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The highly anticipated Anyma remix of Dreamin by Dom Dolla featuring Daya is out now via Three Six Zero Recordings. In just a month’s time, the track soared through playlists and made it to the Super Bowl for Everything Always’s (Dom Dolla and John Summit) Royal Sonesta impromptu set in New Orleans. Dom even brought it out at EDC Mexico and his sold-out Madison Square Garden shows. So imagine my excitement when I heard this at the last slew of ANYMA’s The End of Genesys show at the Sphere in Las Vegas. It didn’t get much better than an epic show with an interstellar remix of my two favorite artists. ‘Dreamin‘ is originally a tech house track by Dom Dolla, featuring the vocals of Daya. The original track showcased Dolla’s signature groovy, minimalistic tech house vibe. So, Anyma, known for his melodic techno style, put his signature spin on the track. His remix transforms the song into a more powerful, melodic techno experience. It is characterized by a vibrating bassline, gargantuan synth melodies, and arena-sized kick drums. Hearing it on 16,000 speakers made it even better. Additionally, Daya’s haunting vocals fit well with Anyma’s sonic landscape, providing a consistent element between the original and the remix. We know a new album is in the works from Anyma, to be released around May. Catch him at Ultra Music Festival and Creamfields while we stay tuned for more new music from Matteo. Check out the remix below, available on all streaming platforms. Dom Dolla – Dreamin (feat. Daya) (Anyma Remix) | Buy/Stream The post Dom Dolla – Dreamin (feat. Daya) (Anyma Remix) appeared first on EDMTunes.

With Miami Music Week just one week away, the city is bracing for another round of marathon parties, sunrise sets and unforgettable moments. But this year, all eyes are on DMC, a new collaborative force bringing together a trio of powerhouse event organizers: Denver's Casa Alta, Miami's Third Eye Hospitality and Chicago’s DISKONECT. Each known for curating top-tier events in their respective cities, they have joined forces to raise the bar for Miami Music Week 2025. Their combined vision blends poolside debauchery, gritty open-air experiences and expertly curated lineups designed to keep the party going well into the night. At the center of it all is the debut of Toe Jam XL, an innovative dual-stage block party concept taking over the beloved Toe Jam Backlot in Wynwood’s Arts District. Its hotly anticipated debut runs Thursday, March 27th through Saturday, March 29th, launching with a special collaboration alongside the globally renowned Zamna brand. The weekend peaks Saturday night with British grime heavyweight Skepta headlining what promises to be one of the week's most electric performances. But that’s just the beginning. DMC’s full Miami Music Week programming spans Wednesday, March 26th through Sunday, March 30th with a stacked lineup featuring Chris Lake, John Summit, Gorgon City and many more. For a full breakdown of this year's events during Miami Music Week, check out our comprehensive guide.

After conquering the world's most talked-about stage within the Vegas Sphere's inner sanctum, Massano is ready to release his debut album. The young DJ and producer has been on a tear lately, with a recent DJ set in support of Anyma's historic Sphere residency as well as upcoming performances at Coachella and Ultra Music Festival. He also recently closed 2024 with the release of one of the year's biggest techno records, "Angel In The Dark," alongside Anyma and Nathan Nicholson. Melodic techno fans will soon be able to fully embrace the spring with the release of Natural, Massano's debut album. Earlier in the week, he paused his four-hour set in London to announce the new album to fans in his home country, displaying its title as well as its release date of April 25th. Natural will feature "never-before-heard records and collaborations as well as the artist's biggest released records to date," according to a press release. Natural is set to release via his own label, Simulate Recordings. Massano has not shared a tracklist or list of collaborators at the time of this writing. Follow Massano:Instagram: instagram.com/massanomusic TikTok: tiktok.com/@massanomusic X: x.com/massanomusic Facebook: facebook.com/massanomusic Spotify: bit.ly/3FNP8Tk

Memorial Day weekend festivities are one major highlight everyone in the U.S. looks forward to every year. Unfortunately, this year, Summer Camp will not be holding its Memorial Day event this May. The team made this decision because they felt that they would not be able to put together an event that would live up to their brand. Factors such as the state of the music festival industry, artist conflicts, and more led them to cancel Summer Camp 2025. Don’t let this bring you down too much, Summer Camp will return in 2026 for its big 25th anniversary. But for 2025, they will host a series of shows throughout the summer at Peoria Riverfront as a prequel to next year. There will be five shows happening on June 20th, June 26th, July 17th, August 6th, and August 15th. The post Summer Camp is Not Happening This Year appeared first on EDMTunes.

It’s been a while, but the Trance trio is back for yet another of their masterpieces. There’s few things I’ve ever left unsaid about Above & Beyond. Of course I’m a huge fan of them and their music, but I always stand speechless when trying to digest how large of a concept they’ve created, harvested and changed peoples’ lives with: Anjuna, and the concept of the Anjunafamily. And after a quarter of a century of A&B, it feels absolutely fitting that their next studio album, announced today, touches upon this topic. Somehow, Above & Beyond isn’t above them anymore. It’s about what surrounds them, their music and their shows. It’s about that magic that unfolds whenever they’re brought up. Quite fittingly, Above & Beyond is Bigger Than All Of Us. Bigger Than All Of Us Seven years ago we’d see the release of Common Ground, the last Electronic album of the band for a while. Granted, certain things happened in the history of mankind that delayed all projects for all of us, while opening the doors to new, exciting ventures. Jono partnered with his longtime pal and collaborator Darren Tate to form JODA, focusing on Synthwave and 80s-inspired music, Paavo relaunched his P.O.S solo moniker and released an entire album written while figuring out what a strange life we’d been living, and Tony unearthed Salt, an album written for the most part even before Above & Beyond was born. And while all of this is impressive and can only show how big of a musician each part is on their own, fans were still waiting for that studio album that got lost to time. The Tranquility Base EPs are lovely, but they’re a branch of A&B. And maybe, just maybe, all of this time, all these years and new experiences, make this upcoming album even stronger and more powerful than they always are. This album is us appreciating how amazing this thing we have is. The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It’s not about any of us individually. When we all work together to make something happen, something bigger happens. -Above & Beyond A celebration of their get-togetherness, the delivery of Bigger Than All Of Us feels like the spiritual comeback of the essential Above & Beyond. A reconnection of sorts. The next chapter of three blokes who, without knowing at first and fully willingly now, change peoples’ lives through music. And the first single to be lifted is equally as potent — ‘Quicksand’, alongside Zoë Johnston, coming out this very Friday. ‘Quicksand’ “It’s classic Zoë Johnston“, the band say. “We’ve been working with her for 22 years, so she’s a part of the band. By that token, a song with her vocals is a very reassuring thing for our audience. It says: Above & Beyond are back, in a very recognizable form“. You will have heard it at ABGT600, since it was arguably the most emotional track of the entire night. Zoë, the angelical voice in charge of the sung magic behind ‘Quicksand’, says: “I think most of us can relate to that feeling of desperation and dread when it comes to losing someone we love so deeply. The despair can be massive when you’re watching the grief rattle down the track toward you for quite some time before the moment of impact actually happens. Disappearing into quicksand. It’s scary, it hurts, and it’s lonely. Hopefully, a song like this will make anyone going through the pain of a seismic loss feel a little bit less alone“. Bigger Than All Of Us, the new album from Above & Beyond, will be released on July 18 on Anjunabeats. The album is available to pre-order on vinyl and CD, limited edition coloured vinyl, and picture disc via the Anjuna Music Store. Pre-order the Vinyl, CD, and limited merch bundles right here. And someone please send me online shop recommendations for tissues, because I anticipate I’ll need to be fully stacked up by July. I’m already a bit teary-eyed. The post Above & Beyond Announce New Artist Album, Bigger Than All Of Us appeared first on EDMTunes.

Above & Beyond are set to make their long-awaited return with their fifth studio album, Bigger Than All Of Us, their first in seven years. The influential trance trio comprising Jono Grant, Paavo Siljamäki and Tony McGuinness will release the album's first single, "Quicksand (Don't Go)" on March 21st. The track marks a return to the group's roots and is being touted as "the comeback of Above & Beyond," according to a press release shared with EDM.com. During their time away from collective album projects, the members pursued individual creative endeavors. Grant collaborated with Darren Tate on the synthwave project JODA, Siljamäki released his stunning Deeper Tales album under his P.O.S. alias and McGuinness produced an album of his own, Salt. Luke Dyson "Quicksand (Don't Go)" debuted during Above & Beyond's sold-out Group Therapy 600 broadcast in Mexico last October. The record reunites them with longtime collaborator Zoë Johnston, who has been working with the band for 22 years as the voice behind a slew of their most prized anthems, like "Love Is Not Enough" and "We're All We Need." "It's classic Zoë Johnston," the band stated. "A song with her vocals is a very reassuring thing for our audience. It says: Above & Beyond are back, in a very recognizable form." The new single is one of a number of collaborations promised for Bigger Than All Of Us. Above & Beyond teased that the album will feature both familiar collaborators and "new storytellers." "This album is us appreciating how amazing this thing we have is," the group said in a joint statement. "The realization of how lucky we are that we get to be part of something like this for 25 years, and to have built a community that cares for each other in the way it does. It's not about any of us individually. When we all work together to make something happen, something bigger happens." Bigger Than All Of Us is scheduled to release July 18th via Above & Beyond's record label, Anjunabeats. Fans can now pre-order vinyl, CD and limited merch bundles. Follow Above & Beyond:Instagram: instagram.com/aboveandbeyond X: x.com/aboveandbeyond TikTok: tiktok.com/@aboveandbeyondofficial Facebook: facebook.com/aboveandbeyond Spotify: spoti.fi/3fHhX1z

It’s that special time of year again. When we eagerly anticipate the transformation of our calendars and embrace Lane 8’s anticipated seasonal mixtape. As the world comes alive in spring this March, Lane 8 fans can immerse themselves in three hours of the enchanting 2025 Spring Mixtape. Debuting today on This Never Happened, this cherished tradition has united listeners for over a decade. As always promising an unforgettable musical journey that captures the essence of the season. ‘I have Made you a mixtape’ – Lane 8 Spring 2025 Mixtape Do those five words ever lose their charm? Not for me, they represent an exciting anticipation that I eagerly embrace every quarter. The 2025 Spring Mixtape is a thrilling journey, packed with 16 captivating IDs. These IDs always leave us guessing on which tracks are unreleased gems from Lane 8, exclusive demos, and upcoming releases from TNH. Immerse yourself for 2 hours and 49 minutes with TNH favorites like Massane, Ocula, and Paraleven. The IDs may feature fresh sounds from rising talents such as Departure, Embrz and Myrne, alongside the enchanting Nora En Pure. Plus, you’ll recognize voices like Tailor that bring an added touch of familiarity. If you were fortunate to catch Lane 8 earlier this year, whether at his newly launched Childish Tour in the US or the unforgettable We Belong Here event, these IDs will resonate with you in profound and exciting ways. As passionate fans, we thrive on engaging discussions on Reddit and Discord about the mixtape tracklists. Daniel takes us on a transformative journey filled with uplifting melodies, poignant moments, and cinematic soundscapes. Enriching the 2025 mixtape are renowned artists such as Dusky, Jamie xx, Maribou State, Monkey Safari, Qrion, Sébastien Léger, Steve Angello, Tinlicker, and many more. Plus, enjoy energetic remixes from the beloved Childish album that keep your spirits high. This mixtape series not only uncovers hidden gems from emerging artists but also introduces you to captivating music you never knew you needed. Childish Tour If you’re a fan of EDMTunes, then you know I am an advocate of Lane 8 and the This Never Happened concept. I’ll be on the lookout for new tracks at all his shows. And trust me, you won’t want to miss this opportunity. If you haven’t yet had the chance to see Lane 8 perform live, I can’t urge you enough to do so. The TNH concept is a transformative part of his shows that immerses you in the moment. The whole no phones, no videos, just pure, unadulterated music and connection is unreal. This spring, Daniel is bringing his Childish tour to North America, and I highly recommend you secure your tickets here. The post Welcome Beautiful Spring 2025 With Lane 8’s Seasonal Mixtape appeared first on EDMTunes.

Miami Music Week is a breeding ground for innovation, and no one embodies that spirit more than BLNK CNVS. Born out of the beloved Life In Color events, BLNK CNVS rebranded to redefine their scope far beyond paint parties, setting their sights on innovating Miami’s electronic music scene. What started as a single series of events during Miami Music Week has now evolved into one of the most dominant promotion powerhouses in the Southeast, organizing nearly 30 events during this year's edition alone. "The core values for BLNK CNVS really come down to curating incredible experiences for fans by booking the best talent and providing the highest level of production," BLNK CNVS co-founder Paul Reed tells EDM.com. "We want to do things right and make sure fans have the time of their life no matter which of our seven venues you are in for MMW." "We always try and do the right thing," adds co-founder Eric Fuller. "I've been doing shows and events in Florida for nearly 15 years and our team has years of experience in Florida, especially Miami where many of us were a part of Life In Color. It's not easy to do this many events in a week, but those years of experience in the market have allowed us to put the proper team together to execute." BLNK CNVS has been behind some of the summit's biggest performances in recent years, like the first-ever b2b set between Zeds Dead and Subtronics, the debut Kaskade b2b Alison Wonderland performance, the first U.S. appearance for Third Party since 2017 with Audien, and the first open-to-close set with Markus Schulz. The brand also ushered in the beloved Brownies & Lemonade parties in Miami. One early watershed moment to which Reed points is the first-ever b2b DJ set between Adam Beyer and Cirez D (an alias of Eric Prydz, back in 2018 at Miami's Soho Studios. "The show sold out so fast we thought the ticketing broke," he recalls. Old-timers are still talking about it." BLNK CNVS Beyond Miami, BLNK CNVS is expanding its footprint across the Southeast. They’ve formed strategic partnerships with major venues like Decca Live in Jacksonville and Celine Nightclub in Orlando, further strengthening their presence in Florida. Additionally, their influence now reaches Nashville after the successful launch of their NYE party "To The Future," showcasing their commitment to shaping the next era of live music events. "Opening venues and expanding to new markets outside of South Florida really came out of necessity and acting on opportunities," Fuller explains. "We are an independent company and prior to Covid I really started to think about where dance music was headed. The reality is: to be an independent dance music promoter is pretty much impossible today. So while we have expanded the BLNK CNVS brand, I'm really most proud that we have taken our years of knowledge, connections and experience, and been able to apply that to new opportunities and ventures." This year’s MMW is no different. Kicking off next week, BLNK CNVS will host 29 official parties at Nautilus Sonesta Hotel, MAD Club, Wynwood Marketplace Mana 320, and Surfcomber Hotel. Attendees can look forward to the Prodigy Welcome Party on Wednesday and Tape B Block Party on Thursday afternoon followed by a massive Deadbeats vs. Cyclops Recordings throwdown on Thursday night, a hotly anticipated Brownies & Lemonade showcase on Friday, Anjunadeep Open Air party on Saturday, an all-night drum & bass celebration on Sunday, and more. With a vision of being a true blank canvas for innovative experiences, BLNK CNVS continues to redefine nightlife in the Magic City. For more information and tickets to BLNK CNVS' Miami Music Week 2025 events, navigate here. Follow BLNK CNVS:X: x.com/blnkcnvspres Instagram: instagram.com/blnkcnvspresents TikTok: tiktok.com/@blnkcnvs Facebook: facebook.com/blnkcnvspresents

Yuuki Yoshiyama has long been a fixture in Japan’s electronic music sector, but his influence now extends well beyond its borders. A veteran of nearly three decades in music, events and business development, he has become a pivotal figure in shaping the country’s nightlife and entertainment economy. Currently Music & Entertainment Director at W Osaka, Yoshiyama also advises across industries—consulting for over 30 companies across hospitality, art, blockchain and UHNW services—cementing his role as a linchpin of Japan’s evolving cultural and business ecosystem. Yoshiyama's roots in electronic music go back to 1996, when he launched his artist project. He blossomed into an accomplished DJ and music producer, performing across 15 countries from the US and UK to Thailand and Indonesia. Flexing his versatility behind the decks, he's shifted between house, techno and trance, a fluidity that earned him support slots for electronic music heavyweights like Eric Prydz, FISHER and MEDUZA. More recently in 2018 and 2019, Yoshiyama became the only Japanese artist to play EDC Las Vegas, delivering standout performances at one of the world's largest EDM festivals. And on the music production side, tracks like "Trickster" (a Top 10 hit on Traxsource) and "Rise Up" (released on Mark Knight's iconic Toolroom Records) have reinforced his status as a global dancefloor tastemaker. But Yoshiyama’s footprint is far greater than his DJ booth. As Executive Director of EDC Japan from 2017-2019, he helped import the Insomniac brand to a domestic audience of 250,000. More recently, he has steered GMO SONIC, Japan's largest arena-based electronic music festival, drawing over 120,000 fans in three years with lineups featuring Skrillex, Zedd, Martin Garrix and Peggy Gou. Where Japan's nightlife goes next remains to be seen, but one thing is certain: as Yoshiyama's legacy continues to take shape, his name remains etched in its DNA.

Hï Ibiza, widely regarded as the world's premier nightclub, has announced an exclusive partnership with John Summit for a brief but anticipated summer residency. The Chicago-born electronic music superstar is set to headline two Friday shows in the venue's celebrated Theatre space on June 20th and 27th. The short-term residency will operate under Summit's Experts Only brand, which was recently named by EDM.com as one of 2024's top industry leaders. Through his record label of the same name, Summit has cultivated a reputation for identifying and championing the next generation of dance music producers. Summit has become one of the electronic music scene's most compelling success stories in recent years, making his Hï Ibiza engagement a natural progression. His performances are expected to showcase his distinctive musical approach, a blend of high-energy dance anthems with more nuanced underground house sensibilities. Meanwhile at Hï Ibiza, the announcement adds further prestige to the venue's already robust 2025 summer programming schedule. Swedish electronic music icon Eric Prydz recently announced [CELL], a groundbreaking new live show debuting at Hï. Other 2025 residents include house music superstars Dom Dolla and Black Coffee. Tickets to Summit's Experts Only shows at Hï are available now at the venue's website. View the original article to see embedded media. Follow John Summit:X: x.com/johnsummit Instagram: instagram.com/johnsummit TikTok: tiktok.com/@johnsummit Facebook: facebook.com/itsjohnsummit Spotify: spoti.fi/3oVz7hG Follow Experts Only:X: x.com/expertsonly Instagram: instagram.com/expertsonly TikTok: tiktok.com/@expertsonlyrecs Facebook: facebook.com/expertsonlyrec Follow Hï Ibiza:X: x.com/hiibizaofficial Instagram: instagram.com/hiibizaofficial TikTok: tiktok.com/@hiibiza Facebook: facebook.com/hi.ibiza

Dance music icon David Guetta is bringing his massive "Monolith Tour" to Baltic and Scandinavian audiences for the first time, marking the "biggest dance music show in the region's history," according to a press release shared with EDM.com. Guetta is set to take over Estonia's Tallinn Song Festival Grounds, the region’s largest outdoor live music venue, on August 23rd, 2025. The show will be the only performance for the chart-topping DJ in the Baltic region, making it a highly anticipated event for electronic dance music fans across Estonia, Latvia, Lithuania, Finland, Sweden, Denmark and Norway. Guetta, the mastermind behind generational dance anthems like "Titanium" and "Without You," needs no introduction. With collaborations with pop icons like Sia, Rihanna and Justin Bieber, he's played an instrumental role in helping EDM cross global borders and has headlined some of the world's biggest festivals, including Ultra, EDC and Tomorrowland. He will also bring "The Monolith" to Marseille and Dusseldorf this summer, showcasing his largest and most ambitious audiovisual production yet. It promises "an unprecedentedly powerful audiovisual experience, combining top-tier lighting, sound and visual effects," per the press release. Tickets are available for purchase here. Follow David Guetta:X: x.com/davidguetta Instagram: instagram.com/davidguetta TikTok: tiktok.com/@davidguetta Facebook: facebook.com/davidguetta Spotify: spoti.fi/3fHbpAC

Carl Cox is giving us a treat with a new fully live show. Set to initiate the Resistance stage on fire, the world-renowned DJ is to debut the live show at Ultra Music Festival’s 25th Anniversary this March. Evolution will be a show like no other. It will recreate tracks from scratch with an arsenal of drum machines, sequencers, and synthesizers. It will not only be a spectacle but a connection-building showcase featuring Carl Cox’s brilliant live mixes. By stripping away the lavishness of regular shows, Evolution will put the focus directly on the magic of experiencing music at its rawest form. Evolution: What to Expect This new live show will feature all the raw components of music creation. From drums to bass, melodies to lighting, Carl Cox will be curating every aspect. As Carl takes you on a powerfully organic journey through music, be prepared to unplug and set all expectations aside. This delectable performance will allow festical goers to connect to the dancefloor and experience every emotion unlike anything seen before. “With Evolution, I want to take people on a journey, a unified moment in time that will never happen the same way ever again. I want each person to know and feel when we ‘Evolve’ together, it’s just you, me and the dancefloor.” – Carl Cox As we know, Ulta Music Festival has been the stage for many creative endevours in the electronic music scene. It is only fitting that this new chapter of Carl Cox’s Evolution is debuting for the aniversary of this festival. His legendary performances, mainly in the Resistance Stage, have become a focal point for those seeking a deep underground sound. The sets are always immersive and unique and have created a dedicated following. His extended sets display technical prowess and deep musical knowledge and is known to use cutting edge technology. His long term presence at Ultra has made him an integral part of the festivals historyIn essence, Carl Cox’s Ultra Music Festival performances are more than just DJ sets; they’re immersive experiences that reflect his passion, skill, and dedication to electronic music. Carl Cox’s Evolution and New Chapter Carl Cox is a force to be praised by both new and old fans as one of the most influential figures in electronic dance music and a career spaning decades. The Manchester native DJ made a name for himself in the late 80s and 90s in the UK’s burgeoning rave scene by using early musical influences such as soul, funk, and disco. Consequently, he played at iconic clubs and events, contributing to the development of the house and techno genres. To this day he has remained a driving force in the electronic music community. In fact, he is known for his use of live mixing, and has been an innovator in the use of new equipment, and techniques, to give his live preformances a unique and dynamic sound. Cox has always been at the forefront of using new technology for live performances. For this reason, he has surpassed the role of DJ and producer. We cannot wait to see what this Evolution of Carl brings to next phase. The post Get ready for Carl Cox’s New Live Show: Evolution appeared first on EDMTunes.

Indie-rock stars Foster the People have been making noise in an unexpected new space lately: dubstep. The band recently stepped behind the decks for a surprise afterparty DJ set, in which they dropped dubstep records like Taiki Nulight's hit remix of Hamdi’s "Counting." Videos of the performance have surfaced on social media and Foster the People are now leaning into the idea of more: "We started doing afters on tour… and now we want to keep them going. Where should we go next?" Subtronics, known for his own wonky dubstep tracks, commented on the band's video, showing support and surprise at the band's new direction. Even Shaquille O'Neal, who produces and performs electronic music as DJ Diesel, commented: "This is my formal invitation for y'all to play a Shaq’s Bass All-Stars event. You’re gonna love it." Recent videos show Foster the People playing DJ sets in Philly, Mexico City and at Brooklyn’s Public Records. The performances, which included tracks like 4B and Viperactive's "Throw It Back," showcased a much different musical range from the band, proving their versatility beyond indie hits like "Sit Next to Me." The burning question on fans' minds: will Foster the People bring their new DJ persona to afters at upcoming summer festivals like Bonnaroo and Lollapalooza? If their recent foray and fan feedback are any indication, it seems likely. You can watch the band's video below. View the original article to see embedded media. Follow Foster the People:X: x.com/fosterthepeople TikTok: tiktok.com/@fosterthepeople Instagram: instagram.com/fosterthepeople Facebook: facebook.com/fosterthepeople Spotify: spoti.fi/3qrnD5p

Chicago’s famed Lollapalooza is returning to Grant Park with a massive lineup of global superstars and dance music favorites alike in 2025. This year's headliners include RÜFÜS DU SOL, Sabrina Carpenter, Korn and Doechii, among others. Lollapalooza has long been known for its multi-genre appeal, and this year is no exception. Electronic music fans can look forward to sets from Dom Dolla, Knock2, ISOxo, Gryffin, Martin Garrix, Mau P, Azzecca, Barry Can’t Swim, Sammy Virji, Tape B, Cloonee, Levity, Chase & Status, Flux Pavilion and more from July 31st to August 3rd. Beyond dance music, the festival’s lineup highlights acts spanning rock, pop, hip-hop and indie. Attendees in 2025 can catch performances from Cage the Elephant, Clairo, T-Pain, Still Woozy, Remi Wolf, Marina and many more. This year’s lineup also features a series of firsts. Olivia Rodrigo will make her Lollapalooza Chicago debut while Luke Combs becomes the festival’s first-ever country closing headliner, and TWICE will be the first female K-pop group to headline. A pre-sale is scheduled to start Thursday, March 20th at 10am CT. You can register for access here and check out the full lineup below. Lollapalooza Follow Lollapalooza:Instagram: instagram.com/lollapalooza X: x.com/lollapalooza TikTok: tiktok.com/@lollapalooza Facebook: facebook.com/lollapalooza TikTok: tiktok.com/@lollapalooza

ALLEYCVT is back with a new track, "STRANGERS," a battle cry for those trying to move on from their pain. It's the first single of the year for the rising electronic music star, who was recently named to the EDM.com Class of 2025 alongside Tape B, Max Styler and others. "STRANGERS" begins with haunting keys beneath moody synths as her powerful vocals take the fore, ultimately leading into a seismic, pounding dubstep drop. The final result is another anthemic offering from ALLEYCVT, whose blend of emotive songwriting and heavy-hitting production has catapulted her as one of the most electrifying up-and-comers in the bass music world. She said she wants her fans to find their own meaning in the lyrics of "STRANGERS," which she characterized as harnessing "endless" interpretations. "It could be about not recognizing yourself anymore for whatever reason, and reflecting on that," ALLEYCVT said in a statement. "It also could be about another person that you once knew, that now feels like a stranger. A breakup, addiction, giving too much of yourself to somebody or something… The limits are endless and I want everyone to interpret the song in a way that speaks to them." We recently caught up with the triple-threat DJ, producer and singer-songwriter for an intimate interview to discuss the highs of lows of her breakneck rise and journey to performing on some of the world's biggest festival stages. She also revealed the impending release of her debut EP, FEEL IT. Listen to "STRANGERS" below and find the new single on streaming platforms here. Follow ALLEYCVT:X: x.com/itsalleycvt TikTok: tiktok.com/@alleycvt Instagram: instagram.com/alleycvt Facebook: facebook.com/alleycat Spotify: tinyurl.com/mr3fz8b3

Following on from his remarkable 10th anniversary tour, San Holo has now released the ‘What Is Life?’ documentary looking back on the last 10 years of his career and how he got to where he is now. The documentary offers a very personal look into San Holo’s very intimate relationship with music as he explains how it’s been his way of finding truth and purpose in life. Through footage of early shows, the making of albums, and all the in between moments ‘What Is Life?’ gives fans the opportunity to see deeper into the kind of person San is. Listening to him talk about his connection with music starts to give an understanding for his style and way of life. Tracking his journey from his first tour of America, to releasing his incredible debut album ‘Album1’, to where he is now you get to see all the milestones of his career through the documentary. This immense journey through his career and music displays the wild creativity that San Holo has as well as the amount of heart he pours into every song. The development from DJing on his first tour to doing an acoustic, DJ, and live set on his 10th anniversary tour shows how he has found his truth through his connection with music. For anyone who’s a fan of San Holo this is a must watch documentary while for those who are yet unaware of him it’s an opportunity to learn about his amazing music and personality. San has expressed this 10-year mark as the end of the first chapter so now it’s time to look forward to chapter 2 and whatever may come with it. You can watch ‘What Is Life?’ through the link below: https://youtu.be/Hhecxx5BIiA?si=PiXRJn106M5zH1xN: San Holo Releases 10th Anniversary Documentary ‘What Is Life?’

Officials found that just 20 out of 50 venues inspected across the country this week held "valid licenses" Continue reading...

The Trance gods have spoken. EDC Las Vegas is less than two months away and more and more surprises continue to flow in. Just as he announced a special extended set at Coachella’s Quasar Stage, Dutch EDM Veteran Tiësto will perform a special In Search of Sunrise set in the Nevada Desert for this year’s Electric Daisy Carnival. The Insomniac Festival will take place May 16-18. The In Search Of Sunrise compilation is a highly acclaimed Trance series curated by Tiësto, dating back to 1999. Now with multiple volumes and editions, it is a staple of Tiësto’s formative years. In Search Of Sunrise The DJ and producer has definitely focused more on upcycling his older sounds in the last few months. In January, he made his Sphere Debut in Las Vegas. Then, he made his Club Space return from a 10+ year hiatus. Both times he catered to a more progressive and melodic sound, inspired by the In Search of Sunrise Mix series. Nonetheless, he is still playing tons of new tracks to involve a younger crowd while still targeting his long-time fans. The artist is keeping busy as he will also play a solo extended set at Coachella’s Quasar Stage on Weekend 1. Quasar is the newest stage at the Goldenvoice festival, which debuted last year. The stage specializes in extended-format sets that target Dance fans. Other DJs that will play the Quasar Stage this year include Gorgon City, Testpilot, Zhu, and Salute. More of Tiësto One of EDM greatest DJs, he continuosly sets the tone with his sounds. From Trance, to the Mainstage of various world-known festivals, Tiësto is a Grammy-winning, multi-platinum icon. His experience has allowed him to continuosly raise the bar for artists. Moreover, he influences into mainstream media with collaborations with artists such as Karol G, Ava Max, Kim Petras, and more. The post Tiesto Will Close EDC Vegas With In Search of Sunrise Set appeared first on EDMTunes.

Brazilian superstar Mochakk announced the first-ever “Mochakk Calling Festival.” This will be the first time that his popular event series has been turned into a full-on musical journey that will take place this summer on Malta’s sunny shores. This intimate two-day festival, set against the stunning Mediterranean, is sure to become a must-see for electronic music fans, with a carefully chosen cast that covers the emotional and sonic range of the genre. The festival, which is set for July 26–27, 2025, is more than just another event in the summer calendar; it’s the conclusion of Mochakk’s meteoric rise and the turning of his vision into a real, immersive experience. The large outdoor space picked for this event, Ta’ Qali, will become a temporary autonomous zone where the lines between artist and audience blur under the Mediterranean stars. The festival is intentionally limited to 5,000 people, which creates a level of closeness that isn’t common in electronic music today. This produces the kind of real connection that has become Mochakk’s trademark at all of his sold-out global events. The lineup for the event is like an emotional trip through the hottest currents in electronic music: Bonobo‘s transcendent, atmospheric compositions will talk to Seth Troxler‘s raw, underground sounds. Honey Dijon‘s pulsing house beats will mix with Mall Grab‘s textures that don’t fit into any one genre. The event also has a unique, experimental back-to-back set by Mochakk and DJ Swisha, an experimental producer. Their work together is sure to create new soundscapes. Other big names at the festival are Dixon, whose hypnotic progressions have defined a generation of dance floors, Desiree, whose emotive choices keep making her famous, and Todd Terje, whose disco-infused productions bring happy memories of the past into the present. The post Mochakk unveils groundbraking festival “Mochakk Calling Festival” appeared first on The Groove Cartel.

Black Sound London is open now, on display until July 19 Continue reading...

Every Tuesday, Milan’s iconic Bobino Club transforms into a vibrant haven for music lovers with Contatto, a night that starts at 7 PM with an aperitif and dinner (reservations required) and continues into the evening with a diverse musical journey. The event is led by Milanese DJ and producer Sandro Bani, whose eclectic style has made him a key figure in the city’s nightlife scene. Since 2019, Bani has been the resident DJ at Bobino, bringing his signature cross-genre sound to the club each week. Known for his ability to surprise the dancefloor, Sandro blends a range of styles, effortlessly shifting the energy to match the vibe of the crowd. His sets and releases reflect his love for diversity, often introducing clubbers to new sounds they didn’t even know they were craving. Sandro’s DJ career spans over 15 years, starting in 2005, with performances across Europe in some of the continent’s most renowned venues. From the vibrant clubs of Barcelona like The Room to legendary Croatian hotspots such as Noa Beach Club, Papaya, and Kalypso, Sandro has made a mark on the global dance music scene. He has also graced the decks at Ibiza’s Tantra and is a regular headliner at the Zrce Spring Break Festival in Croatia, where he’s been a resident since 2017. Additionally, Sandro has played at exclusive spots such as Aprés Ski Snowbar Ruacia in Selva di Val Gardena, and shared stages with industry giants like Fedde Le Grand, NERVO, R3HAB, DJ Sneak, and Brennan Heart. Sandro’s versatility also extends beyond the club scene. His unique musical style has led him to perform at prestigious fashion shows for Armani, Moschino, JOEONE, and Elisabetta Franchi, blending high fashion with the world of dance music. As a producer, Sandro Bani has released tracks with major labels like Spinnin’ Records, Ultra Records, X-Energy, d:vision, and Blanco Y Negro. In 2018, he co-founded the Jackpot Records label with his friend and collaborator Davide Svezza. The label’s mission is to bring together the world of house music, uniting producers and DJs from across the globe and creating a platform for innovative ideas in radio, clubs, and festivals. Their latest compilation, The Best of Deep & Tech House, was released on January 3, 2025, showcasing the best of what the duo and the label have to offer. If you’re in Milan on a Tuesday, Contatto at Bobino is a night that shouldn’t be missed – an unrelenting celebration of music, energy, and the art of DJing. The post Contatto: Milan’s Unmissable Tuesday Night at Bobino Club appeared first on Electric Mode.

Emergency Chill Clinic is an immersive experience made for post-rave “decompression” Continue reading...

Workforce returns with ‘Nothing Iz Sacred’ – an LP that both embraces and pushes against the evolving landscape of drum & bass. Released on his own imprint, Must Make Music, it delivers eight tracks that sit at the typical 174 BPM, but veer into some atypical sounds and production – all while subtly challenging the constraints of modern music consumption. This project marks a shift from his 2022 album ‘Set & Setting’, which was deeply considered, interwoven with interludes, and sculpted during lockdowns when clubs were closed. Now, in a post-COVID world, Jack Stevens is a father, a seasoned label owner, and an artist with less time for overthinking and over-tinkering. There’s no meticulous sequencing here, no endless tweaking – just raw, focused expression, free from self-imposed perfectionism. That mindset fuels the title, ‘Nothing Iz Sacred’ – a reflection on how streaming, algorithmic curation, and even AI-generated music have reshaped listeners’ relationships with art. Music doesn’t linger like it used to. In the interview, Stevens recalls ‘The View’ by LSB, DRS & Tyler Daley as the last drum & bass track to truly resonate across the entire scene. Can a track still do that today? If any from this project could, it’s Falling Down – a soulful collaboration with Tyler Daley and pianist Ed Zuccollo, born from a chance encounter and stitched together in an organic, instinctive way. The LP as a whole is a masterclass in balance – abrasion and groove, rawness and warmth, structure and spontaneity, and a dark tension held throughout. Guest vocals from Bobbie Johnson and Tamara Blessa lavishly reinforce the moody foundations, while Leroy Horns returns to infuse the record with textured brass. And while this project is more direct than its predecessor, the LP format still gives Stevens room to explore ideas beyond what would fit on a single or EP – rewarding those who engage with his music on a deeper level. While ‘Nothing Iz Sacred’ embraces creative freedom, it also reflects Stevens’ shifting perspective on what success means in 2025. In an era where streams often dictate an artist’s trajectory, he remains focused on deeper connections – both with listeners and with the artists he supports through his label. He’s selective about his releases and his approach to events – and he’s got no interested in chasing trends. As the interview reveals, this isn’t about playing the DSP game – it’s about making music that hopefully resonates beyond the moment. Last time UKF spoke with you, it was about ‘Set & Setting’ in 2022. How has life been since then? I put so much into ‘Set & Setting’ that I struggled to find the energy to dive back into the studio afterward. I’m not someone who likes to rinse and repeat what I’ve done before – there’s always going to be a core DNA to my music since it’s all within drum & bass, but I want each project to feel fresh. After ‘Set & Setting’, I worked on the ‘Echoes’ project, which was essentially a collection of tracks that didn’t quite make the album. Once that was out, I hit a bit of a creative block – there was a lot going on, like moving studios and just life in general. This new album, though, kind of came together naturally. I wasn’t overthinking it; the ideas just started flowing again. Having my son nearly a year ago has also been a huge motivator – it’s made me much more focused with the time I have. Most of the music was finished before he was born, and since then, it’s been about finding the right moments to handle the artwork and animation in between everything else. It sounds like completely different ways of making albums. ‘Set & Setting’ you were locked in a room basically, whereas ‘Nothing Iz Sacred’ feels a bit more like… a healthy headspace, would you say? I think they’re just different. When I was making ‘Set & Setting’, it started in 2020, and it came out in 2022. There were no clubs at the time, so I just wrote whatever I wanted, with no external pressure. Because there were no gigs, I could work nights, Monday to Friday, and just treat it like a regular creative process – go in, make music, and see what happened. COVID was a strange time, but in some ways, it gave me the freedom to experiment. Since I’m self-employed, I was eligible for government subsidies, plus I could still sell merch, so financially, I was comfortable enough to focus purely on creativity. This new album, though, was a different challenge. A big part of that was adjusting back to normality – clubs were open again, gigs were happening, and the landscape had shifted. But also, ‘Set & Setting’ felt like my first true Workforce album. Even though I’d done longer projects before, like the ‘Late Night Soundtrack’ and ‘Your Moves’ on Exit, this was the first one where I consciously tried to build a full album – interludes, themes, and a cohesive journey. By the time it was done, I was totally drained. I’d put everything into it, and stepping away from the ideas that consumed me during that period felt strange, almost sad, because I’d been so invested in them. After an album like that, it’s hard not to feel exhausted and unsure about what comes next. So this project felt less exhausting than Set & Setting? Not really – I don’t think it’s about exhaustion as much as intent. This one just came together naturally. But at the same time, there are tracks on it that wouldn’t exist if I didn’t work on long-form projects. Or maybe they would exist, but they wouldn’t necessarily get released. There’s a certain type of weird music I enjoy making that just doesn’t work as a standalone single. If I were only releasing singles, those tracks would never see the light of day. So in that sense, the album format feels necessary – it allows me to showcase a broader spectrum of what I like to create. Did writing an album give you more freedom to experiment, rather than focusing on singles that need to stand out? With this project, and others more recently, I’ve been trying not to overthink. My natural tendency is to overanalyze everything, but you can’t always think your way out of creative challenges. ‘Set & Setting’ was exhausting because it was so considered and meticulous, but I’m proud of the result. That said, it took a toll – on my energy, my mental health, even my ability to interact with people. I pushed myself too hard. Now, I still love making music, but I’m trying to find a better balance. Maybe at some point, I’ll feel like diving into another exhaustive, conceptual project, but right now, I just want to write music across a broad spectrum and put it together in a longer format – without it needing to feel like a front-to-back album experience. It’s more like what I did with ‘Late Night Soundtrack’ – a collection of tracks that work together but still stand individually. I guess I just approached this one differently. Or maybe I didn’t think about it at all. Your last album had clear statements woven throughout – whether literally or thematically. This one seems to have that too. Can you talk about the message behind it? Yeah, I think a big part of my frustration after ‘Set & Setting’ was that I put so much into it, but I’m at odds with a culture that doesn’t really foster or appreciate long-form projects like albums. There are obviously people who do, but on the whole, we’ve been conditioned to consume music in a way that’s more transient. Stuff comes out, disappears, and doesn’t really connect with people on a deeper level. I don’t know if that’s just the nature of DSPs or something bigger, but there’s definitely a shift in how music is valued. There’s a Rick Rubin quote that resonated with me – he talks about how artistic expression isn’t something that can be judged as ‘right’ or ‘wrong’. It’s just a reflection of the artist, like a diary entry. That idea runs through the album. It’s still just drum & bass, but I like weaving in broader concepts and letting them sit there subtly, rather than making an overly pointed statement. The title ‘Nothing Iz Sacred’ is a reflection of that throwaway culture. And that’s why I asked when this interview is going out – because a week before the album drops, I’m releasing an alternate version called the ‘Distorted Unlistenable Version’. It’s the entire album, but completely destroyed – distorted beyond recognition, to the point where it sounds awful. Interesting… It’s basically a comment on how music is treated. If platforms, consumers, and even artists don’t respect music as an art form, then why not just put out trash? Why not deliver something in a format that reflects how disposable everything has become? It’s not even me saying that’s objectively true – it’s more of a provocation. A reminder that people can engage with music on a deeper level, and that behind every track, there’s an artist making something personal. And as we move into an era where AI-generated music is being slipped into playlists, that connection is going to get even worse. So yeah, I just thought, fuck it – let’s do it. My distributor asked if we should go through with it, and I was like, yeah, why not? Even if it just sparks conversation, that’s the point. It’ll drop out of nowhere – no announcement – just this wrecked, unlistenable version of the album appearing on DSPs. People will ask questions, wonder why it’s there. Guerilla marketing? I guess, but not in a cynical way. If I’m going to talk about things being disposable and sacred, what better way to provoke that conversation than by releasing something deliberately trash? It feels like every artist I’ve spoken to in the past year has faced the same dilemma – do I release an album? Do I adhere to Spotify and social media, or reject it completely? Where do I sit on that spectrum? Yeah, that’s exactly it – everyone’s playing someone else’s game. I actually wrote something about this recently: It’s a response to the inertia of music. A reflection of an industry that prioritizes volume over value, where human creativity is sidelined by algorithms churning out lifeless slop – cheapening our societal relationship to art and threatening real artists’ livelihoods. So the idea is, if you push that to the limit – if you deliberately make something sound like trash – it becomes a reflection of the way music is treated. Trash begets trash. Yeah, and this whole shift of art and music becoming ‘content’ feels problematic. Things come out, people have a fleeting relationship with them, and then they’re gone. Exactly. It’s like music has been absorbed into the broader content machine, which just means it’s disposable. Tracks come out, people connect with them briefly, but then they disappear. I can’t even remember the last tune that truly grabbed everyone – that actually resonated in a lasting way. Maybe ‘The View’ by DRS, Tyler Daley, and LSB – that’s the last one I can think of from my world that still carries real emotional weight, years later. What does success look like for this album? Is it about streams, purchases, or something else entirely? Success changes depending on the day. Some days, it’s just writing a tune I really enjoyed making, regardless of whether it performs well commercially. I’ve had tracks where I know they won’t do anything in terms of streams or sales, but for me, they were still a success. If even a small group of people appreciate the full breadth of what I do, that means something. For me, it’s about security – the ability to keep making the music I want, without being boxed in by numbers. But it’s easy to get caught up in it. You check Spotify stats and think, Oh, that track did well – should I make more like that? And that feedback loop isn’t good. Spotify, for example, always favors liquid drum & bass over harder tracks. I’ve seen artists outside of D&B blow up because one song got added to big playlists, often with passive listeners – people who just have it on in the background, like on a ‘bath time’ playlist or something. Suddenly, that artist shifts their whole sound to chase that audience. But are you reaching actual fans, or just people who listen passively? Spotify doesn’t differentiate between an engaged fan and someone who’s half-listening while scrolling their phone. So yeah, success is hard to pin down – it’s always shifting. That algorithm-driven approach to music feels like part of that ‘enshittification’. Yeah, there are a few things at play. Part of it is just how people’s behavior has changed – the way we consume media in general. I’m not immune to it either. The constant dopamine hits from scrolling, the way social media rewires our attention spans – it’s all connected. I saw something recently about Netflix telling screenwriters to make sure characters say what they’re doing in every scene, so people watching with their phones out can still follow along without paying full attention. That blows my mind. We’re being conditioned to accept sloppy, low-effort content as the norm. I don’t want to sound like I’m just complaining – I actually feel quite optimistic. My goal is to keep pushing, to keep things interesting, and to avoid dumbing it down into the kind of disposable slop that algorithms encourage. If I can keep that connection with fans who actually care about the music, that’s what matters most. Yeah, it comes from a place of wanting it to do well. And wanting better for the culture. Exactly – this [drum & bass and music in general] is your life, it’s our lives. Yeah, I’m a huge fan of Stewart Lee. I don’t know if you’ve ever watched his stand-up, but he’s probably the most successful comedian in the UK that no one’s heard of. Instead of doing the O2, he’ll do Leicester Square Theatre for 100 nights straight. His comedy is really meta – he deconstructs what he’s doing while he’s doing it, breaking the crowd into groups: some people who get the joke, some who don’t, and some who are just confused. It’s abstract and deliberately challenging. That aspect of his work really resonates with me – the idea that art doesn’t just have to be palatable, it can push the audience a little too. It still delivers on its core purpose – people laugh, they enjoy the show – but at the same time, they’re being prodded and engaged on a deeper level. Obviously, I know I’m just making drum & bass – I’m not pretending it has the same effect as stand-up comedy. But it does give me the opportunity to have interesting discussions and experiment with ideas, like dropping a completely distorted version of my album. Why not push things a bit? Do you see boutique labels like yours, Gemini Gemini, Rubi Records, and the like, as pushing against some of these trends? Yeah, I think by their nature, they have to. Ultimately, it’s artists saying, I just want to do my own thing – to have complete creative control without being beholden to anyone else. Running your own label gives you the purest, most unfiltered platform for expression. You’re handling the art, the schedule, the A&R – it’s entirely on your terms. I was talking to someone about this recently, and there’s a huge freedom in that. But at the same time, sometimes you do wish there was someone there to say, “this tune is done – put it out as it is”. I think we’re all at risk of playing the DSP game to some extent, but I also work with a distributor that’s open to trying things differently, which helps. The key is remembering that DSPs aren’t the be-all and end-all. I see them as a shop window, not the whole business model. They exist somewhere between radio and direct sales – it’s not as simple as give me your money, here’s your product. With boutique labels, I think Alix Perez has set the perfect example. He’s built a strong brand with 1985 Music – consistent, high-quality releases, never straying off-brand. He’s created a real pathway for fans to discover the music, become hardcore supporters, attend events, and eventually buy the merch. I don’t mean this in a negative way, but it’s almost tribal – not in a cultish sense, but in the way he’s built a true community around the 1985 sound. That’s what makes it so powerful. It’s not just a label – it’s an ecosystem that people want to be part of, whether as fans or artists. That’s what I see as an alternative to the more disposable, algorithm-driven side of the industry. Totally agree about 1985. How is Must Make going? You had Azifm on the label – do you have more releases coming up from other artists? Yeah, after this album, I’ve got two releases lined up from other artists. I won’t say who just yet – one of them is quite unexpected and outside the box – but this year, I definitely want to release more music from other people. When I started Must Make, I never intended it to be a label for other artists – it was just a platform for me, kind of like how Calibre started Signature. But when I heard Azifm’s music, I couldn’t not release it. It was too good. From there, it snowballed, and I started realizing that I actually enjoy working with artists. That said, I’m not the type of label head who wants to micromanage. I don’t like heavy-handed A&R – when I was releasing on other labels, I never liked that myself. My approach is more about helping artists get the best out of their music rather than pushing them in a certain direction. For example, I’m working with an artist right now who was finishing an EP but felt like he was one track short. Instead of forcing something to fit, I just said, Why not take a risk? Try something different – don’t worry about making a dancefloor track. He went away and made this incredible experimental drum & bass tune, something really different for him. That’s the kind of environment I want to foster. I don’t have some big grand plan for the label – it’s all about the music presenting itself naturally. If I hear something I love, and the artist is someone I genuinely vibe with, then I want to support it. These days, I find myself caring just as much about who I work with as I do about the music itself. I’d rather release a solid tune from a good person I respect than a massive track from someone I’ve never met and don’t connect with. I don’t know why, but that’s just how I’ve come to approach things. Exciting times for the label, even if you’re taking things as they come. Yeah, and Azifm has a big project in the works. He relocated to Melbourne after spending some time in the UK, and we’re working on something bigger for him now. His music really lends itself to a larger project – he’s got a distinct sound, but he’s also branching out into different tempos and styles. Hopefully, it’ll come together by the end of the year, but we’re still working out the timing. ‘Falling Down’ is an obvious stand-out from the project. How did this one come together? That track started with a pianist named Ed Zucollos, who I met at Northern Bass years ago. He’s a Kiwi musician, a bit of a legend out there. He was posting these piano clips online, and it turned out his family lived just around the corner from me in Worthing – crazy coincidence. A few years ago, we did some sessions together, recording a bunch of piano, but nothing came of it at the time. Fast-forward to this album – I knew I wanted to work with Tyler, so I hit up Ed, and he sent me a load of stems. I found a loop I liked, built the track around it, and it all came together super quickly. Love these encounters. How about the rest of the album coming together production-wise? There was definitely more freedom on this record. Some tracks came together naturally, without me pulling them apart too much. On ‘Set & Setting’, I was hyper-focused on arrangement, trying to create these intricate structures. You hear it in Kendrick [Lamar] albums – where he’ll throw in a completely different section in the middle of a track before snapping back to the original groove. With this album, ‘Deep Ones’ was probably my most indulgent track in that sense. It started as a simple club tune – just drums, bass, and some bleeps. But then I got Leroy Horns, the saxophonist from ‘Set & Setting’, to lay down parts, and that’s when it really evolved. I added key changes, small extra bars here and there – little details to break up the structure. I hadn’t really thought about any of this until you asked, but yeah – this album was much more about going on feel rather than obsessively planning everything. That was probably a reaction to how much I overthought ‘Set & Setting’. With that record, I could explain every single decision, every structure, every transition. This time, there was intention behind what I did, but I wasn’t constantly analysing it. It’s all drum & bass, but it really has a sonic uniqueness to it. That’s definitely a conscious choice – maybe to a fault. I never want my music to sound too similar to anyone else’s. But at the same time, it still has to sit within the framework of drum & bass. It’s a balance. With ‘How They See It’, for example, I wanted to take the energy and sonics of modern jump-up and present it in a more underground way. Some people have even messaged me calling it ‘tasteful foghorn’, ha, which I’ll take as a compliment. That was the idea – capturing that energy but presenting it differently. What’s next? Anything for the label, or Workforce? For Must Make, I’ve got a couple of releases lined up from other artists over the next few months. Some bigger projects are coming, including more from Azifm. Personally, I’ve actually got a lot of new music ready to go this year – unlike after Set & Setting, where I had nothing lined up. I’ve been working on a project with LSB, which might turn into a proper collab release. I’ve also done remixes for Halogenix and LSB – LSB’s will be out on the ‘Annotations’ V/A later in March. Beyond that, I’ve got a remix for Bobbie Johnson, the rapper from ‘Deep Ones’. She’s got some really cool music that I might help with this year. And I’m currently working on a track with DRS, which is sounding really tight – I was working on it right before this call. For gigs, I’m being selective. I’ve got Bass Coast in Canada, which I’m really excited about. But with a young son at home, I’m prioritising quality over quantity. I want to focus more on the studio than chasing every festival slot.

CASH ONLY, China Chameleon, and Kyra deliver a soulful powerhouse with ‘Holy Water’ on King Street Sounds. Combining their signature styles and individual successes, this collaboration is set to be the ultimate club cut for the Summer. ‘Holy Water’ proudly blends Afro House rhythms with a rich atmospheric depth, elevated by jazz/soul artist Kyra’s emotive songwriting and vocals. Penned by Kyra, the track expertly showcases the trio’s ability to curate a deep and dynamic sound whilst exploring themes of spirituality, love, and euphoria to deliver a deeply resonant experience. Listeners can expect a soul-stirring journey that resonates deeply, connecting on both personal and universal levels. Having firmly established itself as one of the most respected and influential labels in dance music today, King Street Sounds, relaunched in 2024 by Armada Music, remains one of the few labels continuing to thrive, whilst crossing genres and maintaining a cohesive vibe. A true authentic NY Label, King Street Sounds has consistently remained at the cutting edge of the global dance scene, bringing soundscapes that showcase Soulful and Vocal House, Deep House, Garage,and Afro/Latin/Jazz influences to the forefront. A clear testament to its legacy, King Street Sounds has hosted legends that include Kerri Chandler, Dennis Ferrer, Louie Vega, David Morales, Danny Tenaglia, Kenny Dope, and Roger Sanchez and now welcomes CASH ONLY, China Charmeleon, and Kyra to its ever growing roster of talent. A key figure in South Africa’s thriving Deep House scene, China Charmeleon has seamlessly transitioned from local resident DJ to global talent, gracing numerous labels along the way. After seeing Kyra perform in Manchester, CASH ONLY was captivated by her vocal richness and presence. British singer / songwriter Kyra has quickly gained recognition with her soulful, jazz-infused sound, earning support from BBC Radio and features on top streaming playlists. With sold-out shows and collaborations with Blue Lab Beats, she’s poised to become an exciting breakout artist in 2025. CASH ONLY is fast becoming recognised for reshaping the current House scene with his own unique sound. With releases on Nervous, DVINE and his brand new Famous When Dead Records on the way, this pairing cites the start of an exciting new era for the trio. China Charmeleon, CASH ONLY, and Kyra’s Holy Water is set for release on March 21st, blending their unique styles into an unforgettable release. Pre-Save Find Out More & Follow CASH ONLY China Charmeleon King Street Sounds Armada Music Kyra The post CASH ONLY, China Charmeleon and Kyra Join Forces On ‘Holy Water’ For Revered King Street Sounds appeared first on Electric Mode.

Lollapalooza 2025 is shaping up to be a very exciting festival! The four day festival returns to Grant Park, Chicago from July 31st to August 3rd for an iconic summer. Headliners for the music extravaganza include Olivia Rodrigo, Tyler The Creator, Sabrina Carpenter, Rufus Du Sol, Luke Combs, Twice, A$AP Rocky, Korn, Gracie Abrams, and Doechii. Olivia Rodrigo debuts this year and Sabrina Carpenter’s rising stardom adds to the pop excitement. TWICE headlining represents the growing global influence of K-pop and is an exciting time for the festival. What’s more, Luke Combs is the first country artist to close the show. EDM acts include Martin Garrix, Samy Virji, Dom Dolla, Mau P, Flux Pavilion, Gryffin, and more to get your dance on. The festival will host over 170 artists over 8 stages from well known artists to emerging stars. The lineup features a diverse mix of multiple genres fro electronic music, hip-hop, pop, to rock–definitely offering something for everyone. The massive lineup is below, go check it out! The festival is known for its vibrant and diverse atmosphere, high-energy performances across multiple stages, and unique festival vibe. It boasts community, excitement and celebration at Grant Park. The urban setting under the Chicago skyline is a perfect backdrop for the festival, and a perfect bucket list item to add (even just once). Past lineups featured world-renowned artists such as Billie Eilish, Kendrick Lamar, Metallica, and Harry Styles. Just last year, Lollapalooza debuted an all electric Main stage featuring SZA, Blink-182, The Killers, Hozier, Skrillex, Tate McRae, Zedd, Fisher, Four Tet. This year, expect a plethora of headliners, emerging talent, and crowd favorites to make Lollapalooza 2025 a can’t-miss event. Additionally, luscious food, drinks, and sweets from Chicago’s favorite restaurants await you. It’s fun in the sun, with food, friends, and nothing but good vibes. So let the good times roll this summer with all the best in music. Pre-sale starts Thursday, March 20 at 10am CT with guaranteed lowest-price 4-Day Tickets for ONE HOUR ONLY. Sign up now at lollapalooza.com. The post Lollapalooza 2025 Returns With Olivia Rodrigo, Sabrina Carpenter, Rufus Du Sol, and More appeared first on EDMTunes.