Ravebot

With The Guardian calling 2024 the year of the “precipitous decline of UK nightclubs”, it’s evident that the clubbing industry has been struggling. A Capital On Tap report even suggests 57% of London’s clubs will close by 2030 – but 2025 could change that. According to the report, London lost nearly 18% of its clubs and pubs between 2022 and 2025. Based on these figures alone, the UK capital is on chart for a steep decline. However, a string of new London clubs have already opened this month alone. READ MORE: Two dance venues open in East London in quick succession – is the UK’s nightlife scene looking up? One of the latest clubs to open its doors is Peckham’s 120-capacity HONOR. Nestled underneath a Peckham Rye station archway, the venue is kitted out with a TW AUDiO PA-SYS-ONE soundsystem and has already hosted some events since opening on 4th April. The venue is being run with the help of DJ Oneman. “HONOR was initially born out of the want to honour DJs and scenes that I appreciate,” he told Resident Advisor . “That’s what built the idea of HONO. It’s thinking about the whole aspect of what clubland and nightlife is all about, and everyone who encompasses it. Sound, light, atmosphere.” “I like to describe HONOR as being in the end of a lit cigarette. It’s dark, orange and smokey,” he added. “I’m very lucky to be given this opportunity. An opportunity to create a space where the DJ and live culture I love can thrive in the heart of London’s most vibrant community.” While HONOR is an intimate clubbing haven, other clubs are offering bigger nightlife experiences. No90 Hideout is a newly renovated 450 capacity space in Hackney Wick’s No90, while an abandoned Shoreditch warehouse has been transformed into the 1,500 capacity Unlocked. According to Unlocked’s launch video, the venue occupies “a once illegal rave venue [that has been] abandoned for a decade” to revive the “fading culture” of East London. The new venues will hopefully serve as a clubbing renaissance and bring new life to an apparently declining club scene. Capital On Tap’s findings also hinted at a decline in clubbing across the UK. The report predicts that Leeds, Brighton and Bristol will also lose upwards of 60% of their clubs by 2030. Elsewhere, Sheffield and Liverpool are predicted to see a 50% decline. However, it could be looking up – the injection of new venues isn’t just exclusive to London. A new club space is set to open in Liverpool on 2 May. Kapsule will be opening a space within within Invisible Wind Factory’s former wind turbine factory. The club is a collaborative effort from the Invisible Wind Factory and Sun Palace Sound System – the only UK unit who work with a quadraphonic RLA system. As a result, Kapsule has got its hands on some pretty powerful sonic power, boasting a 4-point high-fidelity soundsystem and substack. The post Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030 appeared first on MusicTech. View the full article

LePrince, the reggatronic trailblazer known for fusing hard dance energy with raw vocal power, now steps into the techno spotlight — and he’s doing it loud and proud on scene-defining label Filth on Acid. His debut techno EP Who Dem is a high-impact statement, blending his signature fire with uncompromising underground sounds. The EP kicks off with the solo title track Who Dem, a straight-up rave weapon built on square-pounding drums and razor-sharp acid lines. Next up, Issa Vibe sees LePrince team up with Sevn Rhodes to deliver a brutal techno cut laced with gritty vocal shots and machine-gun synths. The final track Hardcore — a three-way collab with Maski & Banga — lives up to its name: relentless kicks, trance-tinged leads, and a driving intensity that doesn’t let up. With Who Dem, LePrince breaks genre boundaries and shows that his sound can’t be boxed in. This is hard techno with a rebel soul — music made to destroy dancefloors. LePrince – Who Dem EP is out now via Filth on Acid. The post LePrince makes his techno debut with explosive ‘Who Dem EP’ on Filth on Acid appeared first on EDMNOMAD. View the full article

NAMM president and CEO John Mlynczak has once again urged the Trump administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products” from the tariffs announced in President Trump’s recent executive orders. Earlier this month, Donald Trump rolled out a fresh wave of tariffs aimed at reducing the US trade deficit – a move that sent shockwaves across global industries, including the music products sector. Given how many American brands rely on overseas manufacturing, or on importing key materials not readily available in the US such as certain tonewoods or metals to manufacture their gear, it’s not hard to see why. Under Trump’s new plan, imports from countries like Vietnam could face tariffs as high as 46% – a move the NAMM executive previously warned will have “devastating consequences” for the music products industry. READ MORE: How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down In response to mounting pushback, Trump has since announced a 90-day pause on what he’s calling “reciprocal” tariffs, essentially delaying enforcement of certain measures until 9 July. Tariffs already aimed at China, however, remain in effect. Addressing the move in a new statement, Mlynczak welcomed the pause but stressed that the broader uncertainty is already taking a toll: “The negative effects of these measures threaten the economic and cultural impact of US-made musical instruments and accessories, as well as cause our US music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels,” he says. “The 90-day pause on reciprocal tariffs announced last week via executive order (until July 9) is a welcomed measure, but the continued unpredictability of these tariff actions makes it difficult for companies to react in a meaningful way.” “The back-and-forth raising of tariffs between the US and Chinese governments that we have witnessed this past week will have serious business implications and create consumer turmoil for the music products industry,” the statement continues. “The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.” In addition, last week also saw NAMM sending a letter in support of US-based acoustic stringed instrument manufacturers, urging the US Secretary of Commerce not to recommend additional tariffs on imported tonewoods. “These tonewoods are often impossible to grow in the US, and they are used to create many iconic music products for American brands,” says the NAMM CEO. Billboard reporter Kristin Robinson previously broke down how the new taxes could impact the music gear and vinyl pressing industries. She pointed out that bands have faced difficulty bringing unsold merchandise back to the US from international tours, as these also face tariffs, unless the artist is selling only American-made merch. Vinyl prices will likely be hit as well, as the materials used to make them are from overseas countries, including PVC and their paper sleeves. The post NAMM CEO warns US musical instruments industry will “lose its global competitive advantage” due to Trump’s tariffs appeared first on MusicTech. View the full article

The sequel nobody asked for – but somehow still sold tickets – has officially been postponed. That’s right, Fyre Festival 2 is off. For now, at least. Less than two months out from its proposed 30 May to 2 June run, the notorious festival’s second chapter has been shelved. The news first trickled out in emails sent to ticket holders and newsletter subscribers, before being confirmed by ABC News. READ MORE: “I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s why “The event has been postponed and a new date will be announced,” reads the message. “We have issued you a refund. Once the new date is announced, at that time, you can repurchase if it works for your schedule.” Electronic producer and DJ deadmau5 has also responded to the news, sharing a screenshot of the announcement on his Instagram account along with the caption, “Well that sucks”. Tickets for Fyre Festival 2 reportedly ran between $1,400 and $25,000, with “premium” packages being priced as high as $1 million. And while no lineup had been announced, nor any real infrastructure confirmed, that didn’t stop founder Billy McFarland from pushing ahead. Or at least trying to. The festival was set to take place on Isla Mujeres, a tropical island off the coast of Mexico. But as the supposed location for Fyre Fest 2 came into focus, questions quickly followed. Local officials said they were unaware of any such event being planned. “For us, this is an event that does not exist,” said Edgar Gasca, from the tourism directorate of Isla Mujeres, in an interview with The Guardian. McFarland quickly disputed that claim in an Instagram post, maintaining that his team had been “in communication with local and state government to ensure full compliance and a successful event.” Even so, the paperwork paints a different picture. The only permit reportedly granted was for a 12-hour listening party with a cap of 250 guests — no live music, no festival-scale production, and far from the luxe experience ticket buyers were led to expect. So, where does that leave Fyre Festival 2? In limbo. Again. But with refunds going out and vague promises of a future date, we’re guessing McFarland isn’t done trying to make fetch happen. The post Fyre Festival 2 postponed weeks before launch – “Well that sucks,” says deadmau5 appeared first on MusicTech. View the full article

V-Stage 88: £3,459/$3,999/€3,999 V-Stage 76: £3,027/$3,499/€3,499 roland.com Ask any serious live player what they want from a keyboard and they’ll likely describe a combination of sound, feel and performance controls you can access fast. Roland’s new V-Stage models are aimed at people who prize all three and are willing to pay for an instrument that crams a studio’s worth of keyboard instruments into a single unit and then puts the myriad different controls for those instruments at your fingertips rather than burying them in menus. This is no simple task since controlling a grand piano, a Rhodes or an organ are all completely different techniques. READ MORE: Best free plugins: free synths that you didn’t know you needed Has Roland succeeded, and is there room for another red stage keyboard on the market? Comparisons with Nord’s Stage 4 are inevitable. Both instruments are aimed at the same type of user, though the Nord is around £400 more expensive still. Blow-by-blow comparisons can be found online and we won’t re-litigate them but will note differences where they arise. My review model was the larger 88-key which Roland says weighs 22 kg but feels as heavy as other weighted 88-key models and is no picnic to move around – you’ll want a serious flight case for it. It has an integrated power supply fed by a kettle lead, a welcome addition since it’s one fewer peripheral to lose. Then the rear panel has a serious array of inputs/outputs, reflecting its status as a pro gigging instrument. There’s a headphone out, dual XLR balanced outs, stereo jack outs and sub left/right balanced outs and on the input side, stereo line input jacks plus an XLR mic input. Full-sized MIDI in, out and thru are present as are four control pedal inputs – hold and three controls, assignable to the various pedal types like organ swells or volume you will want to use. Some users have noted the ports here aren’t built as durable as the Nord’s metal versions, which we’d agree with. Aside from this, build quality is solid throughout. You get handy extras including two USB-A inputs for connecting compatible MIDI controllers, useful for adding an extra organ layer for example. A USB-C port connects to your computer and turns the keyboard into an audio and MIDI interface, with the multiple parts that make up each sound appearing as separate MIDI and audio channels, great for recording or live mixing. Then another USB-A port supports flash drives, the means by which you manage firmware, backups and transferring patches from Roland Cloud. Though this works, it’s a bit anachronistic in 2025 with other developers – like Nord’s Sound Manager – providing far smoother computer integration. On the other hand, V-Stage has a larger display than the Nord, making on-device editing more pleasurable. And while it’s arguably a matter of preference, I find the Roland’s layout to be more logical and easier to use, especially at a glance, which is just the ticket in a live scenario. My 88-key model uses a weighted keybed with escapement and ivory feel for a more authentic piano experience, but crucially allows enough fluidity for organ and EP runs without hurting your hands. This balance is difficult to get right but Roland has aced it here, making something that works brilliantly across all the different instruments. Speaking of which, at the heart of V-Stage are four independent sound engines, each with a corresponding section on the front panel. First is pianos, using Roland’s acclaimed V-Piano technology with unlimited polyphony. Based on modelling rather than samples it allows an incredible level of tweaking of all the aspects of the different pianos. Then there’s the electric piano engine and a Virtual Tone Wheel organ with three independent upper, lower and pedal parts. While the organ engine’s polyphony is also unlimited, the electric piano shares a 256-note polyphony with the remaining, synth engine. Synth parts are powered by the Zen Core engine that support expansions via Roland Cloud – several free extra models are provided too. There’s extensive layer and split functionality of course as well as a powerful system for storing presets. 512 slots are available for Scenes – complete keyboard setups – as well as 128 Scene Chains for managing complex sets. Then there are eight EX Scenes which auto-save changes you make in real time – perfect for capturing those moments of inspiration when playing. One really nice touch is that thanks to the powerful dedicated processors it’s possible to switch sounds or scenes while sustaining the last sound, without any dropouts. It might sound inconsequential but that’s invaluable in the midst of fast-moving performances. Roland has done an excellent job of placing the most important controls at your fingertips respective to each of the four instrument sections. Each section has a dedicated level control plus a bunch of specific effects and settings, and drawbars, rotary speed and brake for the organ. There’s a total of 16 multi-effects with 93 types and a Master section with multi-band EQ and compression. You can simply experiment with these when you’re trying to sit your sound in a live mix, mid-song without needing the help of the sound engineer. The sounds are excellent, perhaps not surprising given Roland’s vast experience and though the synths are nice to have it’s the acoustic and electromechanical instruments that really sell the V-Stage. The extent to which they have listened to pro players when designing the layout is clear – it’s a live tweaker’s paradise. There are loads of stage-ready presets as starting points but the reality of live performance is that it’s often necessary to change things on the fly. This is so simple to do here. Splits and layers let you build complexity into layouts, taking advantage of the impressive processing power of the keyboard. If you’re spending north of £3k you’re not likely to be a beginner and this keyboard – and others like it – are really for more accomplished players, ranging up to working professionals. It feels and sounds beautiful and puts the emphasis on supercharging your live performances with hands-on, dynamic effect and sound editing like you’d get from the real instruments. In truth, the V-Stage is an investment in the same way that a high-performance tool is to any professional. It makes playing a joyous experience, sounds amazing and puts a plethora of sounds and controls right in front of you without ever getting in your way. If your business is music, the V-Stage just might be the last performance keyboard you ever need. Key features 88-key and 76-key models 4 dedicated sound engines 512 scenes; 128 scene chains V-Piano modelling technology SuperNatural models, virtual organs Add synth models via Roland Cloud Comprehensive inputs/outputs including XLR mic in Multi and master effects USB data and audio/MIDI interface capability Multiple assignable control inputs The post Roland’s V-Stage keyboard puts a studio’s worth of classic instruments and effects at your fingertips appeared first on MusicTech. View the full article

We recently sat down with a brilliant mind for a quick chat. The industry is so crowded with producers right now, that it’s quite hard to distinguish true talent from just a name with good promotion. And helping settle that difference for you all, we’ve just had a quick chat with one of those names we truly believe are clear future diamonds — Waxman. Waxman is a Canadian producer, DJ, composer, and mixer based in Melbourne, producing rather rich and vibrant Dance and Electronica tunes. Not only that, but he also composes pieces for TV and film. After support from acts like John Digweed, Solarstone, and Nick Warren, and releases on The Soundgarden, Pure Progressive, Maldesoule, WTHI, and plenty more, he’s just added another piece to his catalogue — ‘Harmless‘. And while the track is still hot off the oven, we’ve approached him to have a bit of a chat, regarding early influences, production techniques, doing your own thing, and more. Read on to find out what Waxman had to say. Who are the artists or sounds that most shaped your style early on? I have a ton of old electronic faves who I still love to listen to. deadmau5, Flume, Max Cooper, Justice, Boys Noize, Stimming. They were all early influences of mine when I really dove head-first into my love of electronic music and decided to try my hand at production. It’s funny how years later these guys are still some of my very favourite artists to play and listen to, no matter how many different phases I go through and how many new artists I discover and delve deep into. What’s the one sound or technique that you think defines your signature style? I love playing with vocals — chopping them up to create texture and mood. I guess more broadly I’m pretty dead-set on having lead melodies and harmonies that hook me while I’m writing. Those might be with vocals, whether they’re lead, chopped up, or just kind of providing harmonic points of interest to create more depth. Sometimes it’s a lead arpeggio or a grain delay splashing weirdness all over the upper frequencies. I’m not really going to pursue working on a track if it doesn’t hook me first with melodies. Why do you think it’s important for artists to focus on developing their own sound rather than chasing trends? You can always try and copy what’s out there but chances are by the time you’ve achieved that (if you actually manage to) so will a hundred other producers and trends will have moved on. You won’t always (or maybe ever) be a trendsetter but you can at least be original and true to your own creative instincts. See where they take you and where that leads your sound. It may end up being the sound everyone else wants to achieve. Or it may just be the sound you wanted to achieve. Either way, it’s more likely you’ll have something you’re proud of than if you just copied another style. How do you know when a track is finished? Finishing a track is an incredible skill to develop. I like to stop (or at least pause) when I’ve reached a point where I’m happy and don’t find myself making any major changes when I listen through in my DAW. Stop, let it sit, and listen again in a few weeks. If it’s still sounding done, then it’s done. If not, then continue tweaking, but it’s probably close. Extra ears from friends, labels, etc., are also extremely valuable at this stage in knowing if a track needs anything more or if it’s ready to go! What’s the biggest mistake you see other producers making when it comes to their creative process? Not finishing and moving onto your next project/EP/song. You can endlessly tweak a track, but in my experience, it will never be perfect (at least not to you). It’s more constructive and productive to get to an end point, whatever that may be exactly, and finish your tune. Then start a new one! You’ll get better at the process and have new and fresh bursts of creative ideas. What’s one piece of advice you’d give to an artist who’s struggling to find their sound? Try producing different styles and genres. Maybe you’ll find a realm that better suits your natural, creative, and productive instincts. Or maybe it will get you to try different techniques that inspire you when you come back to what you were trying to aim for in the first place. What’s the one element every track you release has to have to feel complete to you? As I mentioned, I love some nice vocals and am always a sucker for a great melodic line — so I tend to have those as strong elements in my songs and productions. What do you think makes an artist’s music stand out in today’s crowded music industry? Being yourself! Do different and interesting things and don’t try to sound like everyone else or the people you see with success. Easier said than done but so much music I hear these days sounds very generic and boring. Just try something different and experiment. What’s the one thing you wish people knew about the challenges of being a producer today? Trying to stand out from the crowd and have any of your music have any sort of lasting power is incredibly difficult today. Even if a song does well, chances are it’s only going to be listened to, purchased, or streamed for a very short period of time. It creates a frustrating situation of people churning out so so much content just so they have new stuff constantly coming out. I’ve been guilty of it myself but realized the age-old quality over quantity adage. Final Words Thank you so much to Waxman for this one. ‘Harmless’ is out now and you can check it out by hitting the ‘Play‘ button on the Spotify player below. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post [INTERVIEW] Waxman Talks Influences, Production, Developing Your Own Sound, And More appeared first on EDMTunes.

After 50,000 daily steps and tons of surprises, we returned from the first weekend of Coachella Music Festival with tons and tons of emotions. The heat didn’t stop us from having a grand time in the desert, April 11-13, and the music gave us life. Nonetheless, Weekend 1 is always a trial and error for the festival, as mishaps surely happen. We will now review the festival, including the lineup, the campsite, production, and what we think could improve heading into weekend 2. The Music Coachella is a mainstream and underground hybrid. It brings out the biggest names in the industry, as well as up-and-coming artists. Furthermore, this year’s lineup was fantastic and delivered major experiences from stage to stage. Of course, the headliners like Lady Gaga and Charli XCX gave us some of the best moments, but other stages had energy, which could be felt in the air. Coachella is a superstar when it comes to surprises. Artists will bring major collaborations to the stage. This year, the dark princess of pop Lady Gaga took her performance to new heights with Gesaffelstein to perform their song Killah. Charli XCX brought out Troye Sivan, Billie Eilish, and Lorde during her Bratchella set. Moreover, Megan Thee Stallion brought Queen Latifah, Victoria Monet, and Ciara. EDM reigned supreme this year with so many twists and turns that my ankles are sprained at this moment. Yuma, Sahara, and the DoLab brought their A game with electric and fun performances all weekend. House, Techno, and Bass had the most support out of the other EDM genres. Highlights included Sara Landry’s Eternalism Debut, and her Blood Oath surprise appearance at the DoLab alongside Indira Paganotto and Amelie Lens. Their set was accompanied by a drum and bass/jungle b2b2b2b2b2b with Jenna Shaw, Coco & Breeze, Mary Droppinz, VNSSA, J. Worra and Bad Girl Bailey. Earlier sets had incredible attendance, such as PARISI, Marsh, Boris Brejcha, and Layla Benitez b2b Henri Bergmann. Horsegiirl, DJ Gigola, VTSS Klangkuenstler, salute, and Mind Against b2b Massano offered amazing auditory journeys as well. The Production at Coachella Coachella has a real budget for production. Visuals, pyrotechnics, lightshows, and stage design all work all weekend to provide magical adventures throughout the weekend. From props and dancers to live and electronic instruments, each artist can make their Coachella sets, and some of their debuts, a one-of-a-kind performance. Some indoor stages had air conditioning, which helped under the desert heat. The event also has tons of separate activities and side-quests one can enjoy across the venue. Tons of brands have their own booths and activation centers, such as Heineken, White Claw, and Red Bull. We stopped by the End Overdose booth to speak with AJ Banuelos (Director of Community Engagement) to discuss the growth and impact the non-profit has had on EDM since its foundation. They have partnered with promoters like AEG and Insomniac for their flagship festivals, have collaborated with names ranging from Limp Bizkit’s Wes Borland to Illenium on social media campaigns through Instagram (105k followers) and TikTok (331k followers), and have trained over half a million people nationwide. Their booth teaches festival goers how to recognize signs of an opioid overdose and how to administer Narcan, as well as how to do rescue breaths, and how to delegate tasks until medical personnel arrive on the scene. Red Bull®Mirage The Red Bull®Mirage offered an unparalleled hospitality experience and seamlessly blended exclusive access, unique programming, and the exciting pre-launch of the highly anticipated Red Bull Summer Edition White Peach. Red Bull® brought a 20,000 square-foot structure, located directly across from the Quasar Stage. As the festival’s exclusive energy drink, Red Bull® provided attendees with the wiiings to fully immerse themselves in the music and atmosphere. The space featured distinct experiences across its multiple levels, providing guests with spaces to recharge, socialize, and find inspiration. General admission festival goers gathered in the dedicated GA areas to enjoy access to specialty drinks including the Red Bull Summer Edition slushies, pop-up DJ sets by Joaqu.n of Pangea Sound, Tinx and Bambii, and shade with cooling misters. Level 1 offered a Nobu Omakase experience paired with a curated Red Bull cocktail menu, available to festival goers by reservation only. Level 2 provided a thoughtfully curated space that served as the ideal backdrop for a Red Bull Mirage Happy Hour and pop up sets by DJ PeeWee (a.k.a. Anderson .Paak) and Hudson Mohawke, bringing together tastemakers, creators, and media. Level 3 served as an invite-only retreat for artists and celebrities, offering a private space with stunning views of the Quasar Stage. Notably, Cardi B arrived with her friends and enjoyed the third floor, complete with drinks and Nobu. Logistics Now we will get a little serious because, as much as we had an amazing time at Coachella, we struggled a little bit with security and logistics at the festival. It felt like the event was understaffed and underprepared for the massive influx of cars and people going in early. Chris Lake’s performance on the campsite during day 0, which was a historical moment, was overshadowed by the thousands of cars that were in line for 6+ hours to make it into the event to set their campsites. Security had no idea how to direct traffic, and it ended in massive traffic where it felt like every man was for themselves. We hope that the event takes traffic more seriously, as it kept people from making it to their campsites at a decent time. The Vibes at Coachella It’s always tricky to measure the vibes at an event that is heavily attended by a mainstream crowd, tons of celebrities, and ravers who are more EDM savvy. However, most stages had amazing crowd energy. The Coachella mainstage did have the busiest sets mostly, but for plenty sets there was enough room to dance and enjoy yourself. As we do everything again this weekend, we can’t wait to explore new sets we missed the first time, as well as reliving some of the sets that had our jaws drop to the ground. The post [Event Review] Coachella Weekend 1 Had Us Dying to Go Back For Weekend 2 appeared first on EDMTunes.

In a shocking turn of events, local residents of South Gloucestershire have blocked a psytrance festival that was set to happen in September due to residential complaints. The local council made this decision on April 8th. The council informed the organizers of Goa Cream of their decision. Goa Cream is currently scheduled from September 12th to 14th, for the third year in a row. Environmental health officer Florence Fisher expressed that there were 11 complaints from locals last year about the festival. One resident described the event as “non-stop heavy bass music; it was almost inhumane and a form of torture“. Another resident claimed the extremely loud noise had a “profound effect” on him and his family. With other complaints expressed it gave them a headache all weekend, and others stated the music made their houses and windows shake. On Monday, April 14th, Piers Chapora, the festival’s organizer, wrote on Facebook post that they are currently looking into alternative sites. “Hi friends, Goa Cream is NOT cancelled !! For all of you freaks looking forward to being tortured at Yewtree farm in September. I’m afraid South Gloucester Council have objected to our licence application, the long and short of it, “Yewtree farm is an unsuitable venue for music/dance festivals? All this means is, we are now looking for another venue for this September’s party. I am going to see other possible sites later this week, so fingers crossed. Just putting it out there, if you know of a suitable venue with like-minded land owners, please let us know. One World, One Love, One Dancefloor.“ The post UK Town Blocks Psytrance Festival Calling It “A Form Of Torture” appeared first on EDMTunes.

Cristoph has recently unleashed his full debut artist album – Life Through a Different Lens, which has been garnering some rave reviews! At the risk of creating something spectacular, he set upon a vision to release a debut artist album, an album that truly captures the essence of ‘dusk till dawn clubbing’. The ‘Consequence of Society’ label boss recently sat down with us for his honest take on Life Through A Different Lens and the entire tentative creative process that he implemented to churn out the 18 tracks on the album. He also opens up on his re-union with Jem Cooke after the chartbusting ‘Breathe’ (with Camelphat), the factors behind the origin of ‘Consequence of Society’ as a label, his fellow collaborators on the album, his long-time friend & accomplice Eric Prydz dropping ‘Call on Me’ after 21 years, and much more! The Interview Full debut artist album, finally, Chris! And no less than 18 tracks! I remember being a fan myself for close to a decade now. Hence, the curiosity arises about this significantly long wait time for fans like us for the debut album. Was it more of the timing, perfection or self-satisfaction about the end result that kept us (fans) waiting so long? To be honest, it’s not what I would call a studio album. It’s a conceptual album project. If I’d be writing a studio album, I’m going to be writing more cinematic records. A conceptual approach is how I always pictured an album. But this showcases a lot of different forms of music that I am into, that I write, more to accompany the supplement of open to close tour. It is to give people an idea of what happens in an open to close set. 18 records I wrote across so many sub-genres to express the music that I play in these sets. It is a very challenging project because I got to take myself out of the normal way I produce. That’s why I decided on the name – ‘Life Through a Different Lens’. I had designed a set in my mind first, and wrote each track accordingly. DJs often play in key, so every track had to fit in with the next one, which already condenses down how many records you can write. And as I said, it is a really interesting project. I felt that the open to close needed something more on what we had done on the last one, “how do I sell the same product again?“. You had to get people to buy into it, you expand out. If you look at modifications on a call or a telephone, there is something new each time it comes out. It is more about moving with the times, you cannot stay still, so that was the idea behind it. I just got into the groove and couldn’t stop writing and I was like, “Naah, I need to put in one more and another one in“, but then I ended up concluding 18 is enough! There’s a mixed version coming with it as well which can be listened to in your car, in the gym, in your pre-party, after-party to get people up for the night. That’s obviously how I prefer listening to them. Obviously, you want those individual records to come out as you need them for Spotify, you need them on Beatport, you want DJs to explore. I prefer letting people listen to the mix as well, so that they are more likely to listen to an open to close set. Right from ‘You Know What You Mean’ in 2013, which is your first EP if not mistaken, to the 2025 ‘Life Through a Different Lens’, how do you think the Cristoph sound has evolved over these years? So, I’ve always looked at it, strangely enough, as a business plan. I always knew where I wanted to get to. I have always been the more melodic, progressive sound. I do like influences from the housy (house) world, from the techno world, not obviously the kind of techno that’s out there, just what I personally like. That’s what the name of my label, ‘Consequence of Society‘, actually represents. And, it is the ‘consequence of the society‘ that I have been brought up in, which is why I like the music that I do. The ‘proggy’ (progressive) and melodic sound has always been quite niche to get into. You write these quality melodies and so, thought how could I best get into that world. I can write some of more broader sound, like a ‘housier’ (house) sound where it’s got a wider audience and start trying, get a fanbase, and then start taking them shift by shift into the world where I want to go into. So, if you listen, it has more of a melodic stab in there, have more of a rolling vocal which I still try and incorporate in most of my records to date. You can link both, that was the original plan: to get people to listen and slowly take them over rather than trying to start over as a completely new entity. Labels just wouldn’t take that risk. It was quite difficult when I was putting music out as CJ Costigan. It did not get any kind of major label to kind of listen to more melodic, so I needed to build my name as an artist for those labels to actually sit up and take note of what I was doing. I am still trying to do that obviously and still getting more DJs to support the music, but now I am aware I have to keep building up on the fanbase. Make it more of a community rather than just a set of fans who like the music. I want people to engage with each other and align. For example, someone in India probably can speak to someone in the US about ‘how was Chris last night?. Yes, he is going to come to India next week.’ It would be amazing if I could build up a community where we could have people from all over the world coming together and make friendships and relationships that could last a lifetime, could bond over music that I have made! Were 18 tracks always part of the initial plan when you decided to release the album? Or was it less initially and you decided probably fans like us deserve a bit more (after all that wait for a full-length album) and probably add a few more tracks as a bonus? I think I had agreed internally with myself that I’d make it 12 tracks, just over an hour-long mix, like a showcase, maybe 3 tracks from each section. Then I just started getting into it and you start looking at it from a more DJ perspective. You think, “how would I DJ that“, and I would put in a big vocal. I would set it back down and take it in a direction which is more melodic. Then I would play a big, ‘hands in the air’ type record. Before I realized, I was 18 tracks deep and I was like ‘right, it got to end at some point’! ‘Paradise’ with Jem Cooke sounds fabulous! It is a universal testimonial that ‘Breathe’, your collab with Camelphat & Jem Cooke went on to become in the dance music world. Was there anything specific you had in mind, given the success of ‘Breathe’, when chalking out ‘Paradise’ with Jem this time? Funny enough, it has kind of taken the same route as ‘Breathe’. ‘Breathe’ started completely different to what it became, and ‘Paradise’ has as well. ‘Breathe‘ was an edit of another track, and then what I thought was, let’s see what Jem could put on this. ‘Paradise’ was an edit of ‘Diamond Life’ which I made and played at Creamfields, years ago. I took the ‘Diamond Life’ vocal off, Jem sang on it, I kept tuning the track until it was set to complement Jem’s vocal more. I think Jem’s vocal here is up there with ‘Breathe’, the way she has delivered it. ‘Paradise’ has such a great hook, the same as ‘Breathe’ had. It sticks in your mind, I can’t let my side of production let the vocal down. You always go back to those arpeggiating basslines. Hopefully, people can connect to that record. It is one of those tracks where you can sit out in the sun, looking up at the sunset, looking out at the sea. How was the experience and subsequent creative process in collaborating with the likes of fellow producers (who are currently making waves as well) like Weska, Harry Diamond etc. on the album? These are guys I speak to on a daily basis, we sit and talk about life in general. We sit and have a laugh in general about memes, GIFs, etc. It is a great friendship amongst us all. Same like the fanbase, I want to create a family, a community where I use DJs to basically build a record label. These are producers I got a great respect for who I love involving in the idea I am trying build with the label. You see the likes of Afterlife, Drumcode for years, I feel they have done exactly the same. They have created this type of family where the line-ups are pretty much the same, but people turn up to see what they are doing. It is a big team effort helping them build. I want to keep working with them in the future to put good music out on the label. These are the guys I want to help build the brand. Tracing your roots a bit, did it always help for the Chris we know today, belonging to a family of DJs and musicians? I mean as far as I know your father was a DJ (who always encouraged you to use a microphone, if I recall appropriately), and so was your brother. I also recall your mother & sister having a huge musical inclination as well. Growing up amongst it all was quite fascinating. They could all be stacked in different rooms with a completely different sound in each room. You take inspiration from all of them as much as you can. My dad could have something on in his car, my mom could have something else in hers. My brother could have house music in his, my sister could have The Beatles or something in hers. You take influence and inspiration from every part of this variety. It helped broaden my vision. If you do narrow down to a certain type of music, you just stick to that. I just do not want to be stuck to a tiny little sound, I want to be someone who plays across a wide spectrum, pulls in different influences. My family also helped expand my knowledge of what’s what and who’s who in the industry. I get great joy in listening to different types of music as well, and my family are exactly the same! Anything specific post ‘Life Through a Different Lens’ you are excited about and looking ahead to in 2025 (any particular tour, gig, vacation, etc)? I am particularly looking forward to the Open to Close tour. These long sets really test you, I am going into 6-7 weeks of it. Some of these sets are going to be between 7 or 10 hours long, it is not even 4 or 5. They are going to be really long. I have been trying to get my mind equipped with my body, back in the gym & training, dieting well so that I am in the zone. I had a few gigs leading up to it, which I cannot wait to do. But I am fully prepared to do these open to close sets. Going on from that, I am having many calls about different markets who have started to show interest. I have got Japan coming where I have never been before, so that would be really exciting if we were able to finalize. Same goes for South Africa. The opportunity to get to see these places in the world, not just about DJing, grateful I am for being able to do this for a job, I cannot even put it in words. Traveling to a country, you do not get to see everything, but in time we will. For example, when I was in India, the guys hosting me wished I could have stayed back longer; they could have taken me to see the Taj Mahal! At some point, you’ve got to take these blessings. With music, there are some remixes, those edits that I have been doing, people getting wind of them, I want to put them across as new releases. The whole ‘Life Through a Different Lens’, it has given me inspiration about different things to write. That’s what the actual doing the album has done. It gives something like an inside spark to write down new music that you feel rather than what you think people want. That is where you start writing the best music. If you just go into the studio and write from the heart and write what you’re feeling at that moment of time, then you could do some of your best work. Hopefully, I get back down to Australia this year, I get back to India at the end of this year, there were talks about that. It just looks like a busy year and that’s exactly what I want to be. I am probably the worst person if I am not busy because I get so annoyed, I get bad with my team, I get really grumpy with everyone around. I am just somebody who thinks if I am not working and somebody else has taken that work, I am probably not as productive as I want to be to reach the goals which I promised my dad & my brother and stuff like that. That is an internal struggle, an internal battle that I have with myself. That is just the nature of the beast, I guess! BONUS QUESTION : And lastly, I definitely needed to ask you this! Your honest reaction to Eric Prydz, with whom you have a close & long-time friendship, dropping ‘Call on Me’ (the track that initially put him to global superstardom) after 21 years! I am so happy! I spoke to Michael (Eric’s manager) the day after it was dropped. I got a text message from a friend when I was in London stating Eric had played ‘Call on Me’. It is a great record which kind of started off his career, so many people want to hear it. The fact that he has played it for the first time after 21 years, brilliant! Why not give the fans what they want? At the end of the day, we would be absolutely nothing without the fans. So why not give them what they want after some point? You do not have to do it week in and week out! It’s great, it’s put a smile on everybody’s face, I saw it everywhere, it went viral! It has acted as a great sort of promotional tool for him, a great move! People were asking me if I knew he was going to do it. So many people are smiling about it, for you to ask me about it, just shows what it means to you as fans! The post [INTERVIEW] Cristoph Opens Up About New Album, His Label & More appeared first on EDMTunes.

South African-born producer and DJ Jono Stephenson has been steadily making a name for himself in the melodic house and techno scene. His passion for music was ignited early on, influenced by his mother—a singer and multi-instrumentalist—which laid the foundation for his emotive and polished sound. His breakout single, ‘I Can’t Save You’, released in October 2023, surpassed 1.5 million streams within its first year, marking a major milestone in his rising career. Beyond the studio, Jono Stephenson is a creative force across multiple ventures. He is the founder of his own record label, event brand, and clothing line, each reflecting his sharp attention to detail and deep commitment to building immersive artistic experiences. Whether he’s behind the decks or designing a drop, his signature vision comes through with clarity and emotion. His latest release, ‘Memory Leak’, dropped on April 11 via Interstellar Recordings, is a collaboration with fellow artists Henri Bergmann and Layla Benitez. The track is a cinematic, club-ready piece that fuses shimmering synths, steely percussion, and rich emotional depth—highlighting each artist’s unique strengths while crafting a cohesive and innovative sound.​ Timed alongside key performances—Henri and Layla’s b2b sets at Space Miami on March 29 and Coachella’s Do Lab on April 11, followed by the trio’s joint appearance at Floyd Miami—‘Memory Leak’ arrives at a perfect moment in their rising trajectories.​ Jono Stephenson shared insights into the story behind ‘Memory Leak,’ the evolving landscape of melodic house, and what lies ahead in his musical journey. Jono, congrats on the upcoming release of “Memory Leak.” How did the idea for this collaboration come about? Did you, Henri, or Layla initiate it—or was it more of a spontaneous creative spark? Jono: Henri, Layla and I have been friends for some time now and it just felt natural that we made a collaboration together. We’ve always spoken of doing one and felt strongly about ‘Memory Leak’ and that it was the right amalgamation of not only our sounds but emotion. From a production standpoint, how did you divide the creative responsibilities among the three of you? Were there moments where your ideas challenged or expanded the vision for the track? Jono: Absolutely, we went through a few versions together and then made some big changes which we believe elevated the track. With all three of you pushing boundaries in the melodic house scene, where do you personally see the genre heading next—and how does “Memory Leak” fit into that trajectory? Jono: I personally see the genre heading in a more tech-oriented direction with a focus on groove instead of long-form melodies—although big melodic tracks will always be special if done correctly. Beyond “Memory Leak,” what’s next for you musically? Are there any upcoming solo releases or collaborations we should be watching for? Jono: Yeah, so I have another collaboration with Layla and Henri. 19:26 and I have also been working on a collaboration for a while now and we’re just finalizing certain things. Otherwise I have a release on Korolova’s ‘Captive Soul’ and a few other things which I’m keeping a secret for now! You’ve released on labels like Purified and now Interstellar. Is there a dream label or artist collaboration you’re hoping to pursue in the near future? Jono: A huge part of why I started music was because of Tale of Us and Afterlife, so I’ve always wanted to do something there. And collaboration-wise, my dream collab would be with Tiësto, Cassian or Anyma. You’ve been building momentum steadily over the past few years. What’s been the most rewarding part of your journey so far as an artist? Jono: Connecting with people’s hearts and minds through music and taking them to another dimension for an hour or two—away from their problems and struggles in life. What keeps you grounded amidst the constant travel and studio time? Any rituals or routines that help you stay creatively inspired? Jono: Yeah, I pray, eat as healthy as I can, and spend time with friends talking about things other than music and the industry etc. Lastly, when you imagine someone listening to “Memory Leak”—maybe in a club, in headphones, or under the stars—what do you hope they feel? Jono: A sense of overcoming pain and then feeling hope for a brighter tomorrow. 🎧 Listen to: Jono Stephenson, Henri Bergmann & Layla Benitez – ‘Memory Leak’ The post [INTERVIEW] Jono Stephenson Talks ‘Memory Leak’ with Henri Bergmann & Layla Benitez appeared first on EDMTunes.

In one of mid-April 2025’s music industry hires, promotions, and exits, Tom Allen (pictured) became Downtown Music’s CTO on a permanent basis. Photo Credit: Downtown Here’s a recap of recent music industry hires and in-house promotions as of April 16th, 2025. If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here. Beatchain AI-powered A&R platform Beatchain has brought on three regional brand ambassadors. New York-based A&R vet Holly Hutchison will oversee North America, Mumbai-based entrepreneur Umesh Luthria will focus on Asia, and Johannesburg-based radio presenter Nick Hamman will zero in on Africa. Downtown Music Downtown interim CTO Tom Allen has assumed the role on a permanent basis. Additionally, the company’s Curve Royalty subsidiary has elevated six-year team member Richard Leach to president. Arista Records Arista president David Massey is retiring at June’s end. Sony Music Entertainment Sony Music has bumped more than five-year higher-up Kevin Foo to MD for Southeast Asia. Based in Singapore, the exec will oversee operations in the Philippines, Indonesia, and Thailand. NSAI The Nashville Songwriters Association International has added three first-term board members (Deric Ruttan, Lydia Vaughan, and Dan Wilson) and welcomed back Jimmy Yeary to a new term. Music Media Collective The MMC has announced its founding and advisory boards; the non-profit also intends to add different board members yet “in the coming weeks.” The founding board consists of Mixtape Media founder Maggie Poulos, Jensen Communications publicity SVP Leo Lavoro, journalist John Morrison, musician Bo Rains, Asses in Seats co-host Mitch Beer, and WXPN vet Rich McKie. The advisory board, for its part, features NIVF president Laura Wilson, Clio Music executive director Michael Kauffman, CashorTrade PR head Taylor Esche, Fan Alliance president Donald Cohen, rapper Frzy, Musicopia’s Mark Schulz, and Azimuth.ai founder Barry Griffin. SonoSuite Henriette Heimdal, formerly a Group Speed business-development exec, has signed on as SonoSuite’s chief commercial officer. Warner Music Group Activision Blizzard CFO Armin Zerza will start in the same role (as well as EVP) at WMG on May 5th. Sony Music Publishing UK SMP UK has elevated nine-year team member Sarah Gabrielli-Cohen to A&R head. ASM Global Legends’ ASM has boosted programming director James Harrison to programming VP for Europe and the UK. UTA CAA and WME vets Zach Iser and Caroline Yim have joined United Talent Agency as music agents and partners. Empire Publishing Producer Illmind is now A&R SVP at Empire Publishing, where five-year exec Al McLean has been upped to global-creative EVP. IBMA The International Bluegrass Music Association has added four new board members (Kristin Scott Benson, Missy Raines, Helen Ludé, and Syntax Creative CEO Timothy Trudeau), and Ariel Rosemberg has been reelected to a fresh term. Island Records Island Records has promoted Marshall Nolan (who joined UMG in 2022) to EVP and head of commercial strategy. View the full article

Believe founder Denis Ladegaillerie, whose digital music company has taken another step towards privatization. Photo Credit: Believe Is Believe officially going private? It looks that way, as founder Denis Ladegaillerie and investment firms EQT and TCV have moved to acquire the company’s remaining public shares. Through a consortium called Upbeat Bidco, those parties say they own nearly 97% of Believe’s share capital and possess over 95% of voting rights. Long story short, the sizable interest resulted from a 2024 tender offer that Upbeat Bidco spearheaded despite strong indications of a Believe takeover attempt from Warner Music Group. Ultimately, Warner Music opted against submitting a formal bid for Believe, which IPO’d in 2021 and trades as BLV on the Euronext Paris. Despite its above-noted BLV holding, however, Upbeat Bidco didn’t convince every Believe investor to sell their shares last year. As things stand, 3.35% of Believe share capital belongs to third parties. Enter Upbeat Bidco’s newly disclosed privatization push, which is offering the business’s lingering stakeholders €15.30 per share. This represents a modest premium from BLV’s recent prices and from the original €15-per-share tender offer, the consortium pointed out in more words. BLV was hovering right around the €15.30 mark at the time of writing. According to the consortium, an “ad-hoc committee” (consisting of the three Believe board members without ties to Upbeat Bidco) unanimously endorsed the privatization proposal. Pending approval from France’s Financial Markets Authority, the offer is expected to run through Q2 2025, per the official announcement. Notably, the consortium seems to have a plan in place should any shareholders resist selling. Once the offer period concludes, the relevant Believe stockowners will “receive a compensation equal to the Offer price” as part of a “squeeze-out,” Upbeat Bidco emphasized. In other words, it appears that Believe’s run as a publicly traded company is coming to an end. Though time will tell exactly what the point means from a strategic and operational perspective, we aren’t without insight here. During 2024’s latter half, an acquisition-minded Believe scooped up 25% of Romania’s Global Records and the remaining 40% of Turkey’s Doğan Music. Additionally, Believe, which posted solid 2024 financials, scored a “landmark” distribution deal with Japan’s Teichiku Entertainment three weeks ago. All that said, recent months haven’t lacked less-than-positive developments for Believe, which, along with its TuneCore subsidiary, is facing a $500 million lawsuit submitted by Universal Music Group. The high-stakes infringement battle is still in its early stages; Believe’s official answer and an initial pretrial conference are now slated for June 4th and 18th, respectively. View the full article

Photo Credit: Gage Skidmore / CC by 2.0 Reggie Watts attended the first week of Coachella this year, taking to social media to share his thoughts. They might explain why Coachella has struggled to sell-out both weekends for several years now. With the first weekend of Coachella behind us and the second week upcoming, many live music fans have taken to social media to criticize the festival. Attendees highlighted the poor food experiences, with one couple paying over $100 for a couple tacos, nachos, and two lemonades. Reggie Watts articulated his problems with the festival on Instagram. “I’ve been to Coachella a handful of times now, and while the scale is impressive, the soul feels increasingly absent,” Watts begins. “The experience is confusing and impersonal—checkpoint after checkpoint, wristband logic puzzles, security everywhere. Most people on the grounds move like walking credit cards, pinging from one branded experience to the next.” “There’s no real sense of love coming from the festival toward the people. No care. No reverence. Just vibes curated for influencer culture. You’ll catch glimpses of something real—an artist pouring their heart out on stage, a sudden wave of connection—but those moments are fleeting. They’re easily lost in the chaos, buried beneath logistics, the brand activations, the overpriced everything.” “And then there’s the waste—plastic, garbage, trash in the desert wind. Leaving is especially grim. You’re navigating dust storms, people hustling to buy your wristband, and a general sense that it was all a transaction, not a shared experience. If you’ve got asthma or care about your breathing, bring a mask. Seriously.” “There are better ways to do this. There are independent festivals run by people who give a shit—about the music, the artists, the fans, the land. They treat performers with care and build environments where real community can take root. That’s where the magic is. That’s what’s worth supporting.” In recent years, Coachella has experienced a decline in ticket sales and has failed to sell out consistently. That marks a significant shift from its historical status as a highly sought-after live event. Artist headliners can only do so much to draw in the crowds—rising ticket prices, the ongoing cost of living crisis, and a shift in audience and cultural trends can explain those low ticket sales. As Reggie points out, increased competition from other festivals that aren’t as large as Coachella but feature attractive line-ups and lower costs attract music fans. Stagecoach has had no trouble selling out over the last few years as country music goes through a renaissance among Gen Z. Coachella’s disastrous artist sets have not inspired confidence for those forking out thousands to see artists live. Grimes apologized publicly for her glitch-filled set in 2024, while Nigerian singer Rema arrived 30 minutes late to his set this year. The performance involved lip-syncing, water breaks, abrupt starts and restarts of songs. Fans noted his apparent annoyance at the set, with much speculation about issues backstage affecting his performance. For a live music festival about promoting artists in the moment, Coachella’s share of disaster sets has left fewer people willing to fork out thousands of dollars to travel to the money sink in the California desert. View the full article

Photo Credit: Agustin Flores After sharing permits and stating the festival would go forward, Fyre Festival 2 organizers have postponed the festival and offered refunds for ticket buyers. A message sent to ticket holders this afternoon confirmed Fyre Festival 2 will not go forward as planned in Mexico from May 30 to June 2. “The event has been postponed and a new date will be announced. We have issued you a refund. Once the new date is announced, at that time, you can repurchase if it works for your schedule,” the message to ticket holders reads. Representatives for Fyre Festival have not responded to comments or questions about the refund. As late as last week, Billy McFarland shared what he considered evidence of the festival happening on social media. That evidence was permits at nightclubs in Playa del Carmen to play music in a club for 250 people—not a live music bash as was being touted. Tickets for Fyre Festival 2 started at $1,400 for general admission. Tickets were available for as much as $1.1 million with destination festival package promises including live sessions with MMA stars. Organizers said that package sold out—which was intended for eight people with amenities including a stateroom yacht and private chauffeur service. The sequel to the disastrous ‘luxury’ Fyre Festival in 2017 appears to be ending with a whimper instead of another event to fuel documentaries on Netflix and Hulu. The original festival was promoted by celebrities on social media and promised gourmet food, luxury villas, and top musical acts. Attendees paid thousands of dollars for tickets, expecting an exclusive, high-end experience. The lack of delivery bordered on false advertisement, with Billy McFarland arrested and charged with wire fraud and other financial crimes related to the festival. In October 2018, he was sentenced to six years in federal prison and ordered to forfeit $26 million. McFarland pleaded guilty to multiple counts of fraud, having defrauded both investors and ticket holders. He was released after less than four years—with an order to pay the original victims restitution. Shortly afterward, he began planning Fyre Festival 2. View the full article

The Fyre Fest 2 saga continues with a turn of events no one, and I mean no one expected. Billy McFarland’s Fyre Fest 2 sent out an email to ticket holders explaining that they had decided to delay the event and change the location. This was due to multiple arguments with local officials. The Fyre Fest 2 Timeline At first, the event was allegedly happening at Isla Mujeres May 30 to June 1. However, after an official statement from the Isla Mujeres social media accounts, the event moved to Playa del Carmen. According to the owner, Billy Mcfarland, the organization had all the permits necessary to run the event. Ticket sales had started without a clear lineup or any official venues. The same thing happened at Playa del Carmen, when the official local tourism and security accounts released statements. In them, they both denied any involvement with Fyre Fest. They have made it clear that there were no permits to hold an event of that magnitude. The most recent email states that after permits and press conferences happened, the government backstabbed Fyre Fest. We know officials have claimed nothing was happening in Playa del Carmen. Nonetheless, Billy stays firm, saying that the event is still happening, while they search for new locations. However, there are no refund policies or new dates available. It seems like this won’t be the last we hear from Fyre Fest 2 this year. The post Fyre Fest 2 Postponed Indefinitely After Disputes With Local Officials appeared first on EDMTunes.

Photo Credit: Deezer Deezer says over 20,000 fully AI-generated tracks are uploaded to its platform daily, or around 18% of all uploaded content. Global streaming platform Deezer has reported that over 20,000 entirely AI-generated tracks — or around 18% of all tracks — are uploaded to its platform daily. That’s an increase from the previously reported 10% in January, when Deezer launched its cutting-edge AI music detection tool. The company’s AI music detection tool sets an industry standard — but the onslaught of AI-generated music is unrelenting. “AI generated content continues to flood streaming platforms like Deezer, and we see no sign of it slowing down,” said Aurelien Herault, Chief Innovation Officer, Deezer. “Generative AI has the potential to positively impact music creation and consumption, but we need to approach the development with responsibility and care in order to safeguard the rights and revenues of artists and songwriters, while maintaining transparency for the fans. Thanks to our cutting-edge tool, we are already removing fully AI generated content from the algorithmic recommendations.” Deezer’s AI music detection tool is able to detect 100% AI-generated music from “the most prolific generative models — such as Suno and Udio,” with the possibility to add detection capabilities for “practically any other” tool, provided there’s access to relevant data examples. Deezer has also made significant progress in creating a system with “increased generalizability,” to detect AI-generated content without a specific dataset to train on. Still, the reported increase in AI-generated content comes at a time of growing concerns about AI companies training their models with copyrighted material. Platforms like Suno and Udio have been sued by the major labels, but those lawsuits are still pending. Moreover, concerns are ever-growing of governments potentially diminishing copyright laws to facilitate AI development. Deezer has reiterated its commitment to protecting the rights of artists and creators, and remains the only streaming platform to sign the global statement on AI training. View the full article

Photo Credit: Alexander Shatov Spotify is back up after a widespread outage that left many users suspecting hackers were to blame. But the company says that’s “completely inaccurate.” Tens of thousands of Spotify users reported problems with the popular music streaming service on Wednesday during a widespread outage. But Spotify was back up and running a few hours later. “All clear — thanks for your patience,” said Spotify on social media, around noon ET. “Get in touch with @SpotifyCares if you still need help,” the company added, pointing to its support account. Users widely had difficulty loading the app and the desktop site earlier in the day, or playing songs, as well as using the platform’s search function. Spotify also noted some users had trouble accessing its support site. Disgruntled users took to social media to vent their frustration at the interrupted service. “Messing with my morning, man!!” wrote one user. Some users said they were still able to listen to music, but experienced issues during playback. Other users said they couldn’t listen to any music, or get the service to load on either the mobile app or the desktop site. The outage seemed to have begun around 6:20 AM ET, with outage reports appearing to peak after 9:30 AM ET, with around 48,000 people reporting issues. Spotify said it was “back up and functioning normally” by 11:45 AM ET. In the early afternoon, around 1,500 outage reports remained. Users across the US and parts of Europe appear to have been affected. While Spotify did not specify what might have caused the outage, the company was quick to stamp out rumors that a security hack was to blame. The Stockholm-based streamer says reports of that nature are “completely inaccurate.” Spotify currently serves up music and podcasts to more than 675 million users worldwide, including 263 million subscribers across over 180 markets. View the full article

Photo Credit: Lorenzo Spoleti How accurately can humans identify music created using artificial intelligence? A new study conducted by MIT Technology Review reveals humans struggle against diffusion-created AI music from platforms like Suno and Udio. Diffusion models for creating music don’t compose songs the same way a human might, by starting with chords and adding vocals and drums. Instead, these models generate the noise of music all at once—visualized by a waveform. With hundreds of millions of waveforms from human generated songs, AI platforms like Suno and Udio can create a model capable of generating AI music. “A model is fed millions of clips of existing songs, each labeled with a description. To generate a new song, it starts with pure random noise and works backward to create a new waveform. The path it takes to do so is shaped by the words someone puts into the prompt,” O’Donnell writes of these AI services. That backwards generation is the exact opposite of how humans write music—but the human ear struggles to differentiate from the two. While major labels are suing both Suno and Udio for training their models on copyrighted music at an “unimaginable scale,” these companies argue that training models are fair use. Udio says it has model filters in place to prevent the model from “reproducing copyrighted works or artists’ voices.” O’Donnell spent a few days playing around with Udio’s model for a test. Generating 30-second samples, he created tracks in 12 genres of music and asked the newsroom team at MIT Technology Review to identify the songs made by AI amid other songs created by people. “The average score was 46%,” O’Donnell reveals. “And for a few genres, especially instrumental ones, listeners were wrong more often than not.” O’Donnell says when he watched people take the test, he noticed that qualities they confidently flagged as AI compositions—fake-sounding instruments, weird lyrics—were not always right. “Predictably, people did worse in genres they were less familiar with; some did okay on country or soul, but many stood no chance against jazz, classical piano, or pop. Beaty, the creativity researcher scored 66%, while Brandt, the composer, scored 50%.” With just a few text prompts, O’Donnell created music that humans couldn’t pick out of a line-up as AI generated. “A few could have been easily played at a party without raising objections, and I found two I genuinely loved, even as a lifelong musicians and generally picky music person,” he shares. View the full article

Moments after a court ruled to leave in place an injunction blocking NewJeans’ solo career activities, the group appealed to the Seoul High Court. Photo Credit: SBS Radio A Seoul court has upheld an injunction blocking NewJeans members from engaging in professional activities without Ador’s involvement. And right on cue, the group has kicked off a High Court appeal. Both developments came to light in regional reports today. By now, many are familiar with the uglier-than-ever contract dispute between NewJeans and its Hybe-owned agency, Ador. But just to recap – the convoluted showdown has a number of layers – late March saw the aforementioned injunction put an end to NewJeans members’ solo activities. Having rebranded and performed as NJZ for a time, NewJeans was (and remains) specifically barred from pursuing any career moves without Hybe/Ador. Meanwhile, the five-piece act’s separate court challenge to the underlying contract is plodding along. In short, then, the on-hiatus NewJeans’ current options include attempting to overturn the injunction, waiting out the suit challenging the contract (though a win certainly isn’t guaranteed), or reconciling with Hybe/Ador. The latter path is definitely interesting, but the first course of action hasn’t brought about the desired result for NewJeans. As summed up by the Korea Herald, the court today upheld its prior ruling on the injunction. Per the same source, NewJeans members promptly appealed to the Seoul High Court – though it’s unclear how long it’ll be before the legal wheels are in motion there. Closer to the present, evidence suggests that the involved parties are still quite far from an amicable resolution. At the same time, with not-so-subtle press conferences in the rearview, the worst of the confrontation might be over. To be sure, many NewJeans fans appear eager to see the group reunite (or at least stop quarreling) with Hybe/Ador, which, as noted, now has multiple courtroom wins under its belt. Undoubtedly interested in ending the battle, Hybe last week extended an olive branch to NewJeans by vowing to crack down on online harassment targeting the group. Furthermore, NewJeans members are evidently still open to performing (they did so as NJZ before the injunction was handed down) and to making music (they unveiled a new track at the same concert). And returning to their original professional home might be the easiest way to continue earning a living from the efforts. NewJeans’ relationship with ousted Ador CEO Min Hee-jin (who has worked with the group from the outset) is undoubtedly the biggest hangup in this area. Though there are two sides to every story, an initial rift between Min and Hybe management seemingly fueled the wider conflict with NewJeans. Long story short, NewJeans members are adamant that Min should be reinstated, and Hybe has spelled out that the ship sailed a while ago. Among many other things, litigation is ongoing between Hybe and Min. View the full article

Chartmetric trending artist du jour, De La Soul Digital Music News is now expanding its longtime partnership with Chartmetric, the industry’s most respected music intelligence and data platform. Jumping in, DMN readers will soon have access to a constantly-updating track popularity ranking, complete with fast-emerging breakouts. Complementing the ranking will be Chartmetric’s latest data trend analyses, which will include a broad range of genres, artists, and broader worldwide music developments. Everything will be available to Digital Music News readers in a neat dropdown widget, which will complement DMN’s existing industry coverage. The dynamic chart ranking will lean heavily on Spotify Monthly Listeners and Chartmetric’s own scoring methodologies to monitor breakout tracks and artists, 24/7. For those seeking a real time ranking that better reflects trending realities online and off, there isn’t a better barometer of what’s bubbling. For those that want to dive deeper, Chartmetric’s data-focused breakdowns will offer unparalleled examinations of music trends worldwide. That includes featured articles from Chartmetric’s ‘How Music Charts,’ a dedicated editorial column focused on music charts, data, and analytics – with extremely time-sensitive and relevant articles. And that’s in addition to DMN’s non-stop, hard-hitting industry coverage and DMN Pro analyses. “Chartmetric and Digital Music News have been partnering for years with a mission to broaden music industry intelligence,” said Chartmetric President & COO Andreas Katsambas. “Now, we’re taking things a step further.” Meanwhile, Chartmetric is recharting the possibilities in A&R with a recently-released ‘Talent Search Tool’ to power better predictive intelligence. As profiled on DMN, Chartmetric’s Talent Search Tool sifts through data from over 10 million artists, identifying key signals that suggest an artist’s potential for long-term success. Each artist receives a daily score from 1 to 10 across various metrics, making it easier to spot emerging talent worthy of deeper investigation. Just recently, Chartmetric joined forces with DMN to broaden awareness of its data-powered predictive tool. View the full article

Throughout his entire professional music career, and even long before that as a listener and a beginner DJ, Roman Messer has always loved and cherished trance music, and especially uplifting trance if he had to pick his one true love. Being the closest thing in Roman’s book to the elusive label of “true trance” if there is one, uplifting trance and closely related sounds always held a special place in the artist’s heart. But anyone with more than a couple years of listening to the genre under their belt can attest: trends in trance can change faster than seasons do. There is always a exciting new sound to explore for a producer, or an inspiration from outside the genre that results in something fresh and quirky, there’s always room for personal growth as an artist by broadening your production skills, there’s always a song idea coming from a vocalist that would work great as a mellow progressive tune… In other words, it can be rather hard – and, one might argue, even detrimental – to pigeonhole yourself into one particular style or sound throughout your entire career. It is no surprise then, and certainly no crime, that Roman Messer’s four earlier studio albums covered a very wide spectrum of sound that could broadly be described as modern trance music in general and even some things on its fringes. But the time has finally come to pay a proper tribute to the true trance sound that Roman has always loved. ‘For All Time’ , Roman Messer’s brand new fifth studio album, is all about that profound majestic feeling of flight which, arguably, only uplifting trance can give you. What might seem like a career anniversary milestone celebration of some sort – after all, Roman’s brainchild Suanda Music turned 10 years old this year, and his professional career as a producer with signed releases is only about a year older than that – is, in fact, a project that’s been in the making since long before 2023. Long-time followers undoubtedly took note of Roman’s overall focus on uplifting trance lately, and he even reworked some of his biggest progressive anthems into supercharged “Full Fire” versions over the last few years. Glancing at the album’s tracklist, one might notice a couple of tracks that were first presented all the way back in 2020; indeed, every now and then, Roman put a special track or two aside for the uplifting trance album that he had been planning, with work on said album really picking up the pace once the producer fully devoted his studio time to the project. A risky one, perhaps, according to his own admission – after all, the world of trance has plenty of styles and there’s always a chance that listeners might prefer more variety on an LP – but a very deliberate one, as Roman felt he was long overdue to pay tribute to the sound that he loves and share this love with his like-minded followers and proselytize the more sceptical ones. Apart from Roman’s own solo productions, ‘For All Time’ sees a fair share of his collaborations with musicians ranging from Roman’s own all-time trance idols, like Alex M.O.R.P.H., Emma Hewitt, Roxanne Emery and Christina Novelli, to rising stars that he himself helped grow through his own earlier productions and through his label. Vocalists like Cari, Joe Jury and Diandra Faye saw a surge in their own popularity and demand in the trance scene after working with Roman, while artists like Skyvol and NoMosk are among Roman’s favorite producer talents at the moment and are tipped by him to have a very promising future ahead with their excellent sound. Something else that connects Roman’s album to the surrounding trance scene is the inclusion of his versions of some of his personal favorite classics throughout the years. The vocal anthems “Silence” and “Need To Feel Loved” have always been among Roman’s most cherished trance works, and although the producer was initially hesitant to rework them fearing that he wouldn’t be able to do them justice, the end results proved very popular with the trance crowd, ending up being some of his most in-demand tracks lately. A self-admitted bold experiment – complete with a fully solo open-to-close club night to celebrate its launch, which isn’t done all that often in trance music these days – and a heartfelt love letter to the genre that shaped Roman’s own tastes and his music career. Full of sonic adventures through the landscape of modern uplifting trance from start to finish, ‘For All Time’ is intended to, you guessed it, stand the test of time and remain one of the centerpieces of Roman’s discography for years to come. The post Roman Messer honors uplifting trance with heartfelt album ‘For All Time’ appeared first on EDMTunes.

Titus1 and Roger Raw teamed up for a groovy and emotional new release titled ‘Ground’ on Deeper Harmonies label. This collaboration from two highly respected and talented acts takes us on an emotional, uplifting and introspective journey. Inspired by the contrast between melodic techno and progressive house, this track from Titus1 is another example of his genre-crossing, versatile nature. The Canadian DJ and producer uses his experience and knowledge to create a musical experience that showcases his musical prowess and keeps us coming back for more. The track has a warm, analog feel with layered synths, lush pads, and a rolling bass line that creates movement and depth throughout the song. The percussion is tight and minimal, allowing space for the melodies to breathe, while subtle leads add an organic touch. Overall, the track blends deep, emotive melodies with a driving yet atmospheric groove. It’s a standout with its evolving synth layers, cinematic breakdowns, and a crisp, punchy low end that keeps the energy flowing. Tension builds and resolves in this emotional sonic voyage that keeps listeners hypnotized and engaged. Be sure to check out ‘Ground’ for yourself, out everywhere now! The post Titus1 and Roger Raw Release Ethereal ‘Ground’ appeared first on EDMTunes.

Billy McFarland and the organizers of the controversial Fyre Festival have postponed a planned sequel to the infamous 2017 event following disputes with Mexican authorities over its location, according to an email issued to ticket-holders and obtained by EDM.com. Fyre Festival 2 will no longer take place in Playa del Carmen, Mexico, as previously announced. The organizers claim they have been "blindsided" by local government officials who allegedly first supported the event before publicly denying any knowledge of it. "When a government takes your money, issues permits, promotes the event, and then pretends it’s never heard of you, that’s not just dishonest—it’s theft," the statement reads. "Due to this, we have decided to move FYRE Festival 2 elsewhere." The statement described a pattern of similar challenges with officials in Isla Mujeres, where the festival was initially planned. After receiving "official government documentation stating full support" in December 2024, organizers said they secured venues and began selling tickets, only to face public disavowal from the same authorities. When approached by the government of Playa del Carmen with what they called "a proposal we couldn't refuse," Fyre organizers relocated the event there. According to their statement, they obtained and paid for various permits, participated in a joint press conference with various partners and received public support through government social media accounts before facing another denial. "Then, days later, and after international media coverage, the same government publicly denied any awareness of FYRE Festival 2," they wrote in today's email. "You can't make this stuff up." McFarland in 2018 entered a guilty plea for fraud for his role organizing the original Fyre Festival, a botched event that devolved into chaos on the Bahamian island of Great Exuma. He was released from prison in 2022 after serving four years for wire fraud. The team behind Fyre Festival 2 insists the event "is still on" and are currently "vetting new locations." They have not announced new dates or refund policies at press time.

From poolside grooves to late-night sets, EDX has been a staple of Miami Music Week for years—and 2025 is no exception. We caught up with the Swiss DJ and producer during the chaos of MMW to chat about his longevity in the scene, his evolving sound, and what fans can expect next: Let’s jump right into it and start with Sirup, it’s been 25 years now? EDX: Yeah, it’s crazy. We are into our 25th year now and there’s a ton of excitement. A very emotional one too; it brings back so many memories from over the years. From the evolution of my music to everyone I’ve worked with, there’s so much history to unpack, and I’m happy to be celebrating it all. As we look to the future for Sirup and your own music career, what’s next? New music is coming, of course, along with collaborations and a summer tour. I am always trying to think of ways to evolve my own music and energy to keep my sound fresh. Can you tell us a little bit about your upcoming collabs? I recorded a track with Jess Ball again, which will be released soon. There might also be collaborations with my group, Helvetic Nerds. Lots of things to look out for. Let’s get into the fun questions now – is there an artist or group that you would love to do a collab with? There are a lot of bands out there, so many great ones that it is hard to choose. But, I think every artist dreams of doing a collaboration with a band like Coldplay – so I would have to pick them. If I were to hand you the aux cord right now, what song would you put on? I would probably play my new song, “Cobalt,” because I’m really in love with it. It’s a great song for the dancefloor. Connect with EDX: Instagram Facebook TikTok Spotify X

Mary Droppinz channels the chaos of Fortnite into something physical, filthy, and undeniably filthy in her new single, "Drop In." A sub-heavy salute to the iconic game, "Drop In" succeeds where many crossover attempts fail, speaking authentically to both gaming enthusiasts and bass music aficionados without pandering to either. The result is both accessible and uncompromising, precisely what makes Droppinz one to watch. Out now under Zeds Dead's Deadbeats banner, "Drop In" is a nasty, expertly carved slab of deep dubstep that doubles as a nod to gamer culture. What elevates the track beyond mere gamer fan service, however, is her DIY approach to sound design. Droppinz, a producer's producer, melds Apache drum loops and Think breaks to create a rhythmic backbone and even samples the pang of her own glass water bottle. The track's highlight is its wonky bassline, which provides the gravitational pull around which Droppinz's vocals and samples orbit. Her own vocals purr the titular command, but it's the drop's woozy low end that brings it into banger territory, wobbling like heat off asphalt. You can listen to "Drop In" below and find the new single on streaming platforms here. Follow Mary Droppinz:X: x.com/marydroppinz Instagram: instagram.com/dirtybirdrecords TikTok: tiktok.com/@marydroppinz Facebook: facebook.com/marydroppinz Spotify: spoti.fi/3fOxIJB