.88) per month for Individual. The streaming platform just recently made the increases official, one year and change following a prior price-bump round in the European nation. The May 2024 raises, Spotify spelled out at the time, marked a response to France’s much-debated “streaming tax.” Higher-ups at Spotify (and different DSPs, a few operating well outside the music world) had been criticizing said tax for some time beforehand. In one conspicuous retaliatory measure, the service closed out 2023 by cutting sponsorship ties with multiple French music festivals. In other words, especially against the backdrop of slowing subscriber growth in Europe, today’s price adjustments don’t exactly come as a surprise. Besides Individual’s aforementioned cost, Duo now carries a $19.67/€17.20 monthly charge in France, compared to $24.29/€21.24 monthly for Family. For reference, Paris-headquartered Deezer, the subscriber base of which is heavily concentrated in France, charges $13.71/€11.99 per month in the country for its own solo tier. Deezer Duo has a $18.28/€15.99 monthly price tag, with Family clocking in at $22.86/€19.99 per month. Spotify isn’t solely turning to price increases to boost revenue and maintain profitability – incidentally, though, pricing changes are reportedly forthcoming for a variety of non-U.S. markets in 2025. Rumblings have pointed to the possibility of charging for ad-supported listening or integrating ads into Premium, for instance. As things stand, however, the controversial steps haven’t materialized. Meanwhile, a so-called “outage” earlier in 2025 ultimately proved to be one component of an effort to decommission “cracked” versions of Spotify Premium. And if more recent Reddit posts are any indication, the broader initiative is still ramping up. As a simple Google search demonstrates, some have worked their way through an elaborate Spotify Premium sign-up process to pay less per month. This refers to utilizing a combination of VPNs and carefully selected payment methods to create paid accounts in emerging markets – before accessing from different countries once subbed, of course. Per the mentioned posts, the cost-effective loophole could be closing. According to several Spotify users professing to have non-modded accounts, the service is informing them via email that they “can only use Spotify abroad for 14 days.” The same individuals are also being compelled to update their locations to continue accessing the platform, the posts show. View the full article

It’s been a month since RÜFÜS DU SOL released the first volume of Inhale/Exhale Remixed. Now, the Australian trio is back with Volume 2. This is a sprawling 22-track collection that deepens the project’s emotional and rhythmic reach. The latest volume showcases a renewed focus on rhythm and texture. Out now via Rose Avenue / Reprise Records, this second volume is both more expansive and more adventurous. It brings together established names like Vintage Culture, Jimi Jules, Adam Ten & Mita Gami, and Mind Against. Alongside some of the most promising talents from across continents. This new volume delivers a remix experience that travels far from the original album’s central blueprint. Yet, it doesn’t lose its soul. What Inhale/Exhale Remixed Vol. 2 Sounds Like This second volume pulls the original album into more experimental corners. Inhale/Exhale Remixed Vol. 2 deepens the club connection of the original album, expanding into a spectrum of melodic techno and house-driven reinterpretations. The tone is consistently uplifting, warm, and emotionally resonant, never drifts into pop or commercial territory. This is music designed for sunset stages, beach sets, and late-night dance floors, all grounded in a strong underground identity. Vintage Culture‘s remix of “Lately” that’s punchy and precise—tailor-made for festival crowds but polished with a tasteful melodic edge. Deer Jade’s “Breathe” channels soft percussive movement and airy synths, giving the original a more expansive, open-air feel. On “Edge of the Earth,” LP Giobbi brings a steady, rolling groove with a touch of deep house sophistication. Her remix fits naturally into sunrise sessions or breezy afternoon sets. Jimi Jules strips down “Music is Better” to a rhythm-forward framework, layering subtle textures with club-conscious pacing. Tracks like Maga’s “The Life” and Chambord’s “Levitating” keep things fluid—each remix rooted in groove, accented by bright leads and warm builds. Mind Against & Tharat’s remix of “Pressure” is one of the most expansive tracks on the album—pulling from cinematic techno influences, it delivers hypnotic progression and melodic clarity, perfect for open-air dancefloors. Eagles & Butterflies stretches “New York” into a sweeping, synth-laced journey, while WEVAL’s rework of “Standing at the Gates” leans into hazy atmospherics with a steady rhythmic core. Even RÜFÜS DU SOL’s own edit of “Music is Better” feels like a distillation for Inhale/Exhale of their current live energy—tight, rhythmic, and emotionally clean. It’s a reminder that the band remains as connected to the dance floor as to songwriting. Rose Avenue and the Label’s Artist-Driven Curation Founded by the trio in 2018, Rose Avenue Records was born from a desire to spotlight music that felt emotionally rich, thoughtful, and club-ready. Those sounds that echoed the band’s own ethos. Named after the Venice Beach street where the group once shared a home, the label has grown into a platform that supports both emerging artists and established producers. Over the years, Rose Avenue has become an imprint for music that values emotive textures, rhythmic subtlety, and deep connection with dance floors. The label’s catalog includes releases from artists like, Colyn, Like Mike, Anyma, Cassian, Kimonos, and Dorian Craft. Some of whom contribute standout remixes on Volume 2. With each release, Rose Avenue reinforces the idea that music can be both immersive and intentional. It’s not about having drops after drops in any given track —it’s about the journey through which listeners feel more connected. Whether it’s via warm-up set soundscapes, late-night closers, or tightly wound festival weapons, the label’s output reflects a commitment to atmosphere, groove, and storytelling through sound. With RÜFÜS DU SOL’s Inhale/Exhale Remixed Vol. 2 releasing across all platforms, the trio has truly have crafted a remix album that’s both a celebration of their original work and a step forward. The post RÜFÜS DU SOL Drops New Album: Inhale/Exhale Remixed Vol. 2 appeared first on EDMNOMAD. View the full article

From humble beginnings as a university project to becoming one of the most respected names in electronic music, Anjunabeats marks its 25th anniversary with its most ambitious physical release to date: the Anjuna25 Anniversary Vinyl Box Set. Curated by label founders Above & Beyond and James Grant, this meticulously designed collection spans 25 years of cutting-edge electronic music from the Anjuna family of labels—Anjunabeats, Anjunadeep, and Anjunachill. The box set includes 10 heavyweight vinyl records featuring 84 tracks selected from across the three labels’ extensive catalogues, which have defined the Anjuna sound. From timeless Above & Beyond anthems to breakout releases from the likes of Lane 8, Ben Böhmer, ilan Bluestone, Mat Zo, Yotto, Eli & Fur and more, this collection is a landmark retrospective of Anjuna’s journey, and has been curated with particular attention to tracks rarely pressed on vinyl – all re-mastered for this product. Each record is housed in its own color-coded, textured sleeve, numbered 01 to 10, with minimalist design and subtle debossing. A custom outer slipcase with a foiled and debossed Anjuna25 logo encases the set. Also included is a 48-page, perfect-bound booklet, printed on art paper with textured cover stock. The booklet features track notes from artists and the Anjuna HQ team, sharing untold stories, creative inspirations, and memories that shaped the past two and a half decades of Anjuna. The Anjuna25 Anniversary Vinyl Box Set is a one-time, limited-edition collector’s item. Shipping early November. Pre-Order here. Product Highlights – 10×12″ vinyl records featuring 84 iconic Anjuna tracks – Tracks span Anjunabeats, Anjunadeep, and Anjunachill catalogues – One vinyl dedicated to Above & Beyond – Deluxe custom slipcase box with debossed foil Anjuna25 logo – 48-page booklet with exclusive track stories and quotes from artists & Anjuna HQ – Limited edition – available while supplies last The post Anjunabeats Celebrates 25 Years with Limited Edition 10-Vinyl Box Set appeared first on EDMTunes.

TikTok changed how people discover music. The app that took short videos and turned unknown tracks into viral hits overnight is taking this further now. This June 3, 2025, they launched a new platform called TikTok for Artists. The new platform is designed for musicians looking to grow their audience and manage their music journey. With powerful tools and insights, TikTok for Artists helps creators turn buzz into long-term success and level up their music careers. Level Up Music Tools The TikTok for Artists platform provides powerful insights. A dashboard reveals song performance and how often fans engage. Data includes views, shares, and post reactions. Follower breakdowns show age, gender, and language. Artists and teams now use these tools to refine strategy. Features like Behind the Song and Pinned Videos offer even more creative control. A Pre-Release tool comes with TikTok for Artists. This lets artists tease songs before they are released. Fans can pre-save songs to Spotify and Apple Music. This will allow excitement to build and boost their streaming numbers. The new tool connects TikTok hype to real-world numbers. The idea is to help artists level up in both reach and professionalism. However, the move isn’t new for TikTok. Previous features like Sound Pages and trending sound insights gave creators valuable exposure. But this platform takes those ideas and makes them smarter. It’s similar to tools seen in Spotify for Artists or Apple Music for Artists. But here, everything happens in the app where the music often goes viral first. “TikTok is where fans discover music and artists daily – it’s now also where artists can supercharge their careers.” Ole Obermann, TikTok’s Global Head of Music Business Development. Grow With TikTok for Artists TikTok for Artists will allow for artists to boost their visibility. Certified artists get an Artist Tag on their name. Their profile features a Music Tab that organizes all tracks. It will make fan discovery easier and faster. New songs land there automatically, keeping everything current. The platform also allows pinned videos. These show up at the top of the music pages. Fans see the content artists want to highlight most. Personal storytelling is supported too with the Behind the Song feature, giving artists space to share inspiration. TikTok for Artists provides guides and educational resources that explain how to grow audiences and effectively use the platform’s features. Artists can invite team members to collaborate, ensuring that labels, managers, and marketers all have access to the same tools. With TikTok for Artists, artists are no longer guessing. They have better data and more control. The platform takes music discovery further. It turns short-term buzz into lasting careers. Whether new or established, artists benefit from these updates. TikTok for Artists is more than a feature drop. It reflects TikTok’s role in music today. Artists now use the platform as a career tool. From analytics to promotion, everything connects. TikTok for Artists makes that process smoother, smarter, and stronger. The post Level Up Your Music With TikTok for Artists appeared first on EDMTunes.

A call has echoed across oceans, traveling through tide and jungle, rhythm and silence, until it reached a stretch of sacred coastline in northeastern Brasil—where ritual drifts on the current and time melts into the sea. It is here, on the enchanted shores of São Miguel dos Milagres, Brasil, that Damian Lazarus will bring Day Zero to inscribe its next chapter on January 3rd. Infused with the brand’s storied blend of immersive experience and spiritual energy, Day Zero Milagres will honor the profound connection between ancient ritual, natural beauty, and local culture—set against one of the planet’s most vibrant landscapes. Every edition of Day Zero is crafted as a living homage to the region’s heritage: whether through the sacred Mayan symbolism of Tulum or the desert mysticism of Masada. For its Brasilian chapter, São Miguel dos Milagres emerges as a synergetic vessel. Nestled along Alagoas’ picturesque coastline, where crystalline tidal pools meet lush jungle, the region pulses with Indigenous heritage and hypnotic rhythm. Here, emerald canopies part to reveal turquoise waters, and every grain of sand feels steeped in ancestral memory. In this sacred setting, Day Zero will weave together the natural majesty of Brasil’s northeast with its own signature ceremony—creating a communal rite that honors the land, its people, and the enduring spirit that binds them. In Damian Lazarus’ own words on Day Zero’s expansion to Brasil : “after a long and thoughtful search for the perfect location to begin a new chapter of Day Zero, we’re thrilled to introduce the world to São Miguel dos Milagres, on Brasil’s breathtaking northeast coast. This region—rich in mysticism, natural beauty, and cultural depth—offers both a spectacular setting and the infrastructure to welcome our global community. We’re also proud to be collaborating with some of Brasil’s most experienced and respected event partners, whose vision and expertise have shaped many of the country’s most iconic gatherings. 2026 is going to be a very special year for Day Zero as we embark on incredible new adventures.” Day Zero has long maintained a commitment to showcasing local talent, first started with its El Teatro stage in Tulum, an all Mexican artist stage. Day Zero Brasil will be no exception, becoming a crossroads between global underground currents and the raw, rhythmic heartbeat of Brasil. Register for Day Zero Brasil here. Stay tuned for more news! The post Day Zero Announces Brasil Expansion : The Coast of Miracles appeared first on EDMTunes.

Red Bull is linking up with HiTech for a high-flying B2B showcase in Detroit. Red Bull B2B, a unique one-night-only event that brings together four DJs for four consecutive relay-style back-to-backs, will make its U.S. debut in the Motor City on July 11, taking over Detroit’s historic Majestic Theater for a booty-shaking blowout curated by the celebrated Detroit Ghettotech crew. Known for an invigorating blend of Ghettotech, house, hip-hop, and Miami Bass that has been hailed as “the new sound of Detroit,” the hometown trio will be joined on the decks by three influential underground DJs: legendary Atlanta hip-hop spinner DJ Swamp Izzo, Parisian rave style-weaver CRYSTALLMESS, and Motown-born multi-hyphenate Sheefy McFly. HiTech will open the night playing with Swamp Izzo before the lineup snakes through further B2B pairings, including Swamp Izzo B2B CRYSTALLMESS, CRYSTALLMESS B2B Sheefy McFly, and a closing set from Sheefy McFly B2B HiTech. In the days before the main event kicks off, Red Bull will also be hosting a series of B2B nights at Paramita Sound, a panel with OGs of the Detroit underground music scene, and a workshop with the city’s Underground Music Academy, all of which aim to “celebrate the birthplace of techno and its founders,” according to a press release. For more information or to purchase tickets, visit redbull.com/b2b. Featured image courtesy: Red Bull. The post Ghettotech Icons HiTech Curate Red Bull B2B Showcase In Detroit appeared first on EDM Maniac. View the full article

Travis Kelce is setting his sights on the DJ booth — and he’s already dreaming about who he’d open for. On the June 4 episode of New Heights, the Kansas City Chiefs star chatted with this week’s guest, Shaquille O’Neal, about his interest in DJing. The conversation kicked off after Travis and his brother/cohost, retired NFL center Jason Kelce, welcomed the basketball legend and praised Shaq’s skills behind the decks. He of course, is known in our world as DJ DIESEL. “Teach me your ways,” Travis told the NBA Hall of Famer, referring to Shaq’s DJ alter ego, DJ Diesel. Shaq replied: “Bro, I got you. You know what would be crazy? You opening up with your girlfriend. You’d be a f–king star. Ten minutes hyping the crowd — oh my God.” Travis lit up at the idea. “Come on, you know I’m a hype man,” he said, laughing. “Get it rocking in there. Have the Swifties bouncing off the walls before T gets out there.” While Taylor Swift’s Eras Tour wrapped in December, Travis has already gotten a taste of life on stage. He made a surprise appearance during one of Swift’s sold-out Wembley Stadium shows last year — and he’s long been her No. 1 cheerleader offstage, too. From hyping her chart-topping Tortured Poets Department to applauding her stamina on tour, he’s fully embraced the role of Swift’s ultimate hype man. Later in the episode, the couple’s synergy came up again when Shaq played Swift’s “I Knew You Were Trouble” from his phone, prompting Travis to shout, “Shout-out to Tay Tay!” He then grinned and added, “Just got that song back, too. Just bought all her music back. So it’s finally hers.” Watch the full episode of New Heights below to see Travis and Shaq’s full conversation. The post Travis Kelce wants to open for Taylor Swift as a DJ appeared first on EDMTunes.

GRiZ returns with his highly anticipated new single ‘Chaos Theory‘, a first-ever collaboration with bass music powerhouse Wooli. The track arrives as GRiZ continues building momentum after the release of March’s Gemini EP and two major upcoming live plays: his sold-out Seven Stars Festival this October in Virginia, and his just-announced “Re:Connect” arena shows in Chicago, IL and Daly City, CA. Originally teased in Wooli’s live sets, ‘Chaos Theory’ features a custom vocal from acclaimed voice actor Boris Hiestand, known for his roles in Overwatch, Assassin’s Creed, and more. Rather than sample, GRiZ and Wooli commissioned Hiestand to record an original vocal specifically for this release—a move that reflects their shared vision for immersive, cinematic storytelling through sound. Blending GRiZ’s signature melodic funk and Wooli’s seismic bass sound design, ‘Chaos Theory’ is a high-impact, emotionally charged single that bridges fanbases and pushes boundaries. GRiZ of course, features his signature saxophone throughout. This track is truly a dream for bass heads. WOOLI TOUR DATES: July 27th – Shambhala Music Festival August 9th – Elements Music Festival August 16th – Headlining Bass Canyon Aug 28th – Mammoth Mirage @ The Brooklyn Mirage (Curated Headline) Aug 30th – Chandler, AZ @ Rawhide Event Center (Curated Headline) October 10th – Seven Stars Festival The post GRiZ Continues Return With Cinematic Collab With Wooli ‘Chaos Theory’ appeared first on EDMTunes.

Ableton Live 12.2 now has an official launch date following its public beta testing phase, which began back in March this year. Now, with a confirmed release date set for this June, Ableton Live 12.2 is due to bring increased creative capabilities and introduce new devices and workflows, completely free for all Live 12 users. READ MORE: Best MIDI controllers to buy in 2025: 12 best Ableton Live controllers to buy What are the new features of Ableton Live 12.2? Ableton Live 12.2 brings new key features like the introduction of Bounce to New Track, plus improvements to the search and browsing experience. It also brings the launch of Expressive Chords and the new Auto Filter. There are also major new features for Push. Expressive Chords is a new MPE-enabled Max for Live device, for all editions of Live and Push. It lets you play interesting progressions intuitively, one key or pad at a time. With the update you’ll also be able to bounce clips or time selections on any MIDI or audio track, including all processing, to a new audio track with a few clicks. Similarly, you can also use Bounce Track in Place to convert the whole track to audio. Auto Filter – which now comes to Move for the first time – has also been redesigned with new filter types, real-time visualisation, and a revamped modulation section. To view the full list of new changes, you can view the beta release notes. Check out the videos below for more: When will Ableton Live 12.2 be released? Ableton Live 12.2 will officially launch on 11 June. This update is free and automatic if you own a Live 12 licence, but if you have Automatic Updates turned off, you’ll need to download 12.2 in your user account on release day. Am I eligible for the Ableton Live 12.2 update? If you own a Live 12 licence you are automatically eligible to receive the Ableton Live 12.2 update for free. Ableton Live licences can be purchased online directly from Ableton Live Shop, with three tiers available – you can pay in full or in three instalments for these. System requirements are also listed on the shop website. For more information, you can head over to the Ableton website to read its new blog post on the update. The post Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new features appeared first on MusicTech. View the full article