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Abbey Road Studios, Adidas, and Co-op Live have opened the doors to a first-of-its-kind recording studio within Manchester’s Co-op Live arena. Situated inside the UK’s largest music arena, the Adidas Originals Recording Studio is designed as a “vibrant hub for emerging musical talent and young creative communities”. The space has been engineered by Abbey Road’s own team of technicians and sound engineers, blending decades of audio expertise with the latest workflows and cutting-edge gear. READ MORE: “A lot of artists need to understand that it’s part of music production”: Myd on overcoming the fear of a blank DAW Slated to open to musicians this August, the Manchester studio will support up-and-coming talent through a joint effort with several existing creative programmes. These include Abbey Road’s Amplify and Equalise initiatives – aimed at inspiring the next generation of artists, producers, and creatives while promoting greater diversity in music – as well as Factory International’s Factory Sounds programme, which provides financial support and mentorship to underrepresented groups within the Greater Manchester area. With on-site access to Abbey Road’s engineers, artists and creative communities will be supported by some of the industry’s most experienced recording and mixing experts – bringing decades of learning and a deep commitment to audio excellence to every session. Liam Fray, frontman of Manchester-based indie rock band Courteeners, opened the space with a live performance; he also praises the studio for providing opportunities for musicians who may be geographically disadvantaged. “Opening up a space like this to get people through the door – I’m all for it,” says Fray. “There are obstacles to get into the industry, finance is one of those barriers, but geography is also one. To have something of this level up here that is a focal point in Manchester opens up the industry and takes it to a wider audience. There will be geniuses out there that we don’t yet know about.” Sally Davies, Managing Director of Abbey Road Studios adds, “The launch of the adidas Originals Recording Studio is a world-first collaboration creating a new, Abbey Road-engineered recording space beyond the walls of our home in London.” “We are enormously proud to partner with adidas, Co-op Live and Factory International to create a new platform for talent in Manchester and the North-West, expanding our mission to enable and empower the global community of music makers and creators, and shape the future of music making.” The post New recording studio by Abbey Road, Adidas and Co-op offers “decades of audio expertise and cutting-edge gear” appeared first on MusicTech. View the full article

Grand Alliance Music is proud to announce the upcoming release of “Cheese,” a dynamic collaboration between acclaimed electronic producers BUTTONZ and Garlic Party, dropping worldwide on Friday, May 16th, 2025. This visceral track combines glitch-hop and hip-hop influences with funk-infused bass music, creating a sound that’s simultaneously playful and meticulously produced. The cleverly titled “Cheese” references a term for money, delivering both sonic punch and tongue-in-cheek commentary while showcasing the producers’ exceptional technical abilities and creative synergy. “This is one of the most fun I’ve had on a song in recent memory,” says BUTTONZ about the collaboration. “Working with people like Garlic Party represents what a collab really should be: fun, laid back and receptiveness in all the ways.”. “Keen, keen, keen”, Garlic Party reiterated without hesitation.. The single demonstrates both artists’ signature production styles while venturing into new sonic territory. Listeners can expect hard-hitting bass lines, intricate glitch elements, and innovative sound design wrapped in an infectiously funky package. The track balances technical prowess with accessibility, appealing to dedicated electronic music enthusiasts and new listeners alike. While this marks their first official release together, both artists have previously released music on Grand Alliance Music, where their creative relationship began. This collaboration exemplifies the label’s commitment to fostering artistic connections across geographical boundaries and pushing the envelope of contemporary electronic music. The release of “Cheese” continues Grand Alliance Music’s tradition of showcasing boundary-pushing electronic music from diverse artists around the globe. The label has built a reputation for identifying and nurturing unique talent within the bass music community and beyond. “Cheese” will be available on all major streaming platforms on May 16th, 2025, including Spotify, Apple Music, SoundCloud, and Bandcamp. The track can also be accessed via www.grandalliancemusic.com/releases, where fans can find exclusive content and merchandise related to the release. The post PREMIERE – BUTTONZ and Garlic Party Join Forces on Bass-Heavy Single ‘Cheese’ appeared first on EDMNOMAD. View the full article

Denver's Civic Center Park hit a new high this past weekend as Dom Dolla drew the largest crowd in the venue's history May 9-10, the DJ announced on social media. The open-air shows marked a major moment not just for the Australian house music superstar, but for Denver's volcanic reputation as an electronic music hotspot. The park, which has hosted notable acts like Lane 8, Zeds Dead and even a Boiler Room takeover, has seen its fair share of dance shows, but nothing quite like this. Fans packed into the downtown space, drawn in by a stacked lineup that included Cassian, who recently performed at the record-breaking Las Vegas Sphere as part of Anyma's groundbreaking "End of Genesys" residency; and Girl Math, the formidable duo of VNSSA and Nala. Across both nights, Dolla leaned into the hedonistic house sound at the heart of his rapid ascent, mixing both recent hits and deeper cuts. Taking place during sunset, his set transitioned smoothly from day to night with production elements that highlighted both the venue’s architecture and the atmospheric pull of his music. Check out footage from the record-setting performance below. View the original article to see embedded media. Follow Dom Dolla:X: x.com/domdolla Instagram: Instagram.com/domdolla TikTok: tiktok.com/@domdolla Facebook: facebook.com/domdollamusic Spotify: spoti.fi/3g2cuTm

A live performance from Yuja Wang, who’s signed on as an artistic advisor at the newly launched Deutsche Grammophon China. Photo Credit: Quincena Musical Universal Music Group’s aggressive China expansion isn’t slowing down, as the major has officially brought Deutsche Grammophon and Blue Note to the nation of 1.4 billion. Universal Music Greater China today announced (and hosted a launch event for) Deutsche Grammophon China (DGC) as well as Blue Note Records China (BNRC). Both imprints will zero in “on identifying and supporting rising Chinese talent,” including by helping their releases find fans on the global stage. More immediately, the classical-focused DGC has tapped pianists Lang Lang and Yuja Wang, besides Shanghai Symphony Orchestra music director Long Yu, to serve as “artistic advisors.” All three of those professionals are “long-time” Deutsche Grammophon artists, Universal Music pointed out. On the release front, Deutsche Grammophon China has teed up its first album, Jian Wang’s Bach: The Cello Suites, to debut on May 23rd. Longer term, DGC has scored “a special project with the Shanghai Symphony Orchestra,” which will commemorate its 150th anniversary in 2029 by recording “the complete Shostakovich Symphonies.” “The Yellow Label has been my recording home for well over a decade,” added Yuja Wang, “and I am delighted to see it engage with young artists in my home country. I am thrilled to support this initiative as Artistic Advisor and to help identify and grow future talent across the full spectrum of classical music.” Shifting to Blue Note Records China, the label underscored an objective of “helping bring Chinese jazz expression to broader international audiences.” Regarding the nature of that jazz expression – or at least BNRC’s view thereof – Innout has been confirmed as the first signing. Consisting of guitarist Xiao Jun and drummer An Yu, that “avant-garde jazz duo” is said to integrate “modern jazz, experimental electronics, and free-form composition” into its work. “Xiao Jun and An Yu are two of the most talented and visionary musicians I’ve ever met,” touted Blue Note president Don Was. “Their music is going to ‘blow people’s minds’ all over the world. It’s a thrill and an honor to be able to launch Blue Note Records China with their music.” Lastly, the multifaceted announcement also saw BNRC reveal a partnership with Shanghai-based jazz label JZ Music. As described by Universal Music, that tie-up “will focus on live performance opportunities – including artist touring, music festivals, and live house events.” In addition to underscoring Universal Music’s commitment to building out in China – where Warner Music “lost market share” in Q1 2025 – today’s announcements are seemingly indicative of bigger-picture plans in classical and jazz. Without diving too far into this subject, it’s safe to say that DGC will factor into Deutsche Grammophon’s Stage+ classical streaming service, which has a well-entrenched competitor in Apple Music Classical. But classical expansions aren’t underway across the industry; last month delivered rumblings of possible layoffs at Sony Classical. View the full article

Celebrating the birthday of Brian Eno, acclaimed electronic music producer Lawrence Lui is paying homage to the godfather of ambient music with a cover of 1992's "Fractal Zoom." Lui dials up the dissonance on his rework of the track, which appeared on Eno's 11th studio album, Nerve Net. It's out now to align with both AAPI Heritage Month and Eno's 77th trip around the sun. Awash in atmospheric density, Lui's production somehow feels both spacious and claustrophobic as ghostly samples hover atop layers of grainy textures. Traces of Japanese ambient icon Hiroshi Yoshimura's environmental precision intermingle with the distorted melancholia of Burial, creating something that honors the track's origins while establishing new territory. The release serves as a preview of Lui's upcoming album, according to a press release. The cover art by his teenage son adds another layer of generational dialogue, channeling Peter Saville's iconic Factory Records aesthetic. You can listen to Lui's cover of "Fractal Zoom" below and find it on streaming platforms here. Follow Lawrence Lui:X: x.com/lawrencelui Instagram: instagram.com/lawrencelui Spotify: tinyurl.com/4euv7dfp

From Ibiza to Colorado, John Summit’s rise continues with a 50,000-capacity stadium solo show and the release of his long-awaited remix of ‘Silence’. Fifty thousand ravers could take over Folsom Field in Boulder on October 18, 2025, marking the biggest solo headline show of John Summit’s career. You could call it the year of John Summit. But that would be an understatement. From selling out Madison Square Garden to packing BMO Stadium and Kia Forum, the Chicago-born producer keeps breaking limits. Now, Boulder becomes his next monumental chapter. While fans rush to grab tickets as general sales open, Summit fuels the hype with something even bigger. Finally, his long-awaited remix of Delerium’s ‘Silence’ featuring Sarah McLachlan is here. Out now on Tomorrowland Music, the remix takes one of dance music’s most sacred anthems and injects it with Summit’s signature energy. The Soundtrack of a New Era The remix first turned heads at his sold-out MSG debut. Thousands stood in awe as Sarah McLachlan’s ethereal voice echoed through the arena. John Summit’s version honors the trance classic while pulling it straight into 2025’s tech-driven underground. The track comes fused with pounding basslines and hypnotic rhythms. Already a staple in his recent sets, the remix feels like the anthem for a year that’s seen him play eight shows in three days through his Experts Only brand, headline Ultra Miami with Everything Always, and make his Vegas Sphere debut. “As a long-time raver and trance fan, it’s an absolute honor to remix ‘Silence’,” John Summit shared. “I made this as a special edit for my MSG show, and seeing the reaction was unreal. It’s hard to give justice to such a classic, but I think Sarah’s powerful vocals and my modern tech house spin bring it to life in this era.” he concludes. From Arena Shows to Club Culture Summit isn’t just scaling stadiums. The globally acclaimed DJ returns to LIV Beach on Sunday, May 18, during EDC week. He brings primetime energy to a massive daytime session under the Las Vegas sun. The celebration continues the next night, Monday, May 19, when Summit takes over LIV Las Vegas nightclub for one final blowout. Over to Spain, Hï Ibiza opens its doors for his first headline residency. Set for June 20 and June 27, the two-night takeover will see John Summit bring Experts Only to the world’s number one club. Green Velvet, Kevin de Vries, and underground talents round out the lineup, showing his ongoing mission to support every level of the dance scene. It’s a return to where it all started—the club—but with a global spotlight on him now. John Summit’s Biggest Solo Show Yet All of this momentum rides on the back of his debut album ‘Comfort in Chaos’, which charted at #2 on Billboard’s Top Dance/Electronic Albums and #39 on the Billboard 200. From Australia’s arenas to Europe’s festival stages, Summit has turned his personal project into a global movement. The road ahead looks even bigger. This summer, he steps onto the Tomorrowland Mainstage, officially placing himself among dance music’s elite. Whether it’s 50,000 people in Boulder or intimate nights in Ibiza, John Summit’s dominance is impossible to ignore. The ‘Silence’ remix is just the soundtrack to a career that shows no signs of slowing down. Tickets to John Summit’s solo show at Folsom Field can be purchased here. The post John Summit Doubles Down: His Biggest Solo Show Is on Sale Now as ‘Silence’ Remix Drops appeared first on EDMNOMAD. View the full article

As nearly half a million ravers prepare to descend on the Las Vegas Motor Speedway for EDC, the festival's organizers at Insomniac are making sure its signature sounds and colors travel far beyond Nevada’s borders. North America's largest electronic music festival is returning to Las Vegas from May 16-18, and it's delivering an expansive livestream offering across Insomniac TV and YouTube. The stream begins each day at 6:45pm PT, capturing the full play-by-play of EDC's neon-drenched dreamscape. For its 2025 edition, Insomniac will broadcast live from five of the festival's celebrated stages: kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN and bassPOD. Each will stream on its own dedicated feed, allowing remote viewers to curate their own festival experience. The free livestream is available here, with simultaneous coverage on Insomniac’s YouTube channel. View the original article to see embedded media.

Arturia has released the MicroLab MK3, a small but seemingly powerful MIDI controller that could fit nicely in your bedroom studio and your backpack. Plus, with licenses for Ableton Live Lite, Analog Lab Intro, and a handful of nifty features, the $60 asking price seems pretty tantalising. The third model in Arturia’s MicroLab controller series, the MK3 sports a compact, minimalist design with plug-and-play USB connectivity. You’ll be able to hook this up and get playing within seconds, whether you’re in the studio or on the move with your laptop. The wooden panels on the side are a nice touch, too. You’ll have two octaves to play across on the MicroLab MK3, with velocity-sensitive mini-keys, which Arturia says are “the best quality slim keys on the market at this price point.” There are also two touch strips for pitch bend and modulation (or whatever you want to map them to) and a sustain pedal input on the back. In addition, the Chord Mode lets you play multiple notes of your choice with one finger — “perfect for effortless songwriting”, says Arturia. If you’re new to music production software, the bundles that come with the MicroLab MK3 will be particularly useful. Ableton Live Lite — an introductory version of one of the world’s most popular Digital Audio Workstations — is included with your purchase. Here, you can record, perform and produce entire tracks using the included sounds and editing functions. Plus, for even more playable instruments, the included Analog Lab Intro package with the MicroLab MK3 gives you hundreds of sounds from Arturia’s V Collection software. Think vintage synthesizers, modelled pianos, lush pads and heavy bass sounds. You can pick up the MicroLab MK3 in black or white now for €60/$60 from Arturia. Arturia has been on a run lately, releasing V Collection 11 and V Collection Intro, and receiving a high score in our review of its flagship software synth, Pigments 6. The French brand also just announced a partnership with Native Instruments, which allows KeyLab and MiniLab owners to get more hands-on with NKS plugins. Find the best deals for the Arturia MicroLab MK3 at Thomann, Sweetwater, Zzounds and Reverb. The post At $60, Arturia’s MicroLab MK3 MIDI controller could be perfect for bedroom producers appeared first on MusicTech. View the full article

*Featured Cover Photo Credit: Centenial Yards Centennial Yards Company has teamed up with Live Nation to create a new music and entertainment venue in Downtown Atlanta. According to an article from Atlanta News First, this venue will be part of a vibrant sports and entertainment area next to State Farm Arena and Mercedes-Benz Stadium. As of this writing, this exciting, upcoming venue is under construction. In summary, this partnership is a big move for Centennial Yards, this venue is a 50-acre project worth over $5 billion. Additionally, the venue aims to transform an underused part of the city into a lively space for sports, culture, and shopping. Furthermore, the venue will hold 5,300 people and add to the existing entertainment options like the Tabernacle and Fox Theatre. The new venue in Atlanta will feature bountiful ways for everyone to fulfill their entertainment needs It will feature a variety of performances, focusing on fan experience with great sound, clear views, and tasty food options. Construction is already underway, with plans for other spots like Cosm, a large entertainment venue; Hotel Phoenix; and The Mitchell, a new apartment building, all expected to open later this year. Centennial Yards will have over 8 million square feet for homes, shops, hotels, and entertainment. The area known as Centennial Yards South is open now, offering lofts for students and young professionals, along with events hosted by Wild Leap Brewery. Before shows, fans can enjoy food trucks, live music, and activities at the Tailgating Experience on Steele Bridge. Overall, Centennial Yards will definitely revitalize Downtown Atlanta. Brian McGowan, President of Centennial Yards Company, describes how the new venue will enhance the revitalization of the city’s downtown “Centennial Yards is poised to be the epicenter of sports and entertainment for the southeastern United States where people of all ages can enjoy concerts, sporting events, bars, restaurants, and retail stores—all in one vibrant mixed-use district. Partnering with Live Nation brings us one step closer to creating a thriving hub where unforgettable experiences happen. This new Centennial Yards entertainment venue is exactly what our region needs and adds a key element to what has already been a catalyst for the revitalization of Downtown Atlanta”. Jordan Zachary, President of Global Venues at Live Nation, shares thoughts about how the venue continues to strenghtens Atlanta’s position as a cultural and economic powerhouse “Atlanta has long been a cornerstone of American music and live entertainment, and we’re thrilled to help write its next chapter downtown with this new venue at Centennial Yards. This venue fills a key gap in the local entertainment landscape and we believe it will further strengthen the city’s position as a cultural and economic powerhouse. We’re proud to partner with the Centennial Yards, CIM Group and the Hawks organizations to deliver a destination that draws fans from across the region and contributes to the growth of Atlanta’s vibrant music scene”. The post Live Nation is Bringing a Music Venue to a New Downtown Atlanta Development appeared first on EDMTunes.

To close out his panel on video game composition for the debut edition of the London Soundtrack Festival, Steve Schnur, President of Music for Electronic Arts, asked the composers on stage the following question: “What composers have influenced you?” Sitting on the panel were lauded game composers such as Ludvig Forssell (Death Stranding) and Stephen Barton (Star Wars Jedi: Survivor), the latter of whom organised the video game programming for the festival. READ MORE: Behind the sound of Star Wars Outlaws: a polarising game with a Grammy-nominated soundtrack After everyone had their turn, naming musical greats from Jerry Goldsmith to Tim Hecker to Ryuichi Sakamoto, Schnur closed by saying: “The people who are about to study composition, their answers will be the people on this stage.” Today, video game music is held in the same esteem as film scores. It’s unsurprising, then, that the London Soundtrack Festival hosted masterclasses with composers such as Gordy Haab, plus performances of music from Baldur’s Gate 3, Battlefield 2042, and Metal Gear Solid, among others. “[The festival] was in memory of a composer called Christopher Gunning,” Barton says of the programming. “He did TV, he wrote symphonies, he did concert music, he did film — he did everything. He would have undoubtedly done video games if they’d been a thing sooner. Honouring games seemed like a natural thing to do.” From AAA titles within an iconic franchise such as Star Wars to auteur-driven indie games such as Death Stranding, the music is evolving with the format. But one thing remains true: game music is more grounded in technology than music for any other form of visual media. “On a film, you deliver your stems, and it goes into Pro Tools at some point to be mixed. It’s no different from our music mix process. Just an extension with dialogue and effects. With games, we’re dealing with a technical architecture and sometimes writing for that architecture,” Barton says. Within that technical architecture, the central processing unit of the game system or personal computer delivers the music in real time along with the sound effects, graphics, dialogue, enemies, environments, and everything else seen and heard. The music is woven throughout that library of coding that’s like a Jenga tower; if something is out of place when the audio team implements the music into the game engine, the entire tower could topple over. “Most of the time, the doesn’t want the composer anywhere near the build because we’re pretty good at breaking it,” Barton says with a laugh, going on to mention that certain game companies require 16-bit audio for every piece of music he writes. “Game engines are so fragile. I’m in 24-bit, 48 kHz all the time, as is everybody. But that game engine is coded in such a way that it always only puts in 16-bit audio files. If they accidentally drag a 24-bit file into the structure, it will just crash the game, and it’s a major AAA game.” Composers are also constantly working around sound design in the games. Barton composed for EA’s Titanfall series, in which the player pilots a titan, a giant robot. At these moments, the titan’s massive weapons and mechanical motions swallow the bulk of the low and mid-range. “Everything [Titanfall] does is loud, so quite quickly I realised tons and tons of bass isn’t going to work here. You’ve only got so much headroom. The sound effects are certainly going to be the thing that takes over. One thing is going to have to win,” Barton says, adding that the HDR mixing function in games will lower the volume on everything else when these big sounds are running. “I found it was better to use higher frequency stuff and find my moments to use low bass-end sounds and then get out of the way, because I’m not being turned down.” When Ludvig Forssell served as composer and audio director for Death Stranding, the open-world action game from Hideo Kojima’s Kojima Productions, he made those moments himself because he directed both the sound design and music. “Having the power to influence in that way as a composer is very unusual and very privileged,” Forssell says. From this privileged position, he spent years “throwing shit at the wall to see what sticks,” as he developed the game’s overall sonic aesthetic. Games have far more room for ideas to stick because players can spend hundreds or even thousands of hours on one game. Star Wars Jedi: Survivor has six hours of music. The composer and the technical team work together on how that music exists within the gameplay. “That’s often the challenge. Balancing musicality versus something that’s actually going to make sense,” Barton says. “A lot of it is trying to think about why we want to start music or stop music; the way the transitions work and how you go from one musical state to another.” The in-game music in Death Stranding mostly starts and stops depending on combat. As with Kojima’s famous franchise, Metal Gear Solid, the combat is at the player’s discretion. They can choose to be stealthy, face the enemy head-on, or avoid combat altogether. To allow the music to naturally shift between these states, Forssell focused a great deal on layering three primary modes: caution, evasion, and alert. Caution means the enemy is suspicious that you are there. Evasion means they saw you, but you’ve escaped their immediate sight. Alert means they see you and they are engaging with you. Then, each of these states has multiple layers dependent on factors like the number of enemies and the physical distance from enemies. As the danger increases and decreases, more layers fade in and out. This is especially crucial for stealth when players need to hear enemies to avoid being seen. “I provide the music editors and [implementors] with as much material as I can,” Forssell says. “So I write very, very densely. If we put stuff in that’s supposed to be for the mid-caution tension layer, and it doesn’t feel like it’s intense enough, or it’s too intense, there are always small layers that we can add or take away to mitigate that. We do a lot of balancing after production on the music is done and it’s been implemented to make sure that those different layers of tension are adequately presented to the player.” Star Wars Jedi: Survivor also allows the player to explore the various planets they visit as the protagonist, Cal Kestis. Barton and his co-composer Gordy Haab wrote exploratory music, but they also use music to serve the narrative by creating suspenseful loops as a boss fight approaches or inserting melodies to inform the player they’re going the right way towards their current objective. By LucasFilm’s directive, the score captures a similar aesthetic that John Williams immortalised in Star Wars. Barton recorded the score at Abbey Road as well, which is where Williams recorded every Star Wars score from The Empire Strikes Back moving forward. But Barton wanted to capture that spirit without biting those iconic melodies. In fact, he only wrote with “Binary Sunset,” also commonly known as the “Force Theme,” twice in the whole game. “We don’t need the music to perpetually remind you you’re playing a Star Wars game,” Barton says. “Let’s not make the music the wallpaper in a kid’s bedroom.” Kids have been playing video games in their bedrooms for decades, but only the most recent generation has been exposed to music on par with classic films. Today, one young gamer might just grow up to be one of the most prolific composers of their time. Read more music production features. The post “Don’t turn the music into the wallpaper in a kid’s bedroom”: Two video game soundtrackers on crafting music that players actually hear appeared first on MusicTech. View the full article

Credit: Distinctive Promo We are Distinctive Promo. Distinctive Promo was created because new music was not properly being discovered. Independent artists and record labels had access to get music released on DSP’s, but they didn’t easily have access to tastemakers that could support these new releases such as DJs, radio programmers, curators and early adopters. We believe that getting music to the right people at the right time still matters, now more than ever. The following was created in collaboration with Melody Rights. So, how do you cut through the noise to get a new music release heard with an overwhelming number of new releases daily? The answer is Distinctive Promo. Distinctive Promo has integrated a more strategic approach. We focus on directly reaching industry professionals who can make a difference. Our service cuts through the noise and puts new releases directly in front of a global network of vetted tastemakers who are in positions to make a difference. They are the ones who start the buzz. Building and leveraging a network of key relationships in the music industry is a valuable asset, and Distinctive Promo is well-aligned with this approach. By focusing on an influencer network of genuine connections, independent artists and record labels can increase their chances of getting their music heard in a crowded market. Here’s how having direct relationships with influential club and radio DJs, radio stations, playlist curators, music blogs, industry tastemakers and leaders in the music industry can benefit creators: Credibility And Trust: Distinctive Promo’s relationships with influential figures in the music industry lends credibility to our client’s releases. Releases that come through Distinctive Promo are more likely to be reviewed and programmed, as well as added to playlists, because they came through a creditable source. Access To Targeted Audiences: Distinctive Promo’s key relationships provide access to engaged audiences with followers that are more likely to appreciate new music releases. DJ’s, playlist curators and tastemakers have followers who trust their judgment, making them extremely valuable channels for promotion. Strategic Analytics And Feedback: Distinctive Promo uses technology to streamline the discovery process and provide analytics and feedback to our clients. One noteworthy statistic to mention is the above average “open rate” for each music promotion delivered. The higher open rate for Distinctive Promo indicates a strong level of user engagement and interest among our vetted users. Additionally, the Distinctive Promo “click rate” is also well above industry standards. Data is important to our business model. Our model is built on relationships and experience that we have developed over decades. We work closely with creators and their teams to make sure the music reaches decision-makers who care about new music. In an industry as dynamic and competitive as music, we are a team with extensive backgrounds leading a promotion service that makes a significant difference for music discovery. Behind Distinctive Promo is our executive team with over a combined 60 years in the music industry. Our team leadership is comprised of forward-thinking music executives who have been responsible with everything from A&R, Studio Production, Artist Management, Marketing and Promotion. What makes us different is simple: We understand what tastemakers want to hear and we’ve built trust by consistently delivering it to them. That trust is what makes our approach work. It’s also why our analytics and feedback are at the forefront with real and actionable data. We are proud of the role we play in helping artists grow. The industry is changing fast, and it’s easy to feel lost in the noise. Our job is to help you cut through that noise and make sure your music gets in the right ears. Learn more at Distinctive Promo. View the full article

House music icon and Grammy-nominated producer Todd Terry is making history in 2025 with the announcement of his first-ever solo Ibiza residency; launching under his Freeze Project at the world-renowned Eden Ibiza. Running every Wednesday from June 25 to September 17, this landmark residency marks a new chapter in both Todd’s legacy and the island’s house music story. The residency will feature a curated lineup of artists who have each left their own indelible mark on the dancefloor. From Mark Knight and Kevin Saunderson to Julie McKnight, Majestic, and Fat Tony, the line up balances pioneering talent with enduring influence that defines House music at its best; stripped-back, raw and built for the floor. Todd Terry will host a weekly pre-party at Itaca Ibiza from 9pm, setting the tone before the main event at Eden. On his residency, Todd Terry Comments: “We’re going to take you back to the funk and soul of House, and we need that! More music, more variety, and better than anyone else. True House Music fans, you need to come check us out!” A mainstay of Ibiza’s club culture since 1999, Eden is no stranger to driving Ibiza’s musical evolution. With a brand new, fully-refurbished back room, the club is primed for its most ambitious summer yet. Todd Terry’s Freeze residency leads the charge this June blending international appeal with deep-rooted House history. From Brooklyn beginnings to worldwide acclaim, Todd Terry’s impact on Dance music is undisputed. Globally known for chart-topping hits and iconic remixes, with classics like “Keep On Jumpin” and “A Day in the Life”, plus remixes for Björk, Jungle Brothers, Everything But The Girl and countless others. Todd has continued to shape the direction of dance music for over three decades. This marks an important cornerstone in his longstanding island legacy, bringing his own brand to the forefront and leading a season of cutting edge and classic House music at one of Ibiza’s favourite venues. Phase 1 Lineup Mark Knight | Kevin Saunderson | Majestic | Ferreck Dawn | Beyond Chicago | Julie McKnight | Barbara Tucker | Angelo Ferreri | Janika Tenn | Martin Ikin | Fat Tony | Doctor Feelgood | Lovely Laura & Ben Santiago | Junior Sanchez | Illyus Barrientos | Lee Grant aka MC Gee | Steve Taylor | Richard Earnshaw Tickets Now Available: https://www.edenibiza.com/toddterry/ Find Out More & Follow Todd Terry Instagram | Spotify | Tiktok | Web Eden Ibiza Instagram | Web The post House Legend Todd Terry Announces First-Ever Solo Ibiza Residency at Eden appeared first on Electric Mode.

EDC Colombia marks a major milestone for Insomniac’s global expansion, Electric Daisy Carnival (EDC), is coming to Medellín, Colombia in October 2026. The electronic music festival will take over Unidad Deportiva Atanasio Girardot. This notorious stadium houses the world famous football team, Atlético Nacional. Produced in partnership with Páramo Presenta, Insomniac aims to bring EDC’s unique blend of music, art, and community to one of South America’s most vibrant cities. A New Chapter for EDC and Medellín music scene EDC Colombia promises to be a groundbreaking event, bringing their massive lineup of electronic music’s biggest stars to Medellín. The festival will feature EDC stage designs, large-scale art installations, carnival rides, and local cultural elements. All these elements will reflect the heart and soul of the city. This move marks the beginning of EDC’s and Medellín music scene’s next chapter, with Insomniac’s insane production and commitment to connecting with the local communities. Insomniac Founder and CEO Pasquale Rotella emphasized the importance of working with a local partner who shares their values. Also, he emphasized that Páramo Presenta fits that role perfectly. Altogether, Medellín’s choice of venue and local demand made it an ideal choice for the next EDC destination. “We’re committed to growing this global community and sharing the magic of EDC with the world. Choosing a new location for EDC is never random. It comes down to a few key factors … First, we look for a local partner who shares our values, understands the spirit of EDC, and has the vision and dedication to help bring it to life. Páramo Presenta is an incredible team that fits that perfectly. Medellín also offers a venue that can support the scale and creativity EDC is known for, along with the backing we need from the city and local community. Most importantly, EDC must have a purpose. It should bring something meaningful to the area and leave a positive impact. EDC is about more than music – it’s about connection, culture, and creating unforgettable experiences that bring people together.” Pasquale Rotella Páramo Presenta’s Role in EDC Colombia Páramo Presenta, Colombia’s leading live entertainment company, will help bring EDC Colombia to life. Popular for producing record-breaking events and attracting millions of fans, Páramo Presenta has earned a reputation for organizing some of the most successful concerts and festivals in Colombia. The company’s history of bringing global stars like Shakira, Travis Scott, and Paul McCartney to Medellín. Altogether, this makes them an invaluable partner for Insomniac in this exciting new venture. With a wealth of experience, Páramo Presenta is committed to ensuring EDC Colombia is a monumental success. “We are very proud to bring to Colombia such a major brand with so much history, and one that has been fundamental to the growth of electronic dance music worldwide, like EDC. Medellín will become the center of the electronic world in October 2026, and we hope to reveal more details soon about this festival that is returning to South America,” Santiago Vélez from Páramo Presenta Get ready for EDC Colombia and stay tuned Fans can expect EDC Colombia to deliver the nostalgic vibes and energy that the festival is popular for, with immersive visuals, world-class performances, and a celebration of Colombia’s unique culture. The dates, lineup, and ticketing details will be released in the coming months. Stay up to date by visiting EDCColombia.com and be part of this exciting new chapter in EDC history. The post EDC Colombia Coming to Medellin in 2026 appeared first on EDMTunes.

As the summer comes to an end, Laurent Garnier returns to Maastricht’s Muziekgieterij, only this time he has called in a crack team of personally selected dancefloor destroyers to cover all basses. Gathering together artists from house, techno, electro and beyond, the Cod3 QR party vibe will be given a diverse genre polish from label affiliates such as Bel Air LTD (aka Mirko Loco), Carlos Nilmmns (live), DJ Deep, Hilit Kolet, Marco Bailey, Oliver Way & Dany Rodriguez, The Last Souldancer (aka ROD), Voltaire (live), The QR Chill Crew and of course Mnsr. Garnier himself – with two DJ sets! Playing alongside Laurent we have Swiss-born DJ/producer Bel Air LTD (aka Mirko Loko) who dispenses sounds that take shape at an invigorating intersection between Detroit-inspired techno and the subtle stripped-down side of house. As a DJ, he’s played Detroit Electronic Music Festival, Miami WMC, Circoloco in Ibiza, Sven Väth’s Cocoon Club in Frankfurt and the best clubs in Berlin, while recent productions include an EP on Loco Dice’s Desolat imprint and a solo album on Luciano’s Cadenza. Not one to be missed is a live set from versatile producer Carlos Nilmmns. Carlos has become synonymous with an eclectic but often deep and sensual sound of jazzy house, influenced by the traditions of Chicago and Detroit. In the past, he’s released on some of the best-of-breed labels in the world including Circus Company, Cocoon, Ornaments, KMS, Planet E and Dopewax. Joining him is Parisian deep house authority, DJ Deep, the French techno and house producer and DJ who runs the Deeply Rooted label, formerly Deeply Rooted House. Outside of his own label, the music obsessive has continually brought new depths and dynamism to house and techno over the years having released on Rekids, Kaoz Theory, Tresor and of course, on his longtime DJ friend’s label, Cod3 QR. Hilit Kolet is the London-based DJ and producer delivering an intense percussive blend of energetic jacking house music with razor-sharp technique on every release and throughout her high-octane DJ sets. Her finely-crafted update of Laurent Garnier’s underground classic ‘Crispy Bacon’ is loved by Laurent himself, who released it as a bonus track on his most recent album. Of course, in need of little introduction we have the Cod3 QR grand fromage himself… the Cod3 Daddy… Laurent Garnier wrapping things up with not one but two DJ sets as he dons his ‘house’ and ‘techno’ hats with equal panache. A double-DJ serving that will be as emotional, surprising and downright funky as his recent set of fabric mixes! Marco Bailey is somewhat considered an icon when it comes to techno and the dance music industry as a whole. It starts with a beat, and for Marco that as in the late 80’s. In 2024 he celebrated 35 years of music, a true achievement for someone who is an ambassador for the scene as well as an amazing DJ and producer. EPM’s Oliver Way & Link Audio’s Dany Rodriguez have teamed up together numerous times in the studio with their hybrid techno/electro studio work so it’s no surprise to find the dymanic duo pairing up, this time behind the decks! The Last Souldancer (aka ROD) is the new moniker from Benny Rodriguez who unveiled his new alias earlier this year on Cod3 QR. In his own words, Benny says: “The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked.” After a number of acclaimed tracks and EPs, the southern newcomer on the French electronic scene, Voltaire will be releasing his debut album on Laurent Garnier’s COD3 QR label this year. On the 29 August he will hit us with a live set, unveiling freshly baked electro from his new sonic opus. The line-up is: (alphabetical order) Bel Air LTD (aka Mirko Loko) Carlos Nilmmns (live) DJ Deep Hilit Kolet Laurent Garnier Marco Bailey Oliver Way & Dany Rodriguez The Last Souldancer (aka ROD) Voltaire (live) The QR Crew Chill DJ set Cod3 QR merch will be for sale in the bar / foyer area alongside music from The QR Crew. EVENT INFO / TICKETS: https://muziekgieterij.nl/event/cod3-qr-label-anniversary-party-2025-08-29 The post Laurent Garnier set to host a Cod3 QR anniversary party appeared first on Decoded Magazine.

Bang & Olufsen has launched the Atelier Limited Edition Art Deco, a striking new sound system that reimagines the brand’s iconic Beolab 28 speakers and Beovision Theatre through the lens of Art Deco – the defining aesthetic of the 1920s and the decade of Bang & Olufsen’s founding. “This edition is a tribute to our origins and our journey,” says Bang & Olufsen CEO Kristian Teär. “It’s a fusion of design heritage and technical mastery, crafted to celebrate 100 years of innovation through timeless form,” he continues. With the same sculptural elegance and refined details that made Art Deco an enduring icon, the Atelier Limited Edition Art Deco pays homage to a century of design excellence and acoustic craftsmanship by drawing on Art Deco’s bold geometry, rich materiality, and exquisite craftsmanship. Limited to just 100 units globally, this release marks a rare convergence of performance and artistry. Crafted from dark rosewood and anodised in chestnut aluminium, the system showcases alternating lamella panels in tapered wood and straight aluminium, evoking the rhythmic facade of classic Art Deco architecture. A matching rosewood case handcrafted at Bang & Olufsen’s headquarters in Struer houses the engraved Beoremote, finished in chestnut aluminium and certificates of authenticity. The aluminium surfaces feature a precision-etched geometric motif blending modern machining with classic ornamentation. Hidden within the pattern, 100 engraved strokes subtly commemorate each year of Bang & Olufsen’s legacy. The attention to detail and tactility continues with Beosound Theatre’s newly introduced wooden top cover, sculpted in a radial pattern inspired by Art Deco sunburst motifs. Beyond its visual elegance, the cover enhances acoustic transparency, exemplifying Bang & Olufsen’s commitment to harmonising form and function. The Beolab 28’s floating acoustic lens, encircled by a finely detailed radial ring, anchors the system as a sculptural centrepiece. The Atelier Limited Edition Art Deco starts from 65,000 USD, excluding the screen and is available exclusively at select Bang & Olufsen stores. The post Bang & Olufsen unveils Atelier Limited Edition Art Deco appeared first on Decoded Magazine.

International Music Summit (IMS), has announced the return of Beatport Presents IMS Dubai, taking place on 13–14 November 2025 at the 25hours Hotel One Central. Building on its mission to accelerate conversations and connections within the rapidly evolving MENA region, Beatport Presents IMS Dubai 2025 offers two days of expert-led panels, keynotes, and networking opportunities, plus full access to curated evening programming, all included with every badge. This year’s summit continues to champion the four core pillars of: Music, Culture. Finance. Technology. Through this lens, IMS brings together pioneering voices to explore not only the future of electronic music, but its broader impact on creative and commercial industries as well. Highlights from last year’s edition included Maha ElNabawi, Managing Editor of Billboard Arabia, who delivered an opening keynote addressing the rise of Arabic music on the global stage; Janet Ashak, Head of Music (MENA) at YouTube, who discussed the platform’s role in fostering regional artist development; Maria May, Head of Electronic at Creative Artists Agency (CAA), who spoke on the future of artist representation in a shifting industry, James Craven, president at Live Nation Middle East, who shared insights on navigating the music industry in the MENA region; and Wassim Bou Malham, artist and entrepreneur, who highlighted the importance of nurturing local creative ecosystems in MENA The summit’s music program was equally alluring, with the official closing party featuring international heavyweights Deep Dish, Pete Tong, and Echonomist. The weekend showcase was further complimented by regional standouts including Cosmicat, Yas Meen Selectress, STRYV, and Saliah, culminating in a who’s who of international and homegrown talent. 2025 sees IMS Dubai continue building on 16 years of International Music Summit’s legacy in Ibiza, drawing on that same energy and spirit of collaboration to spotlight new voices, address regional challenges, and forge connections between local and global communities. Discussing Beatport Presents IMS Dubai. Co-Founder of IMS Pete Tong remarks; “It’s exciting to see how IMS Dubai has already become a vital touchpoint for the region. The energy, curiosity, and ideas we saw last year made it clear that this is a place that can provide lots of knowledge and value. What’s even more inspiring is the way music, culture, finance, and technology come together at this event. We’re really building momentum and giving a platform to local and international talent who are moving the needle and pushing boundaries. Dubai is fast becoming a hub for forward-thinking creators, and IMS is right at the heart of it.” This year’s venue is 25hours Hotel One Central, a storytelling-driven property facing the Museum of the Future. A haven for creators and visionaries, the hotel’s lavish and immersive atmosphere makes it the ideal setting for an event designed to challenge norms and inspire progress. Following a sold-out debut edition, the move to 25hours Hotel One Central doesn’t only give IMS Dubai more capacity than last year’s event, but positions the summit at one of the city’s most vibrant hubs for music and culture. With the global music industry increasingly turning its focus toward the MENA region, IMS Dubai proudly represents key territories such as Egypt, Qatar, Saudi Arabia, Morocco, Bahrain, Jordan & more through select delegates, speakers, and vital discussions aimed at shaping the future of music and culture across the region. IMS aims to serve as a vital meeting point to foster growth, collaboration, and sustainable development across these emerging cultural and creative markets. Find limited early bird badges here and stay tuned for upcoming announcements about this year’s speaker roster, artist showcases, and evening program. Nominate a speaker for IMS Dubai here. Badges on sale now. The post International Music Summit returns to Dubai appeared first on Decoded Magazine.

British artist James Hype took an unconventional stage—Harvard University—where he shared his journey from spinning records in clubs to inspiring the brightest minds at the world’s top institution. In an intimate and eye-opening masterclass, James discussed his creative process, his rise to fame, and the challenges of navigating the music industry. “I never went to college, and now I’m here at Harvard,” James began, setting the tone for a candid conversation about breaking norms and redefining success. James reflected on his breakout moment in 2017 when his music earned him global acclaim and a contract with Warner Music. While the milestones were life-changing, he emphasized the sacrifices behind the scenes: over 160 performances a year, sleepless nights, budget flights, and the relentless pressure to keep up. “Mental health matters,” he shared, shedding light on the often-unseen struggles of a career in the spotlight. A highlight of the discussion was James’ advice on creativity. He emphasized the importance of finding an authentic sound and leveraging social media to connect with global audiences. “The more visible you are, the more criticism comes,” he noted. “But the key is to amplify your voice, not to respond to every comment.” James expressed admiration for the students he met at Harvard, confessing, “I thought Harvard was only for rich and smart people, but what I saw were exceptional people. Their stories inspired me as much as mine inspired them.” During the session, he took students back to his first encounter with music—discovering a mixer at a church fair at just nine years old. That moment sparked a lifelong passion that carried him through creative blocks, stylistic evolution, and his ongoing pursuit of authenticity. For those who could not attend, the full masterclass is available to watch here: James Hype Upcoming Tour Dates: May 10 – AYU Dayclub, Las Vegas, NV May 15 – AYU Dayclub, Las Vegas, NV May 16 – 11:11, El Paso, TX May 16 – EDC Las Vegas 2025, Las Vegas, NV May 23 – Sefton Park, Liverpool, UK May 23 – Radio 1’s Big Weekend, Liverpool, UK May 24 – HQ2 Nightclub & Beach Club, Atlantic City, NJ May 26 – FWD Day + Nightclub, Cleveland, OH May 30 – El Patio Fusion Lounge, Dorado, Puerto Rico May 31 – Project Glow, Washington, DC June 6 – The Concourse Project, Austin, TX June 7 – Zouk Nightclub, Las Vegas, NV July 5 – The Brooklyn Mirage, Brooklyn, NY

Hi, Who are you? Fabio, founder of Generation Liquid. What’s your ethos? The ethos of the label is simple really: to bring out good music. There’s no deep rhetoric behind it—just a passion to bring out beautiful music that I like, music that I think is being overlooked. The focus is on music that speaks to personal taste rather than fitting into rigid genres. That’s the long and short of it. Tell us your origin story. The label was born from a desire to fill a gap in the market for music that I like, with more depth and substance. I think nowadays, people – especially the younger generation – tend to really like loud, brash or boisterous music, and I wanted to go in the opposite direction, offering something more refined, something hat resonates beyond trends and brings a fresh perspective to listeners. Where are you based? Tell us about your local scene. I’m based in South London, brought up in Brixton. At the moment, it’s very vibrant with a lot of young people living here. Brixton has always been good for nightlife, but now it’s thriving. I think it’s almost on Hoxton / Camden / West End levels. Brixton has been through a lot over the years and I’m proud to see the scene as it is now. To be fair, gentrification has got its upsides. Does the label have a specific sound or vibe? No, I really want to get away from that, because I think there’s too much tribalism and too much pigeonholing within music: for me, that’s one of the big issues with music at the moment. Generation Liquid is all about breaking free from those rigid categories. People might think, Well, it’s Fabio, it’s got to be really soulful, but it doesn’t. I’ve got such a broad taste. It doesn’t really matter whether a track is soulful, a tech funk banger or something a little bit harder, as long as it’s got a little bit of mystery and is funky to a degree – even the hard and nasty variety – it’ll get the green light from me. Do you have a regular artist roster- who can we see releasing with you? No, it’s going to be very ad lib, fluid and open. The goal is to bring through new artists that are not so well known. I don’t want to spit out the same old names that everyone else talks about. Right now, I’m looking at artists like Motiv and Jet Li from Ireland, who I think is amazing. This approach stems from my time with Creative Source, where we championed emerging talent. When we brought out Calibre and Alix Perez’s first work, no one had heard of them, and I want to do that again —encourage new artists and build a foundation. I recently put out a post for track submissions from artists who have any music they think I’d be interested in, and I’ve been inundated. So, I’m not gonna specify any artists on the roster as such – it’s an open forum, especially for new artists and artists that I’ve not even really heard of yet. Tell us about your A&R process… The long and short of it is just to collect and find the most interesting tunes. I received a lot of submissions, and it’s my job to sift through them and find tracks that truly stand out. Then the process of getting tracks out is much simpler than it used to be. You’d have to go to a distributor; you then have to press something to vinyl. You’d have to get album sleeves done. It took ages. It was a very long, arduous process of getting tunes out that now you can do in a day. You can just go online and click a few buttons and the tune has been released. What makes Generation Liquid different from other labels? It’s kind of a forum for my taste. I don’t know whether this makes it different, but I really hate planning; I do things on instinct so I’m letting that lead the way, allowing the music to take shape organically rather than being overly planned or premeditated. Everything feels too tailored these days and I want to break free from that. It goes back to what I was saying about tribalism and how there is no set template for Generation Liquid. I might bring out a tune that’s really soulful and the next could be an absolute banger. I’m not interested in creating a label for chin stroking fans, I want people to be surprised, to hear atrack and think, Oh, wow. That shocked me. I didn’t think you’d ever put a tune like that out. What does it take to run a bass music label in 2025 As I said before, it’s a lot easier than it used to be. You don’t have to go through the long process of going through so many different doors to get a tune released – it really was a piss take. I don’t think people realise how difficult it was bringing out music. It was quite costly too, and you’d have to rely on other people to do so many things, like distributors. It would literally take months, even a year to bring out a track. Drum and Bass moves so fast, even within three months, a tune could sound dated. Back then, a tune could go stale before it even had a chance to make an impact. I remember this tune I completely regretted bringing out, because the process took so long. Now, you can just bring out a tune in days, keeping the freshness and heat of the tune, which is great. What have you got coming up we should look out for? We’ve got some really good label showcases coming up. First up, we’ve got Camden Assembly on May 17, featuring Command Strange from Russia—a truly talented DJ—as well as Zero T, who’s fantastic at the way he puts his sets together, and GAIA, an incredible young DJ I’ve listened to a couple of times and knew she’d be great for a Generation Liquid night. Then we’re heading to Tramshed in Cardiff on June 28, which I’m really looking forward to. After years of trying to book Skeptical, it’s finally happened. We’ve also got Breakage, who is Shy FX’s right-hand man and the king of dub-style Drum and Bass. The way he balances dub and DnB is unmatched, better than anyone else in the game. They’re two of my favourite producers, actually, and fantastic DJs. So that is going to be an absolute banger. Beyond that, there are more plans brewing for later in the year—things I can’t disclose just yet as they’re still in planning, but trust me, they’re exciting. There’s also some incredible new music on the way, but I want to keep the artists and tracks a surprise for now. Let’s just say the label is gearing up for some serious heat, and everything is set to kick off in a big way.

Been holding off on concert plans because of high ticket prices? Live Nation is here to change that with a limited-time deal offering $30 all-in tickets to over 1,000 concerts this summer. Going on sale starting 21 May, the “$30 Ticket to Summer” promotion includes access to shows across the US and Canada from artists such as The Offspring, Pantera, “Weird Al” Yankovic, Avril Lavigne, Billy Idol, Halsey, and The Black Keys, among many others. READ MORE: SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future Fans with early access through T-Mobile and Rakuten can purchase tickets beginning Tuesday, 20 May 10AM EST by visiting the companies’ respective platforms to obtain a presale code. General public sales launch the following day, Wednesday, 21 May at 10AM local time, via Live Nation’s official Ticket to Summer website. The deal applies to a wide range of performances at Live Nation amphitheaters across the country, with tickets priced at $30 flat – all fees included. Visitors to the Ticket to Summer site can filter their search by artist, venue, or location to find eligible events near them. More shows are expected to be added throughout the summer as well, so remember to check back regularly for new listings. The initiative comes at a time when music lovers continue to voice frustration over soaring ticket prices. Last year, a study by global research firm YouGov revealed that UK concertgoers pay an extra £145 million annually to ticket touts, with nearly half of surveyed fans saying they struggle to identify legitimate resale platforms. Roughly one in five tickets, the report added, end up on a resale platform of some sort. O2, which facilitates over a million ticket sales annually through its Priority customer reward platform, said of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.” “Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.” Check out the full list of participating shows at Live Nation’s Ticket to Summer website. The post Live Nation launches $30 ticket deal for over 1,000 summer 2025 concerts appeared first on MusicTech. View the full article

Swedish House Mafia’s ‘Don’t You Worry Child’ has officially claimed the number one spot on the Tomorrowland Top 1000 for 2025. Fans pushed this emotional anthem to the top after 10 days of non-stop voting. Avicii’s ‘Levels’ landed in second place, while Martin Garrix’s ‘High On Life’ secured third. This final ranking came down to the wire, with the Tomorrowland community making their last-minute votes via the Tomorrowland App and website. Never before had the top ten remained open for fan votes until the very day before the finale. An Emotional Journey Through Electronic Music History One World Radio once again brought electronic music lovers together for a global countdown of 1,000 iconic dance anthems. This marks the seventh consecutive edition of the Tomorrowland Top 1000. Listeners enjoyed a complete journey through dance music history, with 125 tracks played daily across ten days. From legendary classics to fresh anthems from the past year, the list celebrated every era. The emotional final moments were live-streamed, offering fans a chance to relive the excitement. Through the Official Tomorrowland Top 1000 Playlist on Spotify, Swedish House Mafia‘s legacy track ‘Don’t You Worry Child’, ultimately came as the winner. New Entries and Returning Favorites Shake Up the Rankings This year’s top ten featured three new entries, adding fresh energy to the already stacked lineup. Avicii’s ‘Wake Me Up’ made an impressive jump of seven spots, landing in seventh place. Hardwell’s ‘Spaceman’ climbed a massive fifteen places to secure ninth. The Age of Love remix by Charlotte de Witte and Enrico Sangiuliano also made headlines, rising eight spots to round out the top ten. This year’s ranking proved that both timeless anthems and modern productions continue to captivate listeners. Martin Garrix Dominates With Record-Breaking 42 Tracks Dutch superstar Martin Garrix stood tall as the most featured artist, securing 42 entries in the list. Close behind were Tiësto with 41 and David Guetta with 36, proving the Dutch dominance in dance music remains strong. Swedish House Mafia took the title of highest ranked trio, while Charlotte de Witte became the top-ranked female artist. This year’s highest new entry went to Adam Port and Stryv’s ‘Move’, landing at number 69. Global Participation Keeps the Spirit of Tomorrowland Alive The Tomorrowland Top 1000 once again proved its power to bring the People of Tomorrow together. Fans from across the globe shaped the final results with their votes, creating a living history of electronic music. The eclectic list spanned decades and genres, featuring both radio hits and underground anthems. The Netherlands led the charge, with more artists represented than any other country. This global participation reflects Tomorrowland’s status as a unifying force in the electronic music community. Tomorrowland Top 10 Results for 2025 Swedish House Mafia feat. John Martin – Don’t You Worry Child Avicii – Levels Martin Garrix feat. Bonn – High On Life Dimitri Vegas, MOGUAI & Like Mike – Mammoth Sebastian Ingrosso & Alesso feat. Ryan Tedder – Calling (Lose My Mind) Alesso vs OneRepublic – If I Lose Myself Avicii – Wake Me Up Armin van Buuren – Blah Blah Blah Hardwell – Spaceman Age Of Love – The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix) The post Fans Crown “Don’t You Worry Child” As Ultimate #1 Track in Tomorrowland 1000 appeared first on EDMNOMAD. View the full article

We recently spoke to one of the most dedicated acts in the Electronic scene. During my short career in press, I’ve interviewed a ton of people, some even role models to me and my music career. After talking with icons such as Ferry Corsten, Tony McGuinness, and even Hardwell, what’s next? How about interviewing the interviewer? I’d played around with this idea for a while, and then something spectacular came in the mail by surprise: a connection to Super Progressive. I often get a bit nervous when about to interview someone, but this time I was properly nervous. I didn’t know William by name, but I’d seen a couple reels on socials, and how he’d got to so many A-tier artists of Progressive House. Funnily enough, the day before we spoke, my Insta algorithm showed me his recent interview with Hernan Cattaneo. You know we’re talking big leagues here. A proper journalist, he founded a YouTube channel in the Lockdown years and began sharing the rich and long history of Progressive House, often approaching some of its living legends for them to have a say themselves on his space. With his videos consistently getting five-digit viewcounts nowadays, we can confidently say he’s become a part of the history of the genre he loves so much. All of this to say: we spoke with Will. And it was such an interesting chat, we’re happy we get to share this moment with you. Without further to do, behold, the interviewer of interviewers, the man himself, Super Progressive, in conversation with yours truly. The Interview (Please note, the bolded text represents a question (or EDMTunes intervention), while the paragraph(s) following it represent Will’s answers.) First of all, thank you for coming in. We’re super excited to have you. Now, getting right to the questions, how would you describe Super Progressive? Is it an interview channel, a mix channel, perhaps history? How would you label it? Or rather, would you want to label it at all? I would describe Super Progressive as a podcast about the past, present and future of Progressive House. I started it out as a podcast about the pioneering 90s DJs of Progressive House. And as I learned more about it, obviously you get interested in the current state of affairs of the sound. And you are made aware of so many different current producers and DJs. And so I started covering that as well. So it’s a podcast devoted to the past, present and future of the Progressive Sound. Got it. We want to know the why’s and the how’s. Quite literally, why and how did you start Super Progressive, and how were your first steps? Who was your first interviewee? Why I started it was, my older cousin gifted me his old Global Underground collection. And I really enjoyed the CDs. But what really set things off for me was when I found an online community called Progressive House Classics. It’s a Facebook group. And I realized there’s a whole generation of clubbers that are still extremely passionate about these CDs and these mix compilations that came out 30 years ago. So when I saw that there were so many passionate clubbers, I went to look up more information about this era. And there was next to nothing. There was literally nothing on YouTube and there was next to nothing in terms of written articles. Because most of the coverage had been done before the Internet. So I just saw it as an opportunity to create content that I was really passionate about. I’m a journalist. So I saw it as an opportunity to be a journalist for a very specific but existing audience. So that’s why I started it. And then how I started it was I made some illustrated videos that covered different Global Underground CDs. I was also a huge fan of The Nine Club, which is a skateboarding podcast. And I just borrowed their format. And instead of interviewing skateboarders, I interviewed DJs. My first interview was with Paul Oakenfold. I had done a video about his Global Underground New York GU-007 album, which we did offline. But he liked how the video came out a lot. So when I asked him to do the first interview, he said yes. He was living in Los Angeles at the time and he actually invited me to his house to film the interview. And then with that interview, that was my golden ticket. Because you can bring a Paul Oakenfold interview to a lot of people. And that’ll at least kind of respect what you’re trying to talk about. Because Paul is such an important DJ in the spread of this sound around the world. So I went from Paul to Anthony Pappa to Danny Tenaglia, Sander Kleinberg to Dave Seaman. And you just take one interview, show it to the next person you want to interview, hopefully they enjoy it. And luckily all the DJs are really nice and they were all down when they didn’t have to be. So it worked out like that. Amazing. Do you ever feel anxious or nervous before talking to somebody? Because my first interview in this format, my first proper call, was Ferry Corsten, and I felt the weight on my shoulders. I was so excited, but there’s also a huge responsibility to step up. I only feel nervous when I don’t do my preparation. I feel like if I spend time preparing, I won’t be as nervous. Also, I get really nervous when the DJ has a really, really dedicated fan base. Because they, the fans, are always going to know more than you. But you just don’t want to come off as if you didn’t do your research. These fans that have grown up with this music and have lived this music their entire life, they all will always know more than I. A lot of my job is also figuring out what the fans want to find out about, more than what I personally want to know. Because it’s all new to me. I do a lot of research, I speak with a lot of long-time fans. I often post to my Instagram stories — I just did it with Paul van Dyk. I’m like, “Hey, I have an interview with Paul van Dyk coming up. What should I ask?”. It’s all the same scene, but the Trance stuff, it’s a whole different devoted fan base. And I didn’t want to come on and not know my stuff. So they really helped me out in picking questions that they wanted to know more about. Now, I’ve got to ask, why Progressive House? Why not, for example, 90s House, since it also has such an extensive and rich history? What dragged you to that one particular genre? I think I just liked that sound the most. It all started because I enjoyed listening to those compilations. And that’s just the sound that does it for me. I like the percussive elements, I love the melodic elements. And I love the way that the tracks can blend together in a mix compilation. So really, the reason why I chose Progressive House ultimately, I guess, comes down to my music taste. Not my taste as in a selector, it’s just what I enjoy listening to the most. Well, now, asking from interviewer to interviewer. I always say this as the final words to my articles. I learn a lot from the people I talk to. And I guess learning from them is one of my favourite aspects of it all. It is arguably why I do it in the first place. Do you feel like you learn from the people you interview? Not only about them and their lives, but lessons you can apply to your own life from their experiences? Oh my gosh, of course. It’s super inspiring to talk to people. These DJs come from all different countries around the world. All different socio-economic backgrounds. A lot of them came from not a lot at all. And they go and follow their dream and become an international DJ. How could you not be inspired by that? The one story that comes to mind is Hernan [Cattaneo] selling his car to go to Sound Factory in New York just to see Frankie Knuckles DJ. It’s like, how could you not be inspired by that? Those are stories that you hear about, and this scene is full of them. Another relatable story. Danny Howells, when he had his first ever Essential Mix, was working full-time in the psychiatric ward as a nurse. So many people can relate to that. So many producers out there working a full-time job, but trying to be a full-time DJ. And the history of this music is filled with inspiring stories like that. What style do you feel your interviews are like, what do you want to achieve when approaching someone for an interview? I think I want my interviews as an opportunity for these DJs to express their unfiltered passion for this music. You have to have such a deep passion for this music to make it to the top. Because you literally have to listen to thousands of tracks each week. So you have to love this music. And all I want for the interviews is to get as much information as possible. But let the DJs speak, ask two or three questions in the span of an hourlong interview, just because the DJs can talk and talk and talk about themselves. And I’m not trying to direct the conversation anywhere. I’m just trying to have them express their passion. So I think that’s what I like about podcast interviews. You’re just there to direct or stoke the flame of the DJ that you’re interviewing. Now, you have different-length videos in your channel. Is that intentional, or does it just come naturally that you have some longer form interviews and then some shorter ones? I think I’ve got to a point where now I try to be a little bit more intentional with my questions. The interviews are starting to get to an hour and a half, two hours long. So I’m looking to ask better questions as an interviewer to suit the format of a particular interview better. I try to be more thoughtful with my questions. Which naturally cuts down the interview length. In-person interviews are always shorter. Unless you’re talking to Danny Tenaglia, who can talk for an hour and a half about this. But I try and do 20-minute in-person interviews and 45-minute remote interviews. And that’s a sort of comfort zone that I’ve settled into. I see. Yeah, in my case as well, I always separate an hour for virtual interviews. But then in person, it’s always quicker and people have places to go and whatnot. And it’s often before a show. Exactly. Most of my interviews are in the artist’s hotel room before a show. You want to be respectful. Well, since you’re an avid listener as much as you are a journalist, you’d probably be in the loop about the Argentinian Progressive sound blowing up lately. I love it. But what’s your take on it? Do you see it as a wave or a current? I mean, to me, the Argentinian scene is not a wave. It’s like the epicenter of the Progressive scene in the world. I’m always learning about different regions. So I’m always finding new producers that I enjoy. But my favorite producers are from Argentina. I’d say Mike Griego. I like Kabi a lot. Obviously Ezequiel Arias. Those are some of my favorite producers. I definitely don’t think it’s a wave. I’ve been into this music for four years now. When I got into it, Argentina was at the top. And it’s still at the top. I think it’s awesome. Have you ever been to Argentina to one of their parties? Oh, I got to get down. I was supposed to go down for Sunsetstrip this year, which I guess ended up being an okay decision. I feel bad, but the rain was crazy. So I’m going to try and go down. I’ve been living in Europe. And probably sometime when I’m spending more time in America, I’ll make the trip down. Now, I’d love to know, because you’re a DJ as well, aren’t you? Yeah. Great. Let’s play something. Tell me one essential track to carry on your sticks on a night out. Must be an original track. It’s ‘Space Fly’ by Stereo Underground and D-Nox. It is inspired by ‘Magic Fly’ by Space, a song from the 70s. That’s my go-to track, end-of-set track. I play it freaking all the time and I’m just a huge fan of it. It’s the track that I play religiously now. And now the same thing, but with a remix, edit, bootleg, anything that you feel you can’t go wrong with playing. Let me give you a recent one. I really like the Mike Griego remix of Freedo Mosho’s ‘Paradise Lost’. I like that one a lot. Lovely. Now, I asked the following question to Tony from Above & Beyond last year and also to Khen. What’s your opinion on albums? I like to ask this question because I feel like the concept of the album is being lost to time and algorithmic business, you know? I love albums. For me, I think albums take the pressure off artists and you really get to see how creative they can be. My favorite album in the Electronic music history is Sasha’s Airdrawndagger. I was just a kid when it was released. It got criticized at first because it wasn’t an all-club-focused album. Those are the albums where the creativity is at the forefront, that stand the test of time. I love artist albums. Now I’ve got two more questions. This next one I like a lot. I try to ask it as often as I can. If you could travel to the past any number of years that you find interesting, 5 years, 10 years, and meet your past self, what would you tell yourself? Were you worried about something that was really not necessary? Right after college. In 2018, I was working a job at ESPN and my hours were 6 PM to 2 AM. My off days were Tuesday and Wednesday. On Saturdays and Sundays, I’d work 10 AM to 6 PM. So on a Saturday, I could finish at 6 PM and not have to be in until 6 PM the next day. I would always go to New York City, take the train, and it was a three-hour journey to go to raves. I was always so stressed because I felt like I was missing out on so much of the music. I would tell myself, “Don’t worry, you’re going to get more of this music than you could ever hope for or dream of down the road, so don’t be so devastated when you can’t go to a party that all your friends are going to”. Beautiful. And well, finally, suppose there’s someone in our audience who admires you and looks up to your work and wants to be like you one day. They’re just starting out as journalists, or they’re starting to get into the music world, trying to make better contacts, trying to speak to people. What’s one piece of advice you would give them in order to be successful? I would just say, if you’re passionate about something, focus on how you can make a contribution to it. No matter how big or how small. There are endless ways to contribute to Electronic music. You can be a producer, you can be a DJ, you can be an event promoter, you can create an Instagram account, you can create a podcast. So much stuff you can do without the permission of anyone else. So I would just say, figure out how you enjoy spending your time relating to this music and try and make a contribution to the scene out of that. Even if it’s curating playlists, whatever you want to do. Everyone in this scene respects passion for the music because that’s the most important thing. So I would just say focus on finding out, just try and make a contribution however you want to make it. Thank you. It’s very interesting that you say that. At least this part of the industry is very respectful in my opinion too. You can notice the difference between different, even genres inside Dance music, but this music as a whole, it’s nowhere close to mainstream Pop music. There’s a connection that is so powerful between Electronic music fans and their artists. I can’t explain it, I can’t describe it. But I know you know what I mean. Oh no, I absolutely know. These people care about the music more than anything I’ve ever seen. I totally understand. It’s mostly inspiring, sometimes it’s shocking. I’m like, “Oh my gosh”. It’s awesome. Well, that’s a wrap. Thank you so much once again! Final Words What can I say… That was great. Will is such a down-to-earth guy, our conversation was 100% genuine from the get-go. It was an honour to have had such a character in here, in our little interview space. Thank you so much mate! Look, I’m much more of the YouTube channel, but if you want to get some of the extensive wisdom collected and accrued in Will’s Super Progressive podcast, below you’ll find the Spotify link to listen on the go. I know I’ll be using this format during car rides. And below that I’ve left his frequently-updated playlist of Progressive House bangers. Your choice. You can follow Super Progressive on his YouTube channel, Instagram, and Spotify. And stay tuned to our channels for the latest on everything regarding the Dance music industry. The post [INTERVIEW] Will From Super Progressive Talks Interviews, Progressive House, Albums, And More appeared first on EDMTunes.

Photo Credit: U.S. Attorneys SDNY Cassie Ventura, the R&B singer and former partner of Sean ‘Diddy’ Combs, delivered testimony on May 14 in the rap mogul’s ongoing trial. In a dramatic moment that closed her second day on the witness stand, Ventura confirmed for the first time that Diddy and his companies paid her $20 million to settle the civil lawsuit she filed in November 2023. The $20 million settlement is a figure that was previously undisclosed to the public and was revealed during Ventura’s direct examination by prosecutors in Manhattan. Ventura stated unequivocally that the payment came from Diddy and his associated companies, bringing to light the substantial financial agreement that led to the swift dismissal of her civil lawsuit just one day after it was filed. Ventura’s lawsuit accused Combs of a decade-long pattern of physical abuse, sexual assault, and coercion. Those allegations include that Combs drugged her, forced her into sexual encounters with male prostitutes, and orchestrated what he dubbed ‘freak-offs’—drug-fueled sex parties that he directed and filmed. That initial civil action and its swift settlement sparked a wave of additional lawsuits and triggered a federal criminal investigation that led to Combs’ arrest on charges including sex trafficking and racketeering. While on the stand, Ventura recounted harrowing details of her relationship with Diddy from 2005 to 2018, describing incidents of rape, beatings, and psychological manipulation. She testified that the abuse left her feeling ‘disgusting’ and ‘humiliated’ and explained her decision to testify as a desire to “do what is right” after years of trauma. Ventura’s testimony is central to the prosecution’s case, providing firsthand accounts of the alleged abuse and the circumstances that led to criminal charges against the rap mogul. The revelation of the $20 million settlement underscores the gravity of her claims and the high stakes involved in the trial. If convicted, Sean ‘Diddy’ Combs could face a life sentence in prison. Cross-examination by the defense team is expected to focus heavily on her credibility and the nature of Cassie’s relationship with Combs. Defense attorney Marc Agnifilo has indicated that infidelity and related text messages will be central topics, aiming to portray the relationship as mutually damaging rather than one-sidedly abusive. The defense’s questioning is anticipated to last through at least Friday, as the defense attempts to poke holes in Cassie’s testimony. View the full article

SZA, whose SOS Deluxe: Lana generated the most recorded revenue of any Sony Music release during Q1 2025 as well as the 12 months ended March 31st. Photo Credit: Erin Cazes Sony Music Entertainment (SME) achieved a double-digit year-over-year revenue spike during fiscal 2024, but recorded music streaming revenue increased by a modest 4.8% during 2025’s first three months. These and other takeaways come from a new earnings report released by the overarching Sony Group Corp. This performance breakdown covers January, February, and March 2025, the final quarter of the conglomerate’s fiscal 2024. Beginning on the quarterly side, Sony Group pointed to ¥463.57 billion (currently $3.16 billion) in music revenue, representing a 9.8% YoY increase. As usual, though, that sum includes a sizable contribution from the music-adjacent visual media and platform. Stated concisely, the latter, lumping together mobile gaming, anime, and more, is best omitted to get an idea of core Sony Music revenue. Another important side note: Sony Group collects revenue in all sorts of currencies but reports in yen; exchange rates helped the below results along. Less visual media and platform, then, music revenue came in at $2.64 billion/¥387.46 billion during calendar Q1 2025, up roughly 4.5% YoY, the document indicates. Behind the first-quarter total, each category save non-streaming recorded revenue improved from the same period in 2024. However, recorded streaming’s growth rate finished at the initially mentioned 4.8% ($1.32 billion/¥193.04 billion in total revenue), compared to a 16.3% YoY boost for Sony Music Publishing ($656.54 million/¥96.28 billion). Digging into those numbers for just a moment – Sony Music’s full-year showing is, of course, also worth exploring – publishing streaming revenue is said to have risen 25.6% YoY to $378.20 million/¥55.46 billion in Q1 2025. And as of March 31st, Sony Music Publishing’s owned-and-administered catalog contained a cool 6.63 million works, up from 6.24 million in the prior year, per the report. Back to recorded revenue for 2025’s opening quarter, physical sales enjoyed a 12% YoY hike to $183.10 million/¥26.85 billion. By revenue, Sony Music artists’ Q1 bestsellers were SZA’s SOS Deluxe: Lana, Tate McRae’s So Close to What, Lisa’s Alter Ego, and Tyler, the Creator’s Chromakopia as well as Igor, respectively. All told, music operating income (including for visual media and platform) finished at $569.97 million/¥83.58 billion for Q1 2025, up nearly 17.4% YoY. Transitioning to Sony Music’s full-year financials, revenue less visual media and platform rose 13.1% YoY to hit $10.75 billion/¥1.58 trillion. Within the sum, recorded music kicked in $8.16 billion/¥1.20 trillion (up 12.2% YoY), including $5.38 billion/¥788.77 billion from streaming (up 11.2% YoY) and $724.40 million/¥106.15 billion from physical (up 4.8% YoY). Fiscal bestsellers included SZA’s aforementioned effort, Beyoncé’s Cowboy Carter, We Still Don’t Trust You by Future as well as Metro Boomin, and Travis Scott’s Utopia, respectively. Publishing revenue, on the other hand, jumped 16.3% YoY to crack $2.59 billion/¥379.81 billion for the 12-month stretch. And full-year music operating income, at $2.44 billion/¥357.26 billion, was up 18.4% YoY. Looking ahead to the 12 months ending March 31st, 2026, execs are anticipating “essentially flat” sales at Sony Music. Also on the horizon are further catalog purchases and business acquisitions “in high growth markets such as Latin America, India, and other Asian countries.” View the full article

Motor City's storied Movement Electronic Music Festival is getting a boost of endorphins over Memorial Day Weekend with the launch of the "Detroit Techno 5k," a new event blending running with techno. Scheduled for Sunday, May 25th, the 75-minute run will take participants along the scenic Detroit River and through the historic grounds of Fort Wayne. As the first-ever fitness-focused event tied to Movement, it’s both a race and a celebration of techno culture in the genre's birthplace. The event is being organized by longtime runners and friends Harrison Diskin and Zac Berlin, who worked closely with Movement and the city of Detroit to secure permits, according to The Jewish News. Diskin, a veteran event producer in Detroit and Chicago, is also an avid runner who found that staying out late for shows began to take a toll on his body. "When we take care of our bodies and our minds, it makes a lot of the late nights more enjoyable and a lot more accessible," he said. "As attendees are maturing, there's a growing interest in health and wellness that’s really starting to resonate." That mind-body connection is at the heart of the race, which invites participants of all skill levels to run, walk or just warm up ahead of a long day at Movement, the nation's leading techno festival. Open to all fitness levels, the 3.1-mile course will conclude with an afterparty featuring a DJ set by renowned house music producer Will Clarke. After crossing the finish line, participants can refuel with local favorites like Dutch Girl Donuts and The Schvitz before heading straight to Movement. Tickets to the "Detroit Techno 5K" are on sale now. Movement is scheduled for May 25–27 at Detroit’s Hart Plaza with a lineup featuring Charlotte de Witte, Jamie xx, Sara Landry, Nina Kraviz and more.

EDC Las Vegas 2025 is here and these are the updates you cannot miss. Learn about meet-and-greets, livestream start times, and Insomniac’s exciting global expansion. Ravers from around the world come to Electric Daisy Carnival as it returns to Las Vegas this May 16-18, 2025, bigger and brighter than ever before. To make it easier for you, we’ve compiled everything you need to know to make the most of your EDC experience this year. Here’s the essential EDC Vegas updates this 2025 that’s on our radar: EDC 2026 Dates Confirmed for May 15-17 We’re not even done with the 2025 edition but this is probably one of the most important EDC Vegas updates. As if the excitement for EDC 2025 wasn’t enough, Insomniac just dropped the dates for EDC’s 30th anniversary in 2026. Spotted on a taxi billboard in Las Vegas, the teaser confirmed May 15-17, 2026 at the Las Vegas Motor Speedway. With the “Dirty 30” theme already building hype, now is the perfect time to book hotels early to secure the best rates and availability. Win a Meet and Greet with Eurotrash at BeatBox BeatBus EDC 2025 brings fans an exciting chance to meet their favorite duo Eurotrash, powered by BeatBox. The first fifty Headliners who stop by the BeatBox BeatBus on Saturday from 11:55 PM to 12:25 AM might score a wristband for an exclusive meet and greet. There’s no catch. All you have to do is show up early, be one of the first in line, and you’re in. Consider this your sign to set a reminder because these wristbands are limited to the first 50 people only. The Great Pokémon and Kandi Meetup Returns for 2025 Ravers both new and seasoned know that community is the heartbeat of EDC. The 11th Annual Great Pokémon and Kandi Meetup is happening once again on May 17, 2025, right at the Rainbow Road entrance. This fan-favorite gathering will host two meetup times, the first from 9:30 PM to 10:30 PM, and again from midnight to 12:30 AM. Expect to swap kandi, meet fellow Pokémon fans, and celebrate unity under the electric sky. If you’re entering from Rainbow Road, you can’t miss it. BOGO Drinks for EDC Headliners at Airoma Cafe If you’re looking for pre-festival fuel or a pick-me-up after the afters, head to Airoma Cafe Las Vegas. Show your EDC 2025 wristband and get a buy-one-get-one-free drink deal. The offer runs from May 16 to May 19. The rules are simple—limited to one free drink per person, and your wristband must be worn at the time of payment. It’s a great way to save while you sip and recharge for the night ahead. Insomniac Radio Launches Free 24/7 Streaming App In a major move ahead of the festival, Insomniac launched its new radio app, bringing nonstop dance music to listeners worldwide. The free app features four curated channels: ONE, ANALOG, IMPACT, and LUCID. Whether you love techno, trance, bass, or festival anthems, there’s something for every taste. ONE brings you festival anthems, big room bangers, and crowd favorites. It features music you’ll hear at kineticFIELD, circuitGROUNDS, and cosmicMEADOW. ANALOG dives deep into house and techno with beats straight from Day Trip and Factory 93. During EDC Las Vegas, it becomes the exclusive stream for stereoBLOOM. IMPACT powers up with bass-heavy chaos, featuring dubstep, DnB, trap, and hardstyle. It takes over the wasteLAND stage live during EDC. LUCID delivers melodic techno, deep house, and trance, designed for fans of Dreamstate and Interstellar. It becomes your exclusive audio gateway to quantumVALLEY. Insomniac Radio also streams artist-led shows from top names like Hardwell, Martin Garrix, John Summit, and Illenium. You’ll even get live EDC Week club sets, including Chris Lorenzo at Marquee Dayclub on May 14, and Gorgon City at Hotel EDC on May 15. Download the Insomniac Radio app on iOS or Android now to join the experience. Official Livestream Schedule Announced Can’t make it to Vegas and missing the rave updates for EDC 2025? No worries, Insomniac has your back. Electric Daisy Carnival will broadcast live on Insomniac TV and YouTube starting Friday, May 16 at 6:45 PM PT. The livestream will cover kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN, and bassPOD. Viewers can tune in daily to catch exclusive performances from the world’s biggest electronic artists. Livestreams will run separately each day and are completely free on TV.Insomniac.com. Global start times have already been posted. So wherever you are, you’ll be able to catch the magic in real-time. EDC Vegas 2025 Livestream Start Times Las Vegas – Friday 6:45 PM PT Los Angeles – Friday 6:45 PM PT Seattle – Friday 6:45 PM PT Mexico City – Friday 7:45 PM CT Toronto – Friday 9:45 PM ET New York – Friday 9:45 PM ET Orlando – Friday 9:45 PM ET Sao Paulo – Friday 10:45 PM BRT London – Saturday 2:45 AM BST United Kingdom – Saturday 2:45 AM BST Madrid – Saturday 3:45 AM CEST Amsterdam – Saturday 3:45 AM CEST New Delhi – Saturday 7:15 AM IST Shanghai – Saturday 9:45 AM CST Hong Kong – Saturday 9:45 AM HKT Tokyo – Saturday 10:45 AM JST Seoul – Saturday 10:45 AM KST Sydney – Saturday 11:45 AM AEST EDC Colombia Announced for October 2026 Insomniac continues its global expansion with the official announcement of EDC Colombia, arriving October 2026 in Medellín. The festival will take place at the Unidad Deportiva Atanasio Girardot. This marks the next chapter in Insomniac’s journey, following successful editions in Mexico, Brazil, the UK, China, India, and South Korea. Pasquale Rotella, Insomniac’s Founder and CEO, confirmed the partnership with Páramo Presenta, promising to deliver an authentic and elevated experience. Fans can expect world-class stage designs, art installations, carnival rides, and local cultural elements. Stay tuned to EDCColombia.com for lineup and ticket details. See You Under the Electric Sky Whether you’re dancing in the heart of the Speedway or tuning in from across the world, EDC is more than a festival. It’s a community fueled by love, creativity, and connection. Every light, every beat, and every smile adds to the story we build together. As you step into the magic of EDC Las Vegas 2025, remember these updates and carry peace, love, unity, and respect in everything you do. Be kind to strangers, look out for one another, and share the moment. The energy you give is the energy you get. We’ll see you under the electric sky—together, as one. The post All Of The EDC Vegas 2025 Updates You Need To Know appeared first on EDMNOMAD. View the full article