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With his new single "Until The Lights Go Out," Axwell builds a dancefloor where convictions are checked at the door. Out now via Axtone, the hedonistic house track is a collaboration with CARMA, the duo comprising James Carter and Tom Martin. The new single arrives hotly anticipated after Axwell dropped it during his spectacular Ultra Miami set back in March. Lyrically, "Until The Lights Go Out" captures a raw, almost primal urge to break free through vocals urging us to dance until collapse. We've all experienced that weightless feeling of fleeting invincibility on the dancefloor, and Axwell, ever the architect of dancefloor catharsis, leans into this tension beautifully. Meanwhile, the production is both euphoric and haunting, delivering a four-on-the-floor banger that pulses with cinematic gravitas. Fluttering synths cascade atop a dramatic house drop, shimmering and slicing through a propulsive bassline that drives the arrangement with unyielding force. You can listen to "Until The Lights Go Out" below and find the new single on streaming platforms here. Follow Axwell:X: x.comaxwell Instagram: instagram.com/axwell TikTok: tiktok.com/@axwell Facebook: facebook.com/axwell Spotify: spoti.fi/3bLtwoz

"In My Arms," the new single from ILLENIUM and HAYLA, captures the rare moment when the right voice and the right production collide at just the right time. "This one means a lot to me," ILLENIUM said of the new collaboration, his first single after signing to Republic Records. "Raw emotion from start to finish. HAYLA, your voice is magnetic and took this to another level." The track's first few moments flicker with a quiet tension before opening up into the kind of wide-eyed, emotive drop that fans have come to associate with ILLENIUM's most impactful work. Meanwhile, HAYLA's voice delivers the song’s message with warmth and clarity. The breakout singer-songwriter's lyricism explores that rare kind of bond where being with someone feels like finally arriving home. She likens it to "the sparks you feel bubbling under your skin when you’re together, but also knowing that you’ll always be their safe space." That mix of comfort and intensity gives the track its emotional pull. You can listen to "In My Arms" below and find the new single on streaming platforms here. Follow ILLENIUM:X: x.com/illenium Instagram: instagram.com/illenium TikTok: tiktok.com/@illenium Facebook: facebook.com/illenium Spotify: spoti.fi/2XO5NxG Follow HAYLA:X: x.com/haylasings TikTok: tiktok.com/@haylasings Instagram: instagram.com/haylasings Facebook: facebook.com/haylasings Spotify: https://spoti.fi/41MXBgq

Just before the season of sunburns and serotonin, powerhouse vocalist VASSY has teamed up with Dutch producer RSCL for "Beg," a summery, piano-drenched dance anthem. The track is out now Gemstone Records, the house music offshoot of Hardwell's storied label, Revealed. VASSY has never been one to hold back. Her voice is bold, unmistakable and built for the kind of tracks that make you feel something. On "Beg," she and RSCL deliver a track that radiates the kind of confidence only dance music with real emotional stakes can pull off. It's a summer anthem, but one that knows not every heatwave comes without a little ache. "This track came from a very real place of emotional surrender," VASSY said. "It’s about those moments when pride falls away and you’re just raw, open and honest—sometimes even to the point of heartbreak. Musically, I wanted to bring back that festival energy you know me for, but pair it with vulnerability. I wanted it to feel good and hit hard while still telling a deeper story. That’s always been my lane: emotion with impact." If "Bad" was VASSY’s leather-clad strut through seduction, then "Beg" is her barefoot run toward something real. There's tension in her lyricism, a plea for connection just beneath the surface of a feel-good veneer: "Don’t make me beg my baby, when it only feels this good with you." Meanwhile, RSCL's buoyant piano chords and shimmering organ patterns pulse with sunlit energy. His work here is fresh and unpretentious, producing a beat engineered for joy but grounded in feeling. You can listen to "Beg" below and find the new single on streaming platforms here. Follow VASSY:X: x.com/vassy Instagram: instagram.com/vassy TikTok: tiktok.com/@vassy Facebook: facebook.com/vassy Spotify: spoti.fi/3hlBwNS Follow RSCL:Instagram: instagram.com/djrscl TikTok: tiktok.com/@djrscl Facebook: facebook.com/djrscl Spotify: tinyurl.com/muwbyets

Photo Credit: Frances Gladney and Smokey Robinson by Gage Skidmore / CC by 2.0 A criminal investigation has been launched into the sexual assault allegations against Smokey Robinson in a lawsuit filed by his former housekeepers. Legendary singer-songwriter Smokey Robinson was sued last week by former employees who allege assault, sexual battery, and false imprisonment. The four Jane Does, who worked for the singer between 2006 and 2024, filed a lawsuit against the Motown legend and his wife Frances in Los Angeles Superior Court with similar claims that Robinson sexually assaulted and harassed them during their employment. Now, a criminal investigation has been launched into the allegations, according to the Los Angeles County Sheriff’s Department. “The Los Angeles County Sheriff’s Department Special Victims Bureau is actively investigating criminal allegations involving William Robinson, AKA Smokey Robinson,” reads a statement from the sheriff’s office. “The investigation is in the early stages, and we have no further comment.” The four women in the lawsuit also claim that Robinson’s wife contributed to a hostile work environment by using “ethnically pejorative words and language” while yelling at them. Further, they allege she was aware of her husband’s misconduct, but did not take proper action to prevent it despite knowledge that the 85-year-old had settled cases from other women with similar allegations. The former housekeepers in the lawsuit state they did not take action against Robinson sooner for fear of losing their jobs, or of familial shame and embarrassment. Some were also afraid it could affect their immigration status. “We are aware that a police report has now been filed by the Plaintiffs in the civil lawsuit. It is clear to us what is happening here,” said the singer’s attorney in a statement. “Plaintiffs filed a police report only after they filed a $50 million lawsuit. This means only that the police are now required to investigate. We welcome that investigation, which involves Plaintiffs who continue to hide their identities, because exposure to the truth is a powerful thing.” “We feel confident that a determination will be made that Mr. Robinson did nothing wrong, and that this is a desperate attempt to prejudice public opinion and make even more of a media circus than the Plaintiffs were previously able to create,” the statement continues. “The record will ultimately demonstrate that this is nothing more than a manufactured lawsuit intended to tarnish the good names of Smokey and Francis Robinson, for no other reason than unadulterated avarice.” View the full article

Photo Credit: Justin Bieber by Jakub Janecki / CC by 4.0 Justin Bieber’s camp denies allegations that he sold his catalog for $200 million because he was “on the verge of financial collapse.” Justin Bieber sold his catalog for $200 million to Hipgnosis back in December 2022—a strange move for such a young artist. According to a new documentary from TMZ, the 31-year-old R&B star made between $500 million and $1 billion during his ascension to fame, but poor financial decisions left him in dire straits just a few years later. TMZ claims people close to the matter confirmed Bieber’s financial destitution back in 2022, which led to him selling the rights to his music that December. Scooter Braun, longtime manager to Bieber, allegedly tried to dissuade him from selling so early in his career—to at least wait until January 2023 to get a tax break. But Justin couldn’t be talked out of the decision. Further, an independent audit conducted by accounting firm PricewaterhouseCoopers (PWC) and completed in April found that Bieber still owes Braun nearly $9 million. Sources say the money stems from a loan Braun made to Bieber to cover debt accrued over his cancelled 2022 tour. Rumors swirled last October that Bieber was considering suing his financial managers for allegedly blowing $300 million of his fortune. But insiders revealed the blame lied more with Justin and his “out of control” spending habits. “He spends eye-watering amounts per month,” a source told Page Six. “At one point, he couldn’t even get a credit card. […] Justin is surrounded by a lot of people that do not have his best interests at heart.” Nonetheless, TMZ said that Bieber’s business manager, Lou Taylor, said Bieber was originally thought to be in debt by around $20 million after his cancelled tour—but that figure was found to be inaccurate. He claimed Braun had actually been overpaid in commissions by $26 million. Braun performed his own audit through Hybe, of which he is the CEO of the American branch, and claimed Bieber owed him $1 million, but that he “waived that amount.” Bieber reportedly felt Braun’s audit was inaccurate, which led to PWC being brought in. Their audit resulted in the star actually owing over $8 million. Reps for Bieber deny the financial issues and call such reports “ill-informed clickbait.” View the full article

Photo Credit: Ashley King (AccuRadio website) AccuRadio, an early pioneer in human-curated online radio, has filed for Chapter 11 bankruptcy after a protracted legal battle with SoundExchange over royalties. The conflict traces back to 2016, when AccuRadio’s royalty payments to SoundExchange became inconsistent and ultimately ceased in 2018. SoundExchange is tasked by the U.S. government with administering the statutory license under Section 114 of the Copyright Act. SoundExchange claims that AccuRadio accumulated substantial unpaid royalties and failed to meet the terms of negotiated payment plans set up by SoundExchange. In July 2024, SoundExchange filed a lawsuit in federal court, alleging that AccuRadio had “directly harmed creators over the years for refusing to pay royalties for the use of protected recordings.” AccuRadio contests that characterization, stating that it had been a reliable licensee for over two decades and has paid more than $13.5 million to SoundExchange in royalties. AccuRadio CEO Kurt Hanson expressed surprise at the lawsuit, noting the company resumed current payments in early 2021. Hanson also says his company engaged in ongoing negotiations with SoundExchange to resolve the outstanding balance. Hanson says the bankruptcy was triggered by the lawsuit, but also by what he describes as a “royalty scheme that renders music streaming extremely challenging for all but the largest corporations.” The bankruptcy filing reveals AccuRadio owes $10 million to SoundExchange, with total liabilities of $10.5 million. The company also owes significant sums to BMI and ASCAP—estimates put the figure at $200,000 each. The Chapter 11 bankruptcy will allow AccuRadio to restructure its debts and continue its daily operations, rather than shutting down. Hanson argues that the Copyright Royalty Board’s procedures exclude smaller services due to the prohibitive costs of legal and expert participation, resulting in rates that are unsustainable for all but the largest players. He claims this effectively ‘rigs’ the system against independent platforms. “AccuRadio has spent almost 25 years building an innovative and well-loved music streaming service while facing royalty obligations that climbed to levels that seem to suggest the system is rigged, perhaps inadvertently, against small and midsize streamers,” AccuRadio founder and CEO Kurt Hanson said in a news release. View the full article

Photo Credit: YouTube Shorts YouTube Shorts has reached a pivotal milestone—it’s revenue per watch-hour now matches that of regular long-form YouTube videos in the United States and other countries. YouTube CEO Neal Mohan shared the news at the MoffettNathanson investor conference, stating, “It’s something that we have been working on for a while and it’s a testament to both the viewer side, but also the quality of the ad products that we build for our advertisers.” The news signals a major shift in the economics of short-form video for the largest video service in the United States. It also signals trouble for TikTok, should the service not be able to strike a deal should President Trump tire of kicking the ban can down the road. In Q1 2025, Shorts viewership jumped 20% year-over-year, likely thanks to the widely publicized TikTok ban that went into effect on January 19. While TikTok’s unavailability was short-lived, many users (both viewers and creatives) sought different platforms to avoid interruptions from a potential platform ban. Around 70% of YouTube channels now upload Shorts content. In some countries, Shorts’ monetization rate exceeds that of YouTube’s core business, thanks to more ad impressions, AI-powered ad targeting, and higher general usage compared to long-form videos. With Short-form video becoming a primary discovery tool for new tracks, artists, and trends—YouTube Shorts is poised to become a trendsetter that surpasses TikTok. Overall music watch time on YouTube is growing 10% year-over-year since December, with Shorts driving a significant portion of that engagement. TikTok’s dominance in short-form video was built on the back of its viral discovery engine and creator-friendly ecosystem. However, YouTube’s ability to offer equivalent or even superior monetization, combined with its robust rights management and established music partnerships, presents a formidable challenge for the embattled Chinese-owned social media site. With YouTube’s massive reach now surpassing mobile on connected TVs and its ongoing investment in music and podcasting—the platform is positioned to capture even more of the lucrative short-form video market. YouTube Music and Premium now has over 125 million subscribers, including free trials. View the full article

Snoop Dogg, who seems to have put his Spotify dispute in the rearview. Photo Credit: gcardinal Just in time for today’s release of a surprise album entitled Iz It a Crime?, Snoop Dogg looks to have put his long-running Spotify dispute to rest. The most immediate example of that resolution can be found in the widespread streaming availability of Iz It a Crime?. As many will recall, Snoop Dogg in late February released “Spaceship Party” solely via Tune.fm after levying royalties-related criticism at Spotify. (Before that, 2024 had seen the Death Row owner finalize a separate streaming-exclusive tie-up with Web3 music platform Gala. A copyright suit against the latter, Snoop, and Death Row alike is technically ongoing, though both sides last month said they’d hammered out a settlement in principle.) Spotify, Snoop publicly alleged, had only paid him a paltry $45,000 or so for somewhere in the ballpark of one billion streams. The service promptly pushed back, pointing to millions in total royalty payouts for the plays and, in the process, urging the 19 Crimes partner to direct his compensation qualms elsewhere. Now, Spotify has capitalized on an opportunity to diffuse Snoop’s high-profile criticism, with the 16-time Grammy nominee taking advantage of a chance to promote the aforementioned Iz It a Crime? and the release particulars thereof. Enter a decidedly positive article not from the music world, but Bloomberg, which proclaimed that Snoop Dogg “now understands the complexity of” royalties after meetings with Spotify execs. The plural “meetings” is important. As the outlet tells the story, Gamma co-founder Larry Jackson (whose company put out Iz It a Crime? alongside Death Row) facilitated the talks, which occurred over a “few weeks.” With Spotify in the habit of stressing the significant portion of revenue that it pays rightsholders, we won’t have too hard a time inferring which way the blame shifted here. In any event, NBC-partnered Snoop Dogg “no longer blames Spotify itself,” but still isn’t a fan of the underlying streaming-compensation model, per the report. “‘They offered me understanding and clarity,’” Snoop elaborated in a concise statement. “‘We had a meeting of the minds.’” If the well-established Snoop wants to drop the streaming model like it’s hot, it’s safe to say emerging acts are also eager to do so – or, at a minimum, to secure a less-lousy arrangement. Of course, these professionals cannot very easily meet with Spotify brass to discuss their royalty-rate reservations. And they’re simultaneously fighting to stand out from an ocean of noise, being denied pay for some of their streams, and being shortchanged in different ways yet. View the full article

“Let’s Ride Away” by Avicii finally saw the light of day. When AVICII FOREVER released on May 16, fans around the world pressed play with reverence. The 20-track compilation gathers beloved anthems like Wake Me Up, Hey Brother, and Levels, tracing the evolution of a genre-shaping artist. But nestled between familiar echoes is something new entirely—Let’s Ride Away, a long-rumored Avicii track that, until now, lived only in whispers and leaks. Believed by many to be a demo abandoned before Avicii’s death in 2018, its official release marks a staggering moment. Now completed by longtime collaborator Carl Falk and brought to life through Elle King’s searing vocals, the track feels like a time capsule cracked open, its light still intact. It’s more than a song. It’s an echo. A message. A memoir. Let’s Ride Away, Built from an Avicii Memory Let’s Ride Away opens with no hesitation. Elle King’s voice steps into the silence like someone crossing a familiar threshold—steady, worn, full of knowing. Take my hand, let’s run / I’ll bring my arrows, you bring your gun sets the scene. This isn’t escape—it’s commitment. A pact made in dust. The arrangement pulses with dusty folk imagery layered over Avicii’s unmistakable rhythmic instincts. Trumpets rise like desert suns. Synths shimmer like heatwaves off canyon walls. There’s movement in every bar, but it never rushes. Instead, it rides—outward, upward, away. In true Avicii style, the chorus repeats like a vow: Let’s ride away. But it’s the second half of the song that draws the breath. As Elle King sings, Hold on tight to what we have / When it’s this good, you don’t look back, it doesn’t feel like nostalgia—it feels like instruction. Then, tiny doves on the horizon—a lyric so delicate, it silences the track’s thunder for just a moment. Echoes of Farewell and Renewal The triumphant brass lifts the first verses skyward, disguising a quiet ache flowing beneath every kick. Elle King’s sharp, resolute cadence tightens the emotional screw early on. By the outro, her voice doesn’t just carry words—it carries weight. Hold on tight to what we have lands like a plea scribbled in a tour‑bus notebook. The next breath paints tiny doves on the horizon, somehow signaling peace, hope, and renewal breaking through grief’s shadow. Placed so late, the lyric feels like a final journal entry—raw, trembling, yet unafraid. Avicii’s synths stretch those words across canyon‑wide reverb, letting their optimism glow even as the arrangement dissolves. As the last trumpet fades, listeners sense an unspoken goodbye and a whispered promise to keep moving forward—unfinished business transforming into boundless possibility. If This Is the End, It’s a Beautiful One Let’s Ride Away on AVICII FOREVER was definitely an unexpected surprise. It feels like the final page of a book he never got to close himself. Though Tim Bergling didn’t finish this song in his lifetime, every choice made posthumously respects his vision. His fingerprints are on every downbeat, every rise, every unshed tear. If there are more unreleased tracks to come, only time will tell how and when. But if Let’s Ride Away is the last of them—if this really is Avicii’s final gift to dance music—we are grateful. It’s a song that doesn’t look back, but keeps riding forward. Listen to Avicii Forever here. The post Out Now: Is “Let’s Ride Away” The Last Gift From Avicii To The World? appeared first on EDMNOMAD. View the full article

In honor of AAPI Heritage Month and nodding to Brian Eno’s 77th birthday today, acclaimed electronic artist Lawrence Lui has unveiled his captivating avant-garde take of Eno’s 1992 track, ‘Fractal Zoom‘. Originally commissioned for a WFMU compilation, Lui’s version plunges the listener into a spellbinding sonic landscape reminiscent of the evocative depths explored by late-era Scott Walker, the atmospheric textures of Jefre Cantu-Ledesma and Hiroshi Yoshimura, and the shadowy soundscapes of Actress, Burial, and Grouper – all while retaining a spectral echo of Eno’s own groundbreaking vision. This intriguing cover serves as a glimpse into Lui’s forthcoming album, a project set to delve deeper into his more abstract and ambient sonic roots. The choice of ‘Fractal Zoom’, hints at the sonic territories Lui intends to explore. Lui takes Eno’s ambient foundation and adds a layer of grit and tension. It feels both spacious but packed with layers of textures. Ghostly samples hover over grainy layers, showing influences from Japanese ambient music (like Hiroshi Yoshimura) and the darker, more melancholic sounds of artists like Burial. Adding another layer of artistic depth to the release is the cover art, designed by Lui’s 16-year-old son, Liam Lui Martin. The artwork draws inspiration from the iconic aesthetic of Peter Saville, the legendary designer behind the visual identities of New Order, Joy Division, OMD, and the legendary Factory Records. This intergenerational collaboration speaks to a lineage of creative exploration and a keen understanding of visual language. Lawrence Lui has carved a unique niche for himself within the electronic music sphere. His debut EP, ‘Retroism’, garnered significant attention, amassing over 5 million streams and earning praise from tastemaker outlets such as Magnet Magazine, The Wire Magazine, WFMU, Indie Shuffle, EDM Tunes, Nexus Radio, Big Shot Magazine, This Song Slaps, and more. A remix by Anjunadeep’s Beckwith further solidified his presence in the scene in 2018. Follow Lawrence on socials below: The post Lawrence Lui Offers Spellbinding Avant-Garde Take on Brian Eno’s ‘Fractal Zoom’ appeared first on EDMTunes.

Reservoir exec Spek, who oversees the operations of Musicraft Entertainment purchaser PopIndia. Photo Credit: Reservoir Media One month after launching a Mumbai-based subsidiary called PopIndia, Reservoir Media (NASDAQ: RSVR) has officially closed its first catalog deal in India. New York City-headquartered Reservoir today revealed the song-rights purchase, executed via PopIndia and covering the IP of 45-year-old Musicraft Entertainment. According to the involved parties, PopIndia scooped up the “entire” catalog at hand, including both “publishing and master rights.” Founded in 1980, Musicraft by Reservoir’s description owns the rights to music with “production styles similar to Bollywood soundtracks while remaining independent of any specific film.” Regarding genres and artists, the catalog is said to encompass popular Qawwali works and releases from the likes of Ashok Zakhmi, Gyasuddin Warsi, and Usman Taj, to name just a few. And per Musicraft itself, its catalog also features projects from regionally prominent comics such as Raju Srivastav, who passed away in 2022. On the financials front, Reservoir opted against disclosing Musicraft’s sale price; the publicly traded buyer’s forthcoming earnings reports may provide insight here. However, the purchaser did underscore the transaction’s comprehensive nature. Among other things, PopIndia will begin operating the Musicraft YouTube channel, which has racked up 3.3 million subs and nearly 900 million cumulative views. The mononymous Spek, who leads PopArabia and is Reservoir’s EVP of international and emerging markets, is at the helm of PopIndia. In a statement, the exec touted the deal as “a major step forward” in the long run. “This marks a major step forward for PopIndia — our first full catalog acquisition, covering over a thousand recordings that span decades of Indian music… Our strategy in India is focused on long-term value creation, and that starts with investing in catalogs that matter — culturally and commercially. “We see a growing global appetite for Indian music, and this deal positions us well to meet that demand with credible, well-curated content,” proceeded Spek. Reservoir certainly isn’t alone in looking to cash in on said global appetite. Primary Wave-partnered Times Music, Believe, Warner Music, and Universal Music alike are spearheading sizable music investments in the nation; Sony Music yesterday underscored plans to wrap “deliberate acquisitions” specifically in India. As for the commercial upside of establishing a presence in India – referring to domestic revenue, that is – streaming adoption is strong but monetization remains a challenge. Some reports have suggested that it’ll be a while yet before paid listening catches on at scale. Bearing the point in mind, Reservoir is billing PopIndia “as a full-service music company focused on signing and developing regional talent and acquiring catalogs.” Additionally, the newly minted division is said to act as “sub-publisher for global music catalogs within the Indian and South Asian markets,” simultaneously offering “music supervision and rights management solutions for regional music.” View the full article

The New Era of Transparent Ticket Pricing Remember the last time you were pumped to score a ticket to that epic festival or the DJ set of the year, only to be slapped with a hefty ‘service fee’ at checkout? Yeah, us too. It’s the uninvited guest at the party, the unexpected plot twist we could all do without. But hey, guess what? The big players in the ticketing world are finally listening. Following the lead of Ticketmaster, both SeatGeek and StubHub are shifting to upfront ticket pricing, making the total cost of a ticket clear from the get-go. No more nasty surprises at checkout, just pure, unadulterated anticipation for the gig of a lifetime. ‘So why the change, and why now? Well, this revolution in ticket pricing has been driven by a combo of new Federal Trade Commission (FTC) regulations and fed-up consumers. It turns out, hidden fees have been responsible for up to 50% of abandoned purchases. That’s a whole lot of music lovers missing out on their favorite shows, and a whole lot of lost revenue for the ticketing platforms. But with Ticketmaster’s adoption of all-in pricing, things are finally about to change. It’s been a long time coming. For years, ticket purchasers have been voicing their frustration at the so-called ‘junk fees’ and hidden charges that often sneak up on us at the last minute. With Ticketmaster setting the precedent, both SeatGeek and StubHub have updated their platforms to conform with the new FTC rules. It’s a brave new world, and we’re here for it. SeatGeek’s Transformation SeatGeek, in particular, has had its fair share of criticism when it comes to hidden fees. Previously, it was known for revealing its buyer fees – which could range anywhere from 10-48% – only at checkout. But now, SeatGeek has had a makeover. It’s gone from the bad guy to the good guy, including the total ticket cost upfront – yes, that includes all those pesky fees and charges. It’s a game-changer for consumers. Now, when you’re eyeing up that long-awaited festival ticket, you’ll know exactly what you’re signing up for. No more abandoned carts, no more buyer’s remorse. Just the sweet feeling of snagging a ticket to the hottest show in town, without the sour taste of hidden fees. So, what’s the takeaway here? With these changes, SeatGeek is showing that it values transparency and the user experience above all else. It’s about time, and we’re stoked to see this shift in the ticketing industry. StubHub Steps Up And what about StubHub, you ask? Well, they’re not being left behind. Following in the footsteps of Ticketmaster and SeatGeek, StubHub has also moved to upfront pricing. And let’s be real, it’s a much-needed change. The days of getting to the checkout, only to discover a bunch of extra fees, are thankfully becoming a thing of the past. StubHub’s move to upfront pricing means that you, the consumer, have a clearer understanding of what you’re actually going to pay. It’s about making the process more transparent, more user-friendly, and ultimately, more fair. Plus, it makes comparing prices across different platforms a whole lot easier, and who doesn’t love a good deal? In a nutshell, StubHub’s update reflects a growing trend towards transparency and fairness in the ticketing industry. It’s a win for consumers, and a step in the right direction for the industry as a whole. So there you have it, folks. The ticketing industry is finally moving towards a more transparent, consumer-friendly model. Thanks to the new FTC regulations and the pioneering move by Ticketmaster, both SeatGeek and StubHub have embraced upfront pricing, waving goodbye to hidden fees and unexpected charges. It’s a refreshing change, and one that’s sure to make the ticket-buying experience a whole lot smoother. So next time you’re gearing up to buy tickets to that killer festival or DJ set, you can do so with the peace of mind that the price you see is the price you’ll pay. No surprises, no hidden fees, just the thrill of securing your spot at the show. And let’s be honest, that’s the way it should be. Here’s to a future of more transparency, more fairness, and more epic nights out. The post SeatGeek and StubHub Follow Ticketmaster’s Lead with Upfront Ticket Pricing appeared first on EDMTunes.

Berlin-based singer, songwriter, and producer Monolink has officially announced his highly anticipated third studio album, The Beauty of It All. The new album is set for release on September 26, 2025, via Embassy One. Known for his seamless blend of emotive vocals, live instrumentation, and hypnotic electronic textures, Monolink promises his most personal and profound project to date. Following the critically acclaimed albums Amniotic (2018) and Under Darkening Skies (2021), The Beauty of It All explores themes of impermanence, human connection, and emotional duality. Speaking about the creative process, Monolink shared: “For this album, I went back to where it all began, to the countryside in Germany—surrounded by nature and stillness. It turned into the most personal music I’ve made. A reflection of everything that’s brought me here. The beauty of joy, and of pain.” he album’s lead single, ‘Powerful Play’, continues Monolink’s signature style, blending lush sonic textures with deeply introspective storytelling and a dancefloor-ready pulse. Early reactions suggest The Beauty of It All will further solidify his reputation as a master of emotive electronic music. In support of the album, Monolink also announced a string of tour dates, including highly anticipated sets at Lightning In A Bottle in Bakersfield, CA, on May 21, 2025, and Cercle Odyssey in Paris, France, on May 30 and June 1, 2025. Fans eager to secure their copy can now pre-order the album in multiple formats, including a Splattered Vinyl Deluxe Edition, Standard Black Vinyl, and CD, and for the full tour schedule and ticket details, visit Monolink’s official website. Listen to Powerful Play on all streaming platforms: The post Monolink Announces Third Album The Beauty of It All appeared first on EDMTunes.

Global dance music phenomenon John Summit drops his long-awaited remix of ‘Silence’ by Delerium and the legendary Sarah McLachlan, released on Tomorrowland Music today. A mesmerizing blend of house and techno, this modern reimagining breathes new life into one of the most iconic electronic tracks of all time, setting dance floors ablaze around the world. Already a staple in Summit’s live sets, the remix has drawn massive attention since its jaw-dropping debut at John’s sold-out Madison Square Garden show. Fusing ethereal vocals with pulsating basslines and hypnotic rhythms, the track pays homage to its trance origins while firmly planting it in the now. Summit’s rework arrives during an incredibly impressive year, selling out and headlining major shows at his first Australia tour, debuting and headlining Ultra Miami with Everything Always, pulling off eights shows in three days through his Experts Only brand at Vail, a full production show at the O2, and even debuting at the Vegas Sphere. Playing his debut album Comfort in Chaos (which landed at #2 on Billboard’s Top Dance/Electronic Albums chart and #39 on the Billboard 200) for the masses around the globe, the project has continued to eject him into the mainstream. This summer, he will make his Tomorrowland Mainstage debut, cementing his place among the world’s top electronic artists. As a long time raver and trance fan, it’s an absolute honor to remix ‘Silence’ by Delerium. I originally made this remix as an edit for my first ever arena show at the iconic Madison Square Garden and it quickly became a fan favorite. It’s hard to give justice to such a classic, but I think Sarah McLachlan’s powerful vocals along with my trance infused modern tech house production helps bring this song to life in this current era and I’m so stoked to share this one with the world! JOHN SUMMIT About John Summit John Summit is one of the most sought-after names in global dance music. The superstar DJ, producer, and label owner has nearly one billion all time global streams across his catalog, two #1 US dance radio hits, two Top 10 tracks on the Billboard Hot Electronic/Dance Songs chart, and sold-out shows across the globe, including BMO Stadium in Los Angeles (22,000) in the fall of 2023, Madison Square Garden (17,000) in New York City in June 2024, with tickets selling out in under two hours, and three shows at the Kia Forum in Los Angeles in the fall of 2024, selling over 45,000 tickets. Whether he’s headlining a sold-out show or an intimate club, the Chicago native, now based in Miami, brings his signature brand of high-octane spirit everywhere he goes. However, behind the larger-than-life persona is a thoughtful, detail-oriented artist who once worked as a CPA by day and taught music production tutorials by night. As a recording artist, he logs long hours in the studio, perfecting each of his dynamic songs. He’s toured the world, closing out huge festivals including headlining the Sahara Stage at Coachella 2024, and putting on his own shows in unparalleled locations like the slopes of Vail Mountain and the Caverns in Tennessee as part of his label Experts Only. One of the top touring acts in the world, Summit also has a keen interest in the underground scene, and Experts Only is part of his commitment to platforming the next generation of dance music talent. With global hits “Where You Are” (feat. HAYLA), “Human” (feat. Echoes) and “Go Back” w/ Sub Focus (feat. Julia Church) under his belt, Summit released his hugely anticipated debut album Comfort In Chaos, on July 12th, 2024 via Experts Only/Darkroom. The album, encapsulating themes of vice and virtue, highs and lows, total human duality, sees the artist revealing the man behind the icon, injecting his usual body-first approach to dance music with genuine heart and emotion. Summit is set to only get even bigger while releasing a body of work that’s rare in musical ingenuity and uncompromising in its memoir-like tone and texture. ‘Silence’ (John Summit Remix) is out now via all platforms. The post John Summit Releases His Long-Awaited Iconic Remix of Delerium’s ‘Silence’ appeared first on EDMTunes.

Los Angeles-based electronic music duo ARMNHMR have released their latest creation, ‘Keep U Safe,’ a breathtakingly emotive track featuring the captivating vocals of Liv Miraldi. This single marks a significant and confident stride forward for the duo, signaling the dawn of an exciting new era. In what they describe as a period of profound clarity and conviction, ARMNHMR have channeled a potent energy into ‘Keep U Safe.’ The result is a sonic track that is both intimately vulnerable and powerfully anthemic. The track seamlessly weaves together the signature soaring melodies of melodic bass with cinematic builds, laced with heartfelt lyricism that culminates in a drop that feels like a cathartic release of emotion. “This one reminded us why we started,” the duo shared. “It doesn’t feel like we’re chasing something anymore. We just followed the feeling—and it brought us here.” The release of “Keep U Safe” arrives on the heels of a packed summer for ARMNHMR, marked by a packed touring schedule that included a coveted Las Vegas residency with TAO Group and electrifying performances at major festivals across the United States including EDC Las Vegas this weekend. The post ARMNHMR Will ‘Keep U Safe’ in Emotionally Charged Single Featuring Liv Miraldi appeared first on EDMTunes.

Photo Credit: Sony Sony has tapped Post Malone to launch its WH-1000XM6 noise canceling headphones. Posty is bringing his credibility and passion for the sound of music to the forefront of Sony’s ‘For the Music’ campaign. “Great sound is essential for me when I’m making and listening to music,” says Post Malone. “These new noise canceling headphones make you feel completely inside the music.” Sony has enhanced the adaptive noise cancellation optimizer on this refresh of its popular ANC headphones—covering a broader range of frequencies to minimize ambient noise. The WH-1000XM6 headphones are powered by Sony’s new HD Noise Canceling Processor QN3, which is seven times faster than its predecessor. It also works in tandem with a 12-microphone array—up from eight in the previous model. This advanced system delivers real-time adaptive noise cancellation, precisely tuning out distractions from a bustling street, noisy office, or the hum of the airplane while in flight. The headphones also feature a new driver unit for richer detail, clearer vocals, and improved balance. The WH-1000XM6 offers up to 30 days of battery life with ANC enabled and a quick-charge feature that provides three hours of playback with just three minutes of charge time. At launch, this new model is available in three colorways including Black, Midnight Blue, and Platinum Silver. The design is also more compact and portable, featuring a foldable structure and a newly designed, asymmetrical headband for improved comfort during long listening sessions. With foldable earcups, the XM6 is already improved as part of an everyday carry kit compared to the XM5’s fixed design. Sony also refined the shape of the buttons on the side of the earcup based on user feedback. The power button is now round, which helps distinguish it from other buttons by feel alone. One common complaint about the XM5 series is that the similarly shaped buttons were not easy to tell apart when wearing them. The XM6 refresh also includes physical + and – buttons for volume control, rather than relying on touch swipes as previous models did. View the full article

Tomorrowland and Dimitri Vegas & Like Mike have celebrated the start of their 18-week residency on Wednesday at Ushuaïa Ibiza at yesterday’s spectacular opening party with epic performances by the legendary Belgian brother duo, as well as Agents Of Time, Lost Frequencies and MATTN. This season will welcome a series of world-class special guests from the likes of Oliver Heldens, Robin Schulz, Steve Aoki, Timmy Trumpet, and many more. With a string of 17 mesmerizing shows ahead, it’s time to make this summer one to remember. Tickets are now available right here. Inspired by the mesmerizing universe of ‘The Reflection of Love’ – one of Tomorrowland’s most iconic festival themes that has also travelled to Tomorrowland Brasil and Tomorrowland Winter – this year’s stage design will light up Ibiza like never before during a series of breathtaking Wednesday shows. More than just a theme, ‘The Reflection of Love’ embodies unity, radiating the positive energy that defines Tomorrowland, and now finding a new home in Ibiza. Get ready for 17 more extraordinary Wednesdays filled with unforgettable performances at the legendary poolside stage Ibiza’s #1 outdoor club, designed by the creative team behind Tomorrowland, hosted by the legendary brother DJ duo Dimitri Vegas & Like Mike, alongside a line-up of the world’s finest talents and special guests all summer long. Tomorrowland and Dimitri Vegas & Like Mike ​Wednesdays at Ushuaïa Ibiza ​May 14 – September 24, 2025 ​Tickets & info right here. The post Dimitri Vegas & Like Mike Kick off Ushuaia Residency With Beautiful Reflection Of Love Stage appeared first on EDMTunes.

Photo Credit: Chris Brown by Pelpa Time Production / CC by 3.0 Chris Brown was arrested at a hotel in Manchester on suspicion of causing bodily harm to producer Abe Diaw at a London nightclub in 2023. Police arrested Chris Brown on suspicion of causing “grievous bodily harm” to music producer Abe Diaw at the Tape nightclub in London back in February 2023. Brown was arrested just after 2 AM at the Lowry Hotel. The 36-year-old flew into Manchester Airport on a private jet on Wednesday afternoon, likely to begin rehearsals for his tour. The tour is slated to begin its UK leg on June 15 in Manchester. British tabloid The Sun contacted authorities after confirming Brown was in the country, asking if he would be placed under arrest for the 2023 incident. After receiving the tip, detectives travelled to Manchester to place the R&B star under arrest. According to Diaw, Brown attacked him unprovoked at around 3 AM on the night in question. Brown was attending a Dirty Martini club night at the Tape nightclub with his entourage, when Diaw claims Brown broke a bottle over his head and punched him. He said Brown continued attacking him with kicks after he fell to the ground, and he sustained injuries that saw him taken to the hospital to recover. Diaw launched a civil suit against Brown for £12 million ($16 million) in damages for injuries and losses suffered as a result of the attack. Brown remains in custody since his arrest. The investigation into the incident is being led by detectives from the Central West Area Basic Command Unit. That leaves the future of Brown’s upcoming tour—Breezy Bowl XX, a celebration of his 20-year career—uncertain. The tour is scheduled to kick off on June 8 in Amsterdam, before heading to the UK, with dates in Glasgow, Manchester, Cardiff, London, and Birmingham. View the full article

Photo Credit: Taco Bell Taco Bell announces the launch of the Feed the Beat Record Club, bringing vinyl records from Feed the Beat artists to 300 Taco Bell Loyalty Members. On the heels of announcing its Feed the Beat Class of 2025 artists—100 artists across the globe whose content will be featured in Taco Bell content—Taco Bell unveils the launch of its Feed the Beat Record Club. The program provides 300 Loyalty Members with the opportunity to claim a package that includes a vinyl from one of three Feed the Beat artists and more goodies. Featured Feed the Beat artists for the inaugural Record Club drop include Anxious, Magdalena Bay, and Frankie and the Witch Fingers. Packages in the first drop include a vinyl from one of the aforementioned artists, a Feed the Beat vinyl slipmat, a unique insert with artist information, and Feed the Beat stickers. The Record Club launches as a Tuesday Drop in the Taco Bell app, on a first come, first serve basis, next Tuesday, May 20 at 2 PM PST. “Since its start in 2006, Feed the Beat has been Taco Bell’s driving force for artist discovery,” reads Taco Bell’s announcement. “The program has backed over 2,000 artists, feeding them on the road and in the studio, so they can focus on what’s post important to them: their music.” Taco Bell gives Feed the Beat artists the chance to have their music featured in Taco Bell content and provides amplification through Taco Bell’s social presence. Music enthusiasts may have already discovered previous artists to join the program, such as Tanner Adell, who picked up the Breakthrough Feed the Beat Artist Award at Taco Bell’s Live Mas Live event in New York back in March. This year’s Feed the Beat class highlights a wide array of musicians and musical genres, including The Altons, Die Spitz, Tanner Usrey, Tiny Habits, and End It. Feed the Beat Class of 2025 54 Ultra Abby Anderson Aidan Bissett Alexandra Savior ALEXSUCKS Ally Evenson Archetypes Collide Arts Fishing Club The Altons Anella ARIEL The Beaches Been Stellar BEL Caleb Calloway CARLIAN Certainly So CHESCA Clover County Common Sage Courting The Criticals Damaris Bojor Daya Deante Hitchcock Debbii Dawson Die Spitz Dizzy Fae The Droptines End It Evann McIntosh Famous Friend Felly Frost Children Getdown Services Good Neighbours Gouge Away Gridiron half-alive Hannah Bahng hemlocke springs Improvement Movement J Verse Joe P Jojo Lorenzo Juan Wauters judith Julia Wolf Kasey Tyndall King Isis L.S. Dunes Lauren Sanderson Levity Little Image Luke Tyler Shelton Lyn Lapid Magnolia Park Mamalarky Man/Woman/Chainsaw Master Peace Medium Build mmeadows Momma Naked Giants Noah Floersch Pain of Truth People R Ugly PUNCHING BAG Rae Khalil Ray Bull Restraining Order Rocket SAILORR Shallow Alcove Sheer Mag Shuba Sitting on Saturn Skegss South Arcade Spaced Stacey Ryan Stateside Stray View Sub Urban Tanner Usrey Teen Mortgage Teenage Priest Telescreens Tiny Habits TEED Trousdale Um, Jennifer? VALÉ Water From Your Eyes Wavedash Wine Lips Wishy View the full article

Photo Credit: Ian Hutchinson The Federal Trade Commission (FTC) has issued a formal warning to StubHub over the secondary ticket market’s slow rollout of all-in pricing. The FTC’s rule requiring ticket sellers to display the total price of tickets upfront went into effect on May 12. The regulation applies to all ticket sellers, both primary and secondary. Ticketmaster was compliant on the rollout date, while secondary market SeatGeek issued its update on May 9 ahead of the deadline. But StubHub dragged its feet—with the mobile app only—to take advantage of the NFL 2025 schedule. StubHub updated its website to comply with the all-in pricing requirement, but 48 hours after the deadline the mobile app failed to show the total price. The FTC notes that a significant portion of customers purchase tickets for upcoming events on their mobile devices—meaning StubHub was taking advantage of its mobile user base. The FTC highlighted how StubHub’s non-compliance came at a time when the NFL’s 2025 schedule dropped. That always results in a high volume of traffic and sales. By not including all fees upfront, StubHub gained an unfair competitive advantage during one of the busiest ticket-buying periods of the year. Chris Mufarrige, Director of the FTC’s Bureau of Consumer Protection doesn’t buy the excuse that the mobile roll-out took longer. “Companies have had sufficient time to prepare for these changes and update their advertising to ensure the total price of each product or service is appropriately disclosed,” Mufarrige said. “As this letter shows, the Commission will not allow companies to circumvent the rule to gain a competitive advantage.” While the FTC did not issue an immediate penalty for the slow-walked rollout, it did put StubHub on notice that further non-compliance could result in enforcement action—including fines. The FTC also took this opportunity to alert other ticketing platforms that it would be monitoring them to ensure industry-wide adherence to the new transparency rules. Violations of the all-in pricing rule could result in civil penalties of up to $53,088 per violation. View the full article

Anyma has revealed the tracklist of his long-awaited third album, The End Of Genesys. Scheduled for May 30th, the release will wrap a trilogy of albums that started with 2023's Genesys and its predecessor the following year, Genesys II. The album "marks the end of one era and the dawn of Anyma’s next chapter," per a press release. The End Of Genesys features recent singles like "Neverland (From Japan)" and "Hypnotized," the fan-favorite track Anyma released in January alongside Ellie Goulding. The album will also include collaborations with Grimes, Yeat, fknsyd, Sevdaliza, 070 Shake and Empire of the Sun's Luke Steele. Anyma initially revealed the album during the finale of his historic Vegas Sphere residency, by which he became the $2.3 billion venue's first-ever electronic headliner. The Italian techno superstar's immersive shows there effectively redefined the optics of live electronic music concerts, projecting his transhumanist visuals on its record-breaking, 16K LED wraparound screen. You can check out the full tracklist of The End Of Genesys below and pre-save the album here. Anyma - The End Of Genesys Tracklist:LucenteVoices In My HeadHypnotized (feat. Ellie Goulding)Taratata (with Grimes)Neverland (From Japan)Fortuna (feat. Sevdaliza)AtmosphereWork (feat. Yeat)The End Of GenesysLeave A MarkIn My MindEntropy (feat. fknsyd)Angel In The DarkHuman Now (feat. Luke Steele)Joke’s On You (feat. 070 Shake)Follow Anyma:X: x.com/anyma_eva Instagram: instagram.com/anyma TikTok: tiktok.com/@anyma Facebook: facebook.com/anyma.ofc Spotify: tinyurl.com/2p976k79

Photo Credit: Daniel Cañibano Apple Music has introduced a highly anticipated feature—a built-in music tool to make transferring from another digital service provider (DSP) like Spotify much easier. The tool will help users import their libraries and playlists from other music services directly into Apple Music. The only caveat is that the tool is currently in a testing phase and is only available to Apple Music subscribers in Australia and New Zealand. Switching music streaming services is not a painless process, it’s why paid services like SongShift have existed for years. But this tool would take a lot of the pain out of shifting over to Apple Music for users unsatisfied with their current streaming service. Users must be an active Apple Music subscriber and on the latest version of the Apple Music app on their iPhone, iPad, or Android device to use the feature. The process of transferring music is pretty straight forward. How to Transfer Music to Apple Music On an iOS device, tap the Settings > Apps > Music. On an Android device, open the app and tap Settings > ‘Transfer Music from Other Music Services.’ On the web, sign in at music.apple.com and click your profile, then choose ‘Transfer Music.’ After selecting the source music service and signing in, users can pick which songs, albums, and playlists to transfer. Apple Music then matches the selections with its own catalog and adds them to a user’s library. This new tool supports transferring content you’ve saved or playlists you’ve personally created. Playlists generated by the music service itself are not eligible for the transfer—so no re-creating Rap Caviar on Apple Music. Apple says if it can’t find an exact match for a particular song or album, it will suggest similar alternatives. Users have up to 30 days to review and approve these alternate versions before the transfer is finalized. Currently there’s no word on when the feature will be expanded to other countries, but anyone in AUS & NZ looking to make the switch now has an easier time doing so. This tool arrives at a time when Spotify’s premium subscriber growth appears to be stalling in the United States. View the full article

The family of labels has agreed to move elsewhere to keep their promised dates. With the uncertainty surrounding the re-opening of the iconic Brooklyn Mirage, all acts who had scheduled shows there these weekends have had to go down one of the following routes: postponing, moving out to accommodate their shows on the same date, or cancelling. The Anjuna family of labels has chosen the second. Anjunabeats had been posting about this uncertainty for over a week already, aiming to be transparent with their crowd and informing them that they were going to follow their planned dates in the Big Apple for their Anjuna25 NYC takeover, even if it meant having to look for and book other places in case Brooklyn Mirage wasn’t ready yet — which was the worst-case scenario. And since it happened, Anjuna25 NYC will be held this Saturday, but in the following venues: Anjunadeep at The Rooftop at Pier 17 from 3 pm – 10 pm, Anjunabeats at The Great Hall at Avant Gardner from 7 pm – 4:30 am, and an Anjunadeep Afterparty at Brooklyn Monarch from 11 pm – 5 am. Additionally, a Pop-Up instance will occur on Friday at Fora Travel, with a variety of chill DJ sets and meet-and-greets. Ticket holders from the Brooklyn Mirage show are set to receive a refund of their purchases, and next steps on how to attend the shows this weekend. Below is Anjunabeats’ official statement on the situation: The post Anjunabeats Relocates NYC Takeover As Brooklyn Mirage Opening Delayed Again appeared first on EDMTunes.

Some might call it swimming against the current. Toolroom Records, however, would call it knowing what actually makes us all dance. In a digital age where streaming all too often dominates the conversation, Mark Knight's storied record label has defiantly proven that culture still matters most. The independent electronic music powerhouse recently claimed Beatport's prestigious "Best Selling Label of the Year" award for the second consecutive year, reinforcing its position as a juggernaut in the DJing ecosystem. With Beatport's massive footprint of 36 million users and nearly half a million DJ customers, the achievement represents the true verdict of the global dancefloor. The platform's sales-based metrics offer an unfiltered glimpse into what's actually moving bodies in clubs worldwide. There's a sad "stream or die" mentality in 2025, and it can corrode the mentalities of even the most talented artists. But Toolroom COO Miles Shackleton knows that true longevity in dance music is measured on dancefloor impact, not data dashboards. IMS Ibiza.c/o Press Two decades since launching, the label continues to demonstrate remarkable adaptability in an industry that transforms as quickly as a TikTok DJ's dignity. As they focus on mashing genres into new microgenres no one asked for, Shackleton has stayed hyper-aware of dancefloor trends through superior A&R instincts and marketing savvy. We caught up with him to highlight the secret sauce behind Toolroom's industry-leading A&R and marketing strategies. Read on to discover Shackleton's insights in his own words. 1. Our A&R strategy: sign with your ears, not for the algorithmAfter lockdown, we took a long look in the mirror. The world had changed, and so had the dance music industry. It was time to realign with the reason Toolroom existed in the first place: to move people, both physically and emotionally, on the dancefloor. That meant cutting the noise, tuning back into the clubs, focusing on signing music that truly works in the room. We called it “signing with our ears, not for the algorithm.” We focused on music that carried cultural weight, music that DJs would reach for instinctively. That shift in thinking led directly to our biggest Beatport success stories of the past two years. Essel’s "Lennon," which emerged from Toolroom Academy, became a clubland essential long before it cracked streaming platforms. And this year, "Dance to the Music" by Tony Romera and Low Steppa followed the same arc: club first, algorithm later. 2. Marketing that embeds the record in the cultureIn 2025, you don’t promote a record—you embed it. That means ditching the one-size-fits-all marketing assets and starting with what matters: real club energy, captured and shared by real people. We’ve rebuilt our marketing playbook around user-generated content, authentic DJ reactions and moments that show our music in its natural habitat: the club. Instead of crafting a polished visual identity in isolation, we seed the records into the scene and let the buzz grow organically. From dancefloor clips in Tulum to iPhone footage from London basements, we work to capture and circulate the moments when a Toolroom track lands. That’s the marketing strategy: insert the record into the culture and let it breathe. We’ve also gone harder on DJ and tastemaker promo than ever before. We’re obsessive about where our tracks are landing and who’s playing them. It’s not about hype; it’s about creating records that DJs want in their sets. That’s the real win. 3. Long-term artist development is the backboneOur core artist roster isn’t just a roster—it’s a squad. Essel, Crusy, Martin Ikin, Tony Romera, Cassim… these are artists we’ve grown with, believed in and invested in over the long haul. Their individual sounds and stories may differ, but what unites them is trust. They trust us to amplify their vision, and we trust them to represent the Toolroom ethos on the world stage. We don’t dip in and out of trends. We build careers. And that long-term view pays off: every chart-topper and Beatport #1 we’ve had is part of a bigger arc. These aren’t flash-in-the-pan moments; they’re the result of consistent work and mutual belief between label and artist. This level of trust creates freedom—freedom to experiment, evolve and try new ideas. It’s why we’re proud to say some of our biggest hits have come from artists who’ve been with us for years. They’re not just part of our label. They are the label. 4. Serving the DJs—and the producersWe’ve always had a deep respect for the DJs and producers who make this culture move. That’s why we spend so much time listening, engaging and responding to their needs. Whether it’s through Toolroom Academy, direct A&R sessions or global conferences, we’re constantly in conversation with our audience—not just broadcasting to them. We know a big part of our fanbase are creators themselves. They’re not just passively listening; they’re playing in clubs, producing their own tracks, and looking for their own breakthroughs. We want to support that journey. That’s why we’ve invested so heavily in education, mentorship and access. When we say “Toolroom Family,” we mean it. This direct relationship with DJs and producers is a huge part of why our records sell on Beatport. We're not just making music for the scene—we’re in it, and constantly learning from it. That dialogue keeps our catalogue sharp, relevant and useful for the people who need it most. 5. A team that lives and breathes the cultureFinally, none of this happens without the people behind the scenes. Our team has been together for years, many of them for over a decade. They’re not just great at what they do; they’re invested. They live it. They DJ, they produce, they tour, they teach and they bring that understanding into every release we put out. There’s a deep sense of purpose in the Toolroom offices. We’re not chasing short-term wins; we’re building something lasting. Everyone here understands the mission: to serve club culture with authenticity, creativity and care. That energy radiates outward and artists feel it, fans feel it, and DJs see it in the way we show up. Our Beatport success isn’t just about the music. It’s about the people. A tight, dedicated crew working together over years to support artists, honor the scene and push this culture forward. That’s the real reason we’re #1. Follow Toolroom Records:X: x.com/toolroomrecords Instagram: instagram.com/toolroomrecords TikTok: tiktok.com/@toolroomrecords Facebook: facebook.com/toolroomrecords Spotify: tinyurl.com/52d8ccxk

Spotify is enhancing its AI-powered DJ feature, which originally debuted in 2023, by enabling it to take requests via voice commands from users. This update allows listeners to interact more directly with the DJ. Initially, the AI DJ curated playlists based on a user’s listening habits, complete with an AI-generated voice guiding the experience. Now, users can speak to the DJ and make requests such as ‘play some unfamiliar indie music’ or ‘find electronic music suitable for a run.’ According to Spotify, this new functionality aims to provide users with greater influence over the automated DJ. It allows for requests that are more contextual, focusing on a mood or specific activity rather than just a particular artist or song. The DJ’s selections will continue to be informed by the user’s listening history, ensuring the music generally aligns with their preferences. To use the voice request feature, users need to press and hold the DJ button located in the bottom right corner of the Spotify app. After speaking their request and releasing the button, the DJ is expected to respond with appropriate music. Users can change the music by repeating this process or by simply pressing the ‘next’ button to skip the current song. More details about Spotify’s DJ feature can be found on the company’s official blog. The post Spotify’s AI DJ Now Takes Your Voice Requests appeared first on EDMTunes.