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Swiss DJ and producer Wassay is stepping back into the spotlight and keeping that House music fire burning in 2025. Fresh off the success of his previous track ‘Embrace’, he returns with another club-ready anthem, ‘My Limit Is The Sky’. This time, Wassay teams up with South African singer-songwriter Nathan Blur, adding a fresh vocal touch to his signature sound. Known for his tried-and-true production formula, Wassay once again delivers a track that feels like an instant classic, designed for dance floors and airwaves alike. Beyond the studio, Wassay remains a dominant force in the club scene across Switzerland and beyond. With his latest release now hitting global platforms, it’s clear that ‘My Limit Is The Sky’ is set to make waves in the House music world.

Music From The Mothership is on a mission to make the scene more inclusive. They are here to change the landscape. With 11 residents and Tank Howls as their founder, they are currently well on their way to make this change happen. On Friday March 14 , they are taking over Room 2 in XOYO for Jungle Cakes, and this is yet another milestone in their journey. What started as a radio show three years ago grew out to be much, much more. From workshops and event takeovers, dedicated Mothership events and festival showcases to their monthly radio show at DataTransmisson: Music From The Mothership is everywhere. Get your tickets here. We had a chat with Tank Howls, their founder, to talk about the journey so far, what her thoughts are on the current scene, and what’s to come from Music From The Mothership in the future. This is such an inspiring collective you have! When did you decide to start Music From The Mothership? When I was younger, I used to DJ a lot on vinyl. After a while, I got out of that, but when I came back into the scene, I got into digital mixing, and got my first couple of gigs, I felt very isolated. I didn’t know any other female artists, and I didn’t really know anyone in the drum & bass scene at that time. I could see straight away that when I was going to be booked, I was gonna be the token woman on the lineup. I was thinking, why are there still no women in drum & bass? I started researching and found out that there are actually loads. I wanted to connect with them, and wanted to get to know them and give them opportunities, as well as get myself into this scene a bit more. That’s why I started a radio show, and through that the mothership grew. I met so many amazing people through this radio show, and we started collaborating and working together, giving opportunities to each other. When this had been going on for a while, I asked around: “Does anyone like the idea of starting a mothership collective? Would anyone be up for that?” It started from there. There are a lot of genres represented by the collective. Why is that? It started just as drum & bass, but I felt it wasn’t that inclusive, I really like all bass genres and other people in the collective could play those genres as well. This way, we’re all playing music that we enjoy, but it’s also opening up the opportunities for the collective. Rumble in the Jungle has booked us a couple of times to do a multi-genre takeover, for example. I think it makes you more versatile, which is good in the industry, and it gives the DJs who play those genres the chance to play all the things they like playing. And can you tell me more about who is in Music From The Mothership? First up we have Asset, a drum & bass DJ. She’s my wingman, she really supports me and does a lot of emailing, a lot of posting and editing of clips… She’s the second in command for all the admin stuff, she’s my rock. Next up we’ve got Klumzykhemist, she’s signed to Hot Cakes, andis a DJ and producer. She’s smashing it in her own right currently playing up and down the country, then we have DJ Nay. She’s a DJ and producer, and also the label manager for Dubshotta. Our youngest member is Sounds of Fia is a student in Bristol, and is a multi-genre DJ and producer and singer. She’s multi-talented, and she’s going to pop off for sure. We’ve also got Tashphrodisiac who is also a multi-genre DJ, mainly drum & bass rollers but also garage, 140, and bassline. Then there’s Anny, she runs Basscamp, and is a neuro DJ learning to be a producer. Then there’s myself, Tank Howls. Then there’s Devotron who is a multi-genre DJ who mainly plays footwork, jungle, bassline, she’s based in London. And finally we’ve got Synthra, she’s a neuro and more heavy DJ and a really sick producer, but yeah she’s taking a little break at the moment. We also have two MC’s and vocalists, Kmzi is our MC and we’ve got TJA who is more of a vocalist, both are super talents who really finish our collective, and help create a real show when we are all together. In what other way do you want to see the collective grow? It would be great if we all pushed the production a bit more. I would love it if there was a little Mothership label, that would be a great way to grow, but more work scares me a bit. Another thing that I would really like to do, would be to have enough shows coming in that I wouldn’t always offer the slots to residents. The Mothership has always been about wanting to help a wider group of people. If we were getting to the point where we were getting offered shows every weekend, then we could start inviting artists who are maybe not part of the actual collective but are part of the wider Mothership family. You’re doing really great things for the music scene, and you’re taking over room two at XOYO this Friday for Jungle Cakes as well. Are you looking forward to that? It’s such a great opportunity. It’s amazing to have the whole room, so we can get pretty much all of the residents on. There’s a couple that can’t make it, but most of them get to play. We get to have our MC come along as well, which is nice, and we’re also bringing some dancers. It’s going to be a real show which is really exciting. Is this the first time that you get to take over a room? We have done some takeovers but normally it’s more like an hour to two hours. We did some stuff with Gorilla Tactics at Boomtown and we also did Boomtown Bobbies. We have been working with Jungle Cakes and Rumble, doing two hours or something like that, but never a whole room yet, so this is great. Doing a room takeover for such a big brand like Jungle Cakes and such an amazing venue like XOYO, it feels like a milestone. It’s really exciting to hit those. It’s great for us, because it means they’re taking notice of what we’re doing and what we’re making noise about, what we’re all about. But it’s also nice for the wider scene, because it makes the lineups more diverse. That’s amazing, yeah! You started this collective three years ago, did you ever think you would come this far this fast? I’m quite a hard worker, and I always strive for more and more and more. It can be hard for me to fully recognize when I’ve gotten somewhere, because I’m always looking at the next thing. But I do realize that we’ve done a lot and everybody around me is always like, you’ve gotten so far, but I suppose my goals are always so big, I’m always thinking we can do more. How did you come up with the name? Before I started the radio show, I was trying to think, how can I connect with other women? My very initial idea was, how can I connect with other women who are a bit like me? What would my target audience be? What do I want my target audience to be? I’m a mum, I was 40 then. Is my target audience like a young 18-year-old guy? I wasn’t sure. I was thinking, I’ll just call it something that I feel would resonate with women, maybe more of my age as well, so I was thinking of mum and mummy and mothership, and I went with Music From The Mothership, as it just had a good sound to it We resonate with all sorts of people, but we do have a massive female following, which is quite unusual for Instagram. We get a lot of support from women, but we get a mix of comments and likes and support from everybody. We’ve been really lucky. I have hardly had any negative interactions. Everyone always seems to see the genuine passion and energy in the things that we’re trying to do. What other collectives do you look up to, or would you want to collaborate with in the future? I really look up to Full Spectrum from Bristol, I admire everything they do. I’d really love to collaborate with all of the female focus brands. There’s Sisterhood in Birmingham. HARMONIA in Bristol is another one, but there are loads of others. One of my ideas that I would love to work more on, is doing regular collaborations with all of these groups. There are loads of people doing stuff on a small scale. We’re starting to get some bigger bookings now, but a lot of the other collectives are still pushing themselves, running their own nights, or getting booked like on a lower level, so it would be really nice if we could work together more. If we were one massive huge collective of people, you could do so much more and you could reach such a bigger audience. I definitely would like to try and join forces with more collectives. That’s the power of collaboration! What has changed since you founded Music From The Mothership three years ago? There are more collectives around than I was aware of. I think people are starting to take notice of collectives more. I think that they’re starting to vibe with it and see that it’s nice to have a group of people behind the decks. You have other groups like Girls Don’t Sync, Girls Take Action or Girls Next Door who are bringing that collective feel at that top end, and it would be nice to see more collectives, and it’s growing very slowly. Our collective has definitely grown from just a few at the beginning to 11 artists now. Have you noticed a change in the scene? There’s still a long way to go. If you were to look on lineups, I know there’s a hierarchy to DJs, who’s the most famous or who’s going to pull the biggest crowd or whatever it is and that’s that’s totally validated, but there are enough artists out there who are female identifying or who are ethnically diverse or who are from the LGBTQ community. You should be seeing at least 50% of the lineup coming from those three communities. Promoters can do some research and find out who to book or reach out to collectives like ourselves and ask for ideas on artists to book, because I think it’s important. Bigger brands do have a choice to not just put someone on first and once and tick a box. They have the choice to shuffle things up a little bit and drop different people in different places to give them amazing opportunities for them to grow, for people to be seen in the scene. People are very set in their ways. I get it, it’s a business, so you don’t want to do something to risk people not coming to your show. But if most of your lineup is all of these huge artists then people are going to come for them, maybe take a couple of those bigger artists out and scatter a few smaller artists that fit on the lineup. You’d see a more equal lineup. I just don’t see equal lineups, it’s still lots of guys and one or two women. That doesn’t represent an equal fix. We had an artist on our show who said it really well. She said, “In the underground scene, women are smashing it. In the smaller clubs with smaller promoters, you will see a bigger mix, you will see a lot of women, and you will see a lot of female promoters and a lot of female collectives pushing.” It’s just that bigger step up the ladder which is difficult to reach. Let’s wrap up this conversation with something more positive. What are some of the best moments you’ve had with Music From The Mothership so far? Every time we’re in big groups with the collective is great, traveling to and from places. Boomtown was amazing, there were a lot of us there, and we had the Wrong Side of the Tracks take over, the Boomtown Bobbies, both of those were sick. We were all supporting each other, that was amazing. We had an amazing show at Shindig where we had a lot of the residents… Any time we’re all together is always really fun. It’s inspiring and we all give each other energy, we all back each other up. I think that’s really special about it. What do you still want to achieve with your collective? We’ve been working with Hospital Records this year because we’re their new business development mentee, which has been a real proud moment. I was really amazed to get that because I’d been trying to get that for three years. Doing a little bit more stuff with them would be great. I’d love to get a Mothership residency somewhere but I don’t know if that’s even possible, and maybe get signed by an agency. We’ve been considering that, but I’m still not sure whether that’s the right path to go. Other than that, we’ve still got our events coming up at Cosies, in Bristol, next one is the 18th April. We will keep them going and get them lively. If we keep continuing to work with some bigger promoters as well, that would be great. Any final thoughts? I want to give a big shout out to anyone who supported us over the years. There have been a lot of people in the background who have supported us, our families who look after our children for us when we go to gigs, and then a big shout out to Lez at Headroom in Bristol where we’ve recorded the show for the last few years. He’s always a rock and a big support. Also a big thanks to DataTransmission, who host the show at the moment, big shout out to all the collectives and all the artists that we’ve worked with. It’s been really great getting to meet everyone and growing the family and the community wider. and last but not least, a the biggest shout to all the Mothership girlies. They truly rock!

The venue has also undergone a redesign ahead of its reopening in May Continue reading...

Dave Alex, the talented electronic music artist and DJ, is ready to release his latest track Optimistic on March 3rd, 2025. Known for his high-energy sound and uplifting vibes, this new single promises to be another floor-filling anthem. Optimistic marks Dave Alex’s fifth release on Ditto, continuing his journey of creating music that not only moves people but also lifts their spirits. Drawing influence from early techno pioneers such as The Prodigy and Aphex Twin, Dave’s new track channels positive energy and an infectious rhythm, designed to spread happiness and create a feel-good atmosphere on dance floors. Optimistic is a reflection of Dave Alex’s signature sound, blending deep techno with an upbeat, dynamic pulse that makes it an undeniable crowd favorite. With a focus on creating an atmosphere that brings joy, this track continues his tradition of producing music that connects with listeners on an emotional level. Hailing from Belfast, Northern Ireland, Dave Alex Crawford (also known as Positive Spirit) has been making waves in the electronic music scene since 1996. Starting as a DJ, he quickly gained recognition for his skill behind the decks before venturing into music production in 1998. Dave’s early work received positive reviews, and he formed Shinebox Radio, an internet radio station dedicated to showcasing fresh, unsigned talent. As his career evolved, Dave secured residencies at prominent stations like Deviant Audio and became a regular guest on various radio shows, including Agnelli & Nelson’s Deep Blue Radio Show, Solaris, and Pure Dance. Additionally, he hosted his own show, Facing Up, on the popular trance station Trance FM in Amsterdam, further solidifying his presence in the global dance music community. Dave’s music has also been featured on renowned platforms such as BBC Introducing and Deepsink Digital, a Florida-based Christian EDM label. Now, with his own record label Positive Spirit, Dave continues to push boundaries in the techno and trance genres. His deep passion for music is reflected in every track, and his goal remains clear: to spread positivity and connect with audiences through sound. Support Dave Alex on Social Media Instagram | Facebook Listen to more of Dave Alex Spotify | Apple Music | Mixcloud The post Dave Alex Uplifts with New Single Optimistic appeared first on Electric Mode.

As a dynamic preview of his upcoming album The World Is Ours, Paul van Dyk unveils his latest collaboration with Paul Thomas and EKKO, Shed Your Light, set for release on VANDIT Records. This electrifying fusion of three visionary artists is primed to make waves across global charts and fuel dancefloors with its unstoppable energy. The track delves into themes of resilience, hope, and transformation, weaving deep, pulsating beats with a backdrop of haunting melodies. EKKO’s ethereal vocals draw listeners in, immersing them in a soundscape of emotion, mystery, and revelation. Continuing the momentum into Paul van Dyk’s highly anticipated album, the first in five years, the song fluidly captivates audiences and ignites his longtime fans from across the electronic music spectrum. Joining the collaboration, Paul Thomas, a world-renowned DJ, producer, and longtime friend of Paul van Dyk has become universally celebrated for his deep and emotive sets at events like SHINE Ibiza, SHINE at Tomorrowland and FSOE shows. With releases on his very own label UV, his progressive sound perfectly complements the production on ‘Shed Your Light.’ With releases on esteemed labels that include Toolroom and Defected, his deep, progressive sound perfectly complements the production on ‘Shed Your Light.’ Industry figureheads have earmarked ‘Shed Your Light’ as a melodic masterpiece ahead of its official release, showcasing crisp, signature beats and captivating melodies from this powerhouse collaboration. Reflecting back, Paul first discovered EKKO late last year through a promo track and was immediately drawn to her captivating voice and poignant lyrical delivery. With over 70 million Spotify streams, the songwriter, vocalist, and producer has been making a significant impact with her emotionally charged sound, carving out a distinct presence in the industry. Paul van Dyk, Paul Thomas & EKKO’s Shed Your Light is set for release on 14th March, with The World Is Ours following In April via VANDIT Records, both marking an exciting new chapter in Paul van Dyk’s legendary career. Pre Save: https://bfan.link/pvd-shedyourlight Find Out More & Follow Paul van Dyk Instagram | Spotify | Website Vandit Records Instagram | Facebook | YouTube Paul Thomas Instagram | Soundcloud | Facebook EKKO Instagram | Spotify The post Paul van Dyk, Paul Thomas & EKKO Unite On Captivating ‘Shed Your Light’ Single appeared first on Electric Mode.

Primal Scream have announced details of a new album of remixes titled, Come Ahead: The Remixes Vol 1 (Vocals) due for release via BMG on 28 March 2025. The news arrives before The Come Ahead Tour, Primal Scream’s first UK and Ireland headline shows since 2023, beginning 31 March. Come Ahead: The Remixes Vol 1 (Vocals) will feature eleven remixes of music from Primal Scream’s critically acclaimed new album, Come Ahead. An accompanying album of dub mixes, titled Come Ahead: The Remixes Vol 2 (dubs), is soon to be announced. Since the album’s announcement in July 2024, The Come Ahead Remix project has evolved in parallel. Starting with UK house legend Terry Farley and Wade Teo’s sold-out white label remix of ‘Ready To Go Home’ – the mix started dropping in clubs last summer 35 years after Terry Farley first created the iconic ‘Loaded’ and ‘Come Together’ remixes for Primal Scream. ‘Ready To Go Home’ (Tim Goldsworthy Remix), ‘Love Ain’t Enough’ (Tim Goldsworthy Remix), and ‘Love Insurrection’ (Black Science Orchestra Remix) all followed. Last week ‘Innocent Money’ (PSB King Of The World remix), complete with Neil Tennant’s unmistakable vocals, brought the project into 2025. Bobby Gillespie said: “We have been truly blessed that so many wonderful, talented and creative people have taken up the offer to remix songs from our Come Ahead album with such inventiveness and enthusiasm. We are very proud of these remixes and at some point would like to release them on 12” vinyl and include the beautiful dub mixes to accompany them. Andrew Weatherall set a very high bar with his remix work on Screamadelica and I believe that everyone who worked on this latest project had that in mind as they entered the studio to do their stuff. You can hear the results for yourself. Enjoy!” A new music video for ‘Innocent Money’ directed by ex The Jesus and Mary Chain member, and renowned filmmaker and video director, Douglas Hart, is also released today. The new video marks the latest in a long line of collaborations – Hart has created music videos with Primal Scream since 1991. Most recently directing the music videos for Come Ahead album highlights, The Centre Cannot Hold and Deep Dark Waters. Watch here. Come Ahead is Primal Scream’s 12th studio album. Released in November 2024 to widespread critical acclaim, MOJO stated “Come Ahead is up there with Primal Scream’s best” and the Evening Standard championed “the album of the year” in a five star review. Record Collector found “an album by a band which has been audibly reborn”, AnOther Magazine praised “joyous soul-shaking music”, CLASH proclaimed, “Come Ahead is another high in a career full of them,” whilst Classic Pop confirmed, “Primal Scream just became important again”. On 31 March Primal Scream’s Come Ahead Tour will hit the UK and Ireland with 14 headline concerts into April 2025. The last remaining tickets are on sale here. Primal Scream will be supported by Baxter Dury at shows in Bristol, Southampton, Edinburgh, Glasgow, Birmingham, Liverpool, Manchester and Nottingham, and by Fat White Family in London. After launching The Come Ahead Tour at Corona Capital in Mexico City and performing at Tokyo’s Rockin’on Sonic Festival, Primal Scream kicked off 2025 with headline dates across Australia in January, with their show at Fremantle Prison described as “joyous” by Rolling Stone. The Come Ahead Tour is set to continue through Europe and North America into summer 2025. Pre Save Here Come Ahead: The Remixes Vol 1 (Vocals) Tracklisting 1. Innocent Money (PSB King Of The World remix) 2. Ready To Go Home (Tim Goldsworthy) 3. Ready To Go Home (Terry Farley and Wade Teo) 4. Love Insurrection (Black Science Orchestra) 5.Centre Cannot Hold (Lovefingers) 6. Love Ain’t Enough (Tim Goldsworthy) 7. Innocent Money (Radio Slave) 8. Circus of Life (Jonny Wilkes/Naum Gabo) 9. Innocent Money (Lovefingers) 10. Love Insurrection (Terry Farley) 11. Ready To Go Home (Hardway Bros anthem resistance mix) UK and Ireland Headline Tour Dates 2025 31 March Bristol, Beacon * % 1 April Southampton, O2 Guildhall * % 3 April Edinburgh, Usher Hall * 4 April Glasgow, O2 Academy * 5 April Glasgow, O2 Academy * 7 April Birmingham, O2 Academy *% 8 April Liverpool, Mountford Hall *% 10 April London, Eventim Apollo +% 11 April Manchester, Aviva Studios *% 12 April Nottingham, Rock City *% 14 April Belfast, Ulster Hall 15 April Dublin, 3Olympia Theatre 18 April Leeds, O2 Academy ~ 19 April Newcastle, O2 City Hall ~ * = with support from Baxter Dury + = with support from Fat White Family ~ = with support Dylan John Thomas % = with support Mozart Estate European Tour Dates 2025 4 June Oslo Sentrum Scene, Norway 5 June Stockholm Fållan, Sweden 6 June Copenhagen Vega, Denmark 8 June Cologne Kantine, Germany 9 June Utrecht TivoliVendreberg Ronda, Netherlands 10 June Paris La Cigale, France 12 June Berlin Kesselhaus / Columbia Theater, Germany 13 June Warsaw Stodola, Poland 15 June Vienna Arena, Austria 16 June Prague Lucerna Music Bar, Czech Republic 18 June Lausanne Les Docks, Switzerland 19 June Milan Magnolia Summer, Italy 20 June Taranto Medimex, Italy The post Primal Scream announce Come Ahead: The Remixes Vol 1 (Vocals) new remix album appeared first on Decoded Magazine.

Jan Blomqvist, Eli & Fur, East End Dubs, Hannah Wants, Mason Collective, Solardo, HoneyLuv, Robin Schulz, Bontan, Kitty Amor, Fabrice, Yazzmin, Sam Oui, Jen Getz & Alfie, Quilliam, ANREY, Emir and more The Penthouse Dubai is an award winning and luxe rooftop lounge, bar and nightclub that has long been synonymous with the most electrifying parties in the region and now reveals its next wave of line-ups. Located on the 16th floor of FIVE Palm Jumeirah, this iconic party paradise is renowned for its stunning panoramic views of the Dubai Marina skyline and the Arabian Gulf. The luxurious venue offers an exclusive day into nightlife experience that combines sophisticated ambiance with world-class music. The Penthouse Dubai is the perfect place to spend a whole evening, starting with gorgeous cuisine and cocktails on its picturesque rooftop lounge set against ‘Insta-Gold’ views, then moving to the club for late night dancing. The two unique spaces have their own bespoke look, sound and atmosphere with the Lounge exuding deep house cool, while the Nightclub delivers a range of different sounds seven days a week, with a world class sound system, lighting rig and a famously lively dance floor. Urban showcase Big Mood Monday starts off the week, ultimate ladies’ night experience B.O.T.A lines up every Tuesday, Toy Room Wednesdays are all about a dynamic mix of hip hop, R&B, and reggaeton, and Thursdays offer FIVE Music Sessions with special live beats and immersive entertainment show while the week ends on Sundays with Afro and tribal sounds. Excluding a month off for Ramadan in March, the weekend begins with Hip Hop Fridays serving up the best urban beats and rhythms, while Saturday’s The Penthouse Presents includes house and tech talents such as Jan Blomqvist, Eli & Fur, East End Dubs, Solardo, Robin Schulz, Hannah Wants, Mason Collective, HoneyLuv, Bontan, Kitty Amor, Fabrice, Milica, Yazzmin, Sam Oui, Jenn Getz & Alfie, Quilliam, ANREY and Emir. For those who love the high life, the venue also boasts premium VIP areas that elevate the experience to new levels of luxury with special champagne shows and exclusive tables behind the DJ booth for an up close and personal view of the action. The Penthouse Dubai is also an after-party hotspot for when the dancing carries on after Bohemia Presents and Bohemia Chill and is a perfect mix of quality underground and more accessible music, which makes for the ultimate dance floor – all underpinned by the iconic ‘Vibe at FIVE.’ Website | Instagram The post The Penthouse Dubai At FIVE Palm Jumeirah Announces Next Wave Of Lineups appeared first on Electric Mode.

The legendary 90s Italo House anthem ‘JJ Tribute’ by ASHA is making a triumphant return with a fresh remix by acclaimed Irish DJ and producer Shugz. Set to be released on March 7th via Fankee, this reimagined version blends the nostalgic essence of the original with a powerful, modern twist, ready to shake dancefloors worldwide. First released in 1990 under the Beat Club Record label, ASHA’s ‘JJ Tribute’ was created by three young Italian producers (aged 18-20) in their Milan-based recording studio. The track quickly gained massive popularity in the UK, becoming a club staple and an iconic anthem of the rave movement. In 1995, a series of remixes were released by Ffrreedom, a subsidiary of FFRR Records, pushing the track to No. 38 on the official UK singles chart. Over the years, it has received unwavering support from top international DJs and remains a defining track for 90s rave culture. DJ Mag even ranked it No. 48 in their “The Hot 100 – The Best Club Tunes Ever!” Now, with Shugz’s expert touch, the 2025 remix injects new energy into this timeless classic. Christopher Kirkpatrick, known professionally as Shugz, hails from Belfast, Northern Ireland, and has made significant waves in the electronic dance music scene, particularly in trance. Renowned for his dynamic sets and technical prowess—including his innovative use of a third deck, scratching, and layered effects—Shugz has built a dedicated global following. His production credentials include releases on major labels such as Black Hole Recordings and Who’s Afraid Of 138?!, with standout tracks like ‘The Darkside’ and ‘Down The Rabbit Hole’ topping charts. His remix and collaboration credits extend to high-profile artists such as MK, Rita Ora, and Joel Corry. In 2024, Shugz secured a multi-track major record deal with Columbia Records/Room Two, positioning him among global icons like Calvin Harris, Adele, Daft Punk, and Harry Styles. His ability to blend techno, trance, hard techno, and commercial dance sounds showcases his versatility and forward-thinking approach to electronic music. Shugz shared his enthusiasm for the remix: “ASHA ‘JJ Tribute’ has always been one of my all-time favourite piano house classics. The vocal and riff are packed with so much energy that I knew a 2025 version would work effortlessly from the moment I started. My goal was to preserve the magic of the original—keeping all the iconic elements—but with a fresh, modern twist. I’ve loved every step of the process, and I’m thrilled with how it’s turned out.” The ASHA, Shugz ‘JJ Tribute (2025 Remix)’ will be released on March 7th via Fankee, a community-driven label where fans are more than just listeners—they are co-producers, promoters, and amplifiers of the music they love. In an era where social engagement and virality drive success, Fankee empowers artists to break through with the direct support of their fanbase The post ASHA’s ‘JJ Tribute’ Returns as Shugz Revives the 90s Classic for 2025 appeared first on Electric Mode.

Calvin Harris is set to become the first artist to secure a double residency at the iconic Ushuaïa Ibiza, one of the world's most illustrious clubbing destinations. The superstar DJ and producer will take over Ushuaïa's open-air stage for 25 exclusive performances, performing on Tuesdays and Fridays throughout the season. Harris, a longtime dominant force in electronic dance music, is set to introduce a new live concept for the shows at Ushuaïa, according to a press release. The landmark residency marks a milestone in Harris' remarkable career. Fresh off his headlining performance at Ushuaïa Dubai Harbour Experience in October, his return to the brand's flagship White Isle club promises to captivate fans from all over the world under the Balearic sky. "This is something that's never been done before, and I’m buzzing to be the first artist to hold a double residency at Ushuaïa Ibiza," Harris said. "None of this would be possible without the incredible fans who’ve been with me every step of the way. The energy of people from all over the world, all coming together at the epicenter of electronic music, is something I can’t wait to feel again. Two residencies, two completely different nights—this is going to be a season like no other." "His ability to push creative boundaries has been a key part of Ushuaïa Ibiza’s legacy," added Yann Pissenem, Founder and CEO of The Night League and Ushuaïa Entertainment. "With this unprecedented double residency, we are set to deliver something truly spectacular this summer." You can purchase tickets to Calvin Harris' historic Ibiza residency here. c/o Press Follow Calvin Harris:X: x.com/calvinharris Instagram: instagram.com/calvinharris TikTok: tiktok.com/@calvinharris Facebook: facebook.com/calvinharris Spotify: spoti.fi/3mmhsk7 Follow Ushuaïa Ibiza:X: x.com/ushuaiaibiza Instagram: instagram.com/ushuaiaibiza TikTok: tiktok.com/@ushuaiaibiza Facebook: facebook.com/ushuaiaibiza

Toronto’s beloved Electric Island music series is set to return for its 13th season in 2025, offering electronic music enthusiasts a dynamic lineup across multiple dates and venues. This year’s series promises an eclectic mix of international and local talent, ensuring unforgettable experiences for attendees.​ Event Dates and Venues Electric Island 2025 will feature events on the following dates:​ May 17-18: Fort York + The Bentway June 28-29: Venue to be announced August 8-9: Venue to be announced August 30-31: Venue to be announced​Lineup Highlights The season opener on May 17-18 boasts an impressive roster of artists:​ticketweb.ca+3musicfestivalwizard.com+3electricisland.to+3 May 17:CamelPhat Miss Monique​ Prospa​ Jonathan Rosa​ Shera May 18:Mochakk Sammy Virji SOSA​ Cozmic Cat​ Tsenami​Additional artists and stage details will be announced closer to the event dates.​ Tickets Tickets for Electric Island 2025 are available for purchase through TicketWeb. Early bird pricing is available for a limited time, so attendees are encouraged to secure their spots promptly Connect with Electric Island Website: www.electricisland.to Instagram: @electricislandto Facebook: Electric Island

New York City’s nightlife scene just got a major boost. Nebula, the Midtown Manhattan hotspot known for its stellar lineups and immersive atmosphere, has announced a significant investment from Regon Capital LLC. This financial injection signals a new era for the venue, promising to elevate its already impressive programming and propel its brand onto the global stage. Located at 135 W 41st St, Nebula has quickly established itself as a premier destination for electronic music enthusiasts. Hosting massive artists like Diplo, Slander, and Steve Aoki, the club has cultivated a reputation for delivering “out-of-this-world” experiences, seamlessly blending cutting-edge sound and visuals with an electrifying atmosphere. The investment from Regon Capital LLC will directly support Nebula’s commitment to securing top-tier talent. Fans can look forward to a continued stream of world-class DJs, with Afrojack already slated to headline on April 5th and 6th, marking the beginning of this exciting new chapter. “This new investment allows us to reinforce what we’ve built and continue growing,” said Yang Gao, co-owner of Nebula. “Nebula has always been about creating a space for music and community, and we’re excited for what’s ahead.” But the expansion doesn’t stop within the club’s walls. Nebula is set to launch a new events company, leveraging its brand recognition to produce festivals and live events in cities around the world. This ambitious move will extend the “Nebula experience” beyond its Manhattan base, bringing its unique blend of music and atmosphere to a wider audience. “We’re committed to making Nebula a lasting name in nightlife and live entertainment,” stated Howard Fang, co-owner of Nebula. “This next phase is about building on our foundation and extending the Nebula experience to a wider audience.” With Yang Gao and Howard Fang leading Nebula since its inception the venue will continue to evolve while staying true to its original vision. Guests can look forward to an exciting lineup of performances and the first steps toward expanding Nebula’s presence globally. The post Nebula Lands Major Funding: NYC Nightlife Giant Goes Global; Two Nights of Afrojack Announced appeared first on EDMTunes.

While algorithms churn out beats by the terabyte, Hardwell knows that the soul of electronic music remains fundamentally human. Speaking with Haute Living, the iconic DJ and producer shared his perspective on AI's impact on music production, highlighting a fundamental tension that exists at the bleeding edge of creativity. For now, Hardwell's position holds firm: human producers remain relevant precisely because they can leap forward in ways algorithms can't predict. While AI can synthesize existing patterns with remarkable fidelity, genuine innovation—the lifeblood of electronic music—remains elusive for algorithms trained on existing data. "The great thing about electronic music is that it's always pushing boundaries, and AI is always trying to catch up," Hardwell said. "AI can’t come up with anything truly 'new'—it's always doing what’s already been done. I think that's one of the most important things when it comes to dance music: being forward-thinking." His observation resonates particularly in dance music, where being "forward-thinking" isn't just marketing-speak, but a genuine competitive advantage. From Roland's early drum machines to modern DAWs like Ableton, the genre has historically embraced technological evolution, but there's something distinctly different about AI's controversial entrance into the space. Unlike previous technological shifts, AI bastardizes what's essential about human creativity—like unpredictability and contextual awareness—and threatens to dissipate the line between tool and creator. For artists like Hardwell, this distinction matters. "AI can try to imitate [being forward-thinking], but it's always four steps behind," Hardwell added. "Right now, at least. I don’t know about the future, but at the moment it's still behind, which is a good thing for us DJs. It makes us more relevant." Follow Hardwell:X: x.com/hardwell Instagram: instagram.com/hardwell TikTok: tiktok.com/@hardwell Facebook: facebook.com/djhardwell Spotify: spoti.fi/3s1xcJD

Tomorrowland can make anything beautiful, and now the Belgian Festival has opened into a new corporate office in the famous Montevideo warehouses in Antwerp. For a long time this location was considered a blight on the city. Fully restored, some of the renderings look stunning and I think we all can agree we would like to work in that environment. The employees of WEAREONE.world, the company behind Tomorrowland, reported to the new offices on the Eilandje for the first time on Monday morning. The warehouses, built in 1897, fell empty when the port expanded to the north and had been empty since 1980, becoming an eyesore. The Port Authority sold the building to a project developer in 2001. The warehouses changed owners a few more times and were completely demolished except for the facades. Almost 25 years later, they are finally coming back to life, thanks to Tomorrowland. Dieter Vander Velpen and Oyo Architects were responsible for the fairy-tale interior, including butterflies and plants, an indoor and outdoor patio and a central bar. Vander Velpen and Tomorrowland jointly run the Great Library Design Studio, which tries to translate the atmosphere and magic of the dance festival into architecture. WEAREONE.world now has four hundred employees worldwide. The company also has offices in France and Brazil. In Boom, it also runs the Lab of Tomorrow, where the radio and music studios are located. The post Tomorrowland Opens Gorgous New Office in Antwerp appeared first on EDMTunes.

In the heart of the American electronic music scene, a beacon of unassuming sounds of soulful drum & bass shines bright on the West coast. In a scene saturated with House, Dubstep and Jump Up, an outlier still stands strong in the form of JUICE, a drum & bass brand that aims to cater to fans of the melodic, deep and soulful sounds of the genre. For two decades, JUICE has been a fixture, a testament to the dedication and passion of its founder, Chemynne Perlingieri. From its humble beginnings in Bend, Oregon, to its current home in Portland, JUICE has not only weathered the storms of change but has thrived, becoming an internationally recognised platform for the soulful side of drum & bass. Chemynne’s journey is one of resilience, creativity, and an unwavering love for the music. As a woman in a male-dominated industry, she has faced challenges head-on, carving a space for herself and for the sounds she champions. Through JUICE, its accompanying live stream, and her booking agency, BassRoutes, Chemynne has fostered a vibrant community, brought legendary artists to the US, and nurtured local talent. On the cusp of JUICE’s 20th anniversary, we had the pleasure of sitting down with Chemynne to discuss her remarkable journey, the evolution of the drum & bass scene in the US, and the challenges and triumphs of promoting a niche genre with global appeal. You had a late-night last night doing your JUICE Live Stream, how was it? It was great! It’s always a bit hectic with the family in the evenings, getting dinner and everything together before starting the stream, but it’s also energising. The community is extraordinary, and it’s what keeps us coming back. Where did it all begin? When did you get involved in working in the US electronic music scene? Juice Drum and Bass itself started in Bend, Oregon, which is a small city in the middle of Oregon back in 2005. At that point, I had already been a keen follower of drum & bass for at least a decade and Jungle as well. I did listen to other genres of electronic music long before that. Living in central Oregon, we really didn’t get much musical diversity and hardly any headliners were coming to town. Back then, even Portland didn’t get a lot of play. Basically, the bigger artists would play in San Francisco and then they’d head to Seattle, skipping right over Oregon. I just wanted to see this change. I wanted to put Oregon on the map for drum & bass. My design studio at the time was doing well, so I had the foundation to test out a show or two. And truthfully, back then, I had no idea what I was doing. I had recently designed a brand, menu, and advertising for a local club and restaurant. The owners are wonderful people, and they knew that I was an avid follower of drum & bass. They gave me a chance to host a night on the last Saturday of the month, knowing that drum & bass wasn’t really well known, but they were both big fans of electronic music. They used to have breaks, and deep house shows there on the regular. I am still grateful to them for that opportunity. At the time I think I’d only planned to do a couple of shows, but it turned out that there was a real need to give a forum for local and regional people as well as getting international producers there. People would say, “Where’s Oregon? I’ve never been there. Sounds beautiful.” And it is beautiful here. So I deeply embedded myself into the scene to bring some unique bookings to the area, and the rest is history; JUICE grew from a monthly for years and then relocated to Portland in 2009 and continued forward. What sparked the initial idea for JUICE? What were some of the early challenges you faced in establishing a drum & bass night? I observed that most nights were generally not focused on the soulful sounds of drum & bass and I just wanted to celebrate that style. Simply put, I just wanted to see that type of drum & bass make it to Oregon. I wanted to help create and be a part of the movement. Brand development was my longtime professional focus, so in a way, I just saw JUICE as another design challenge: a client to grow. The idea behind the name was that the music really nourished and energised. Drum & bass IS the JUICE of life! In some ways, running a night early on in Bend was easier than it is now because I had venue support, and extra income to throw toward shows. There was a need for the niche, so I tapped into that to grow our base. Moving to Portland later on brought tougher challenges. It was a terrible time economically 2008-2010, so money was tight, venues didn’t want to support a lesser-known style of dance music, and overall, just required a LOT for me to prove that our night was “worthy” of being in their space. Most venue owners didn’t even know what drum & bass was, and certainly didn’t want to take a chance on us. Most agencies wouldn’t give me the time of day to book artists, so I had to rely on creativity and building a professional reputation amongst artists. Word of mouth has always been key for us. JUICE has been running for 20 years. How has the night, and the drum & bass scene in Portland and the US in general, evolved during this time? How have you adapted to changes in music consumption, promotion, and the overall cultural landscape? Well, we’ve come a long way, and I’m proud of having established us as a cornerstone in electronic music here in the Pacific Northwest. I think our scene here in Portland is pretty strong with several different nights running for a while. We all try to support each other’s endeavours too. Drum & bass has definitely grown stateside, but there has definitely been an ebb and flow. I remember at times people telling me that drum & bass had no future, especially the sounds we pushed. I think people were always bringing up the likelihood that we’d fail, rather than acknowledging that we were building something special and doing a damned good job of it. As for adapting to changes, one thing I’ve learned is to keep reinventing! Never get comfortable with anything. Keep staying creative, trying new things, and different methods and platforms for reaching your audience. I’ve definitely put my design & marketing skills to good use in the process. For instance, when the pandemic hit and venues closed, at first, I was mortified. Both my agency BassRoutes and JUICE Drum and Bass are my jobs, my income. That week that lockdown started, I began working on new merch designs, and a month after that we got on Twitch. We did something that we weren’t seeing anywhere else: offering to actually pay artists to do guest sets for feature livestreams. Bringing in local, regional, and international talent—all remotely—we literally kept our monthly going exclusively through these features and donations. During that time we also donated to over 25 different organisations who support equality programs, LGBTQ rights, the local environment, Portland culture, and youth music programs. Much to my surprise, JUICE actually grew over the pandemic. And with regard to the agency, I just kept learning and networking, starting early work and planning for Visas so we’d be ready once things opened back up. Even though everything screeched to a halt, I just kept going. I didn’t want to give up on all that I’d worked so hard to build. You’re known for your dedication to the soulful side of drum & bass, particularly jungle and liquid. What draws you to these styles, and how have you ensured they remain relevant and continue to thrive within the scene? Growing up, I was raised on a lot of jazz through my dad as well as a healthy dose of R&B, soul and reggae, which led me through the doorways of early electronica and downtempo through artists like Peshay, Big Bud, PFM and early Good-Looking compilations. I heard so much jazz through those sounds, and it was like the ultimate combination of my upbringing, and the sounds of “now”. My parents also focused on learning instruments, so into middle school I took piano, guitar and flute lessons. As a teen I was a rebel with a cause, drawn to the rougher side of ska and punk music, so gravitating to jungle felt natural; like a sound that was already familiar to me. Jungle has always felt like my “roots.” Though I spent most of my professional life as a designer, music has always been a constant. It is still surprising to me that I ended up dedicating my professional life to it. Helping international artists to get their visas and tour here via BassRoutes, along with continuing to push the sounds through JUICE ensures that the music stays fresh and relevant here in the states. Twitch has also been a big part of sharing these sounds over the last almost 5 years on that platform. How would you describe the JUICE community, and what role has it played in the success and longevity of the night? How has the weekly stream contributed to building and nurturing this community? Our listeners are literally from ages 17 to 60+. Attendees at our quarterly shows range from early 20s to over 60. They are students, professionals and creatives of all sorts, some are in the music industry, many aren’t…it’s a very diverse group of people. Our vibe, energy and venue Holocene encourages coming as you are, in all your uniqueness and flavour. What I also love about our in-person events is that you’ll find a lot of women and folks from the LGBTQ community on the dancefloor—it’s not just predominantly guys which we do see a lot with drum & bass events. All are welcome, safe and appreciated. We encourage the same on our weekly “radio show” stream. We don’t discuss politics or stressful subjects. We keep chat light, often sharing cooking tips and recipes, info about other shows and tours around the country, etc. A lot of producers hang out in our stream too, where we can ink others to their music in chat. It’s a place where you can smooth away the wrinkles of the day as we say. While it’s a bit crazy that we’ve dedicated three nights a week to this since 2020, we’ve come to realise that we’re a staple for listeners around the world. Some are getting their kids ready for school, making dinner, or working out at the gym while listening, winding down with us after work. It means a lot, so we just keep showing up. I’m proud that we have built this amazing community on Twitch to almost 10k followers. I’m also very grateful to my husband too, who handles the tech side of our streams. He’s an amazing DJ and splits regular mixing time with me weekly so we’re able to keep up with our slots consistently without shouldering the full load of a 4-5 hour session each time. JUICE has hosted legendary figures like LTJ Bukem and was the only US night to host both the ’30 Years of Metalheadz’ and ’30 Years of Dread Recordings’ tours. What do these milestones mean to you, and how do you feel about JUICE’s influence within the broader drum & bass world? We’ve really had some amazing artists here over two decades. I’m actually still trying to archive old files and pull together a full list of everyone we’ve hosted. I don’t even think I’ll have this list complete by our anniversary! At this point, there are only a handful of drum & bass artists (on the soulful side) we’ve not yet had a chance to have here. Being the only night in North America to host last October’s show with a 30-Year showcases in the same night was pretty amazing. It was a tremendous amount of work and planning to make that happen, but I’m grateful to Goldie, AntTC1, Ray Keith and Nookie for coming from such great distances to our humble night and supporting the endeavour. I remember at one point during the evening sitting down on the stairs of the stage, heaving a big sigh of relief and thinking “we’ve arrived.” It took two decades, but we have really established ourselves as a destination event for attendees and have been told we’re a bucket list spot to play for artists. That means so much to me. I don’t ever really think about the influence we have in “the rest of the world.” I’m often surprised to hear people know about our night at ALL when I’m working on bookings with other promoters for BassRoutes artists. I’ve always got my head down and am working so incredibly hard at growing this brand and elevating the sounds, I really can’t believe sometimes what an impact we’ve already made on the scene. I just want people to know that there’s a sweet little night out here in Portland that pushes the soulful sounds of drum & bass, and a humble agency that works tirelessly to get artists here. The 20th-anniversary celebration is a huge achievement. What can people expect from the event, and why did you choose S.P.Y, Seba and BCee as headliners? What does this milestone represent for you personally and professionally? Expect great vibes, exceptional sound, ambiance, and headliners start to finish. Khariszma out of San Francisco is super talented. We’ve not yet had a chance to host S.P.Y or Seba, and I’m always trying to get people through who we’ve not had here before. This event soft launches BCee’s 20 Years of Spearhead Records tour, and with Seba’s new album Oni, and a bunch of S.P.Y’s tunes on Spearhead, the lineup developed into a wonderful synchronicity of artists. As BassRoutes handled both BCee and Seba’s visas (and their incoming spring tours), it’s just a pleasure to have them here as guests, rather than “clients” to show them how special our shows and community are. It’s like I finally get to say, “this is what I DO!” I’ve been so busy lately working on tours for BCee, Seba, Ray Keith and Nookie along with putting this event together, that honestly I haven’t really stopped to think about it. I suppose when it’s all over I’ll just be stoked that we did it! Personally, I’m just grateful for the support from my husband and our tight crew on event nights, and glad that I’m still somehow able to make events happen and get the music out there. Professionally it feels like a huge accomplishment to head up one of the longest running drum & bass nights in the US, growing a brand from a tiny spot in Bend to an internationally recognised vehicle (which sometimes drives faster than I can keep up with). What are some of the biggest challenges you’ve faced in promoting drum & bass in the US, and how have you overcome them? Truthfully? Being given the time of day as a woman-owned business in the scene. Suffice it to say I’ve been blown off by most everyone at some point or another. Some people circle back years later when they see I’m still at it. With others, I’m still trying to get emails answered from larger agencies, festival managers, etc. Despite JUICE’s amazing track record and international reputation, and BassRoutes’ roster of top-level artists in the industry, I still get ignored by people in the field. I’ll be polite here and not call anyone out, but yeah, we’ve not yet been able to host a few artists at our night still, due to this ridiculousness. Not being treated like an equal (despite having two degrees and a ton of professional experience), can be frustrating. I’ll say I’m still working on overcoming that, mostly just with continual effort. There’s a lot of ego out there around which to navigate. What advice would you give to others trying to build a scene or promote niche genres? This is where my phrase “perseverance, dedication, longevity, tenacity, growth” comes in. Never give up. If you believe in it, then do it! Network with other like-minded people. Take risks. Try new methods, new ideas. Keep your head down, chin up, and keep working at your goals regardless of who is telling you that you can’t do it. Looking back over the past 20 years, what are some of the most memorable moments or highlights of your time with JUICE? I suppose some of the highlights are when our shows do better than losses or just breaking even hahaha! Running events is rarely lucrative, especially when you pull out all the stops every time for excellence in production and hospitality. Seriously though, there have been some wonderful moments—like hosting Big Bud in 2006 (and then having him stay with us for a week) as well as hosting ASC, and Kubiks & Lomax early on. Those were big deals for our #biglittlenight. I was star-struck when Marky absolutely shred it on my personal Technics. We’ve had Lenzman through twice; Redeyes has played some amazing performances here too. We loved hosting Total Science and ASIDES and had the pleasure of having DRS & LSB through twice (most recently last summer), both incredible shows. Emma G and Tali smashed it here, and we were also blessed to host Dub Phizix and Strategy… wonderful (and hilarious) gents. And we’ve had some artists like Reid Speed and Spinscott who are just brilliant. Once an artist lost their wallet at the Portland airport as they were leaving (back in the day when we used to pay artists in cash!) and some amazing person turned it into security. TSA found our business card and called us, and we ended up collecting it on his behalf and shipping it to the artist at his next stop in Puerto Rico! We’ve had some memorable moments on Twitch as well. INJA was one of our guests during the pandemic, and he did an explosive live DJ/vocal set (longer than we expected) that absolutely blew us all away. It was the kind of energy and positive vibe we all needed at the time. We also had a special set from UK artist Magnum and his daughter TKD Gal, who was 13 at the time: our youngest guest ever to mix for us. She absolutely stole the show. JUICE DnB in 2022 (Photo by V.A. Davis Photography) Where do you see the drum & bass genre going in the future, and what role do you hope JUICE will play in shaping that future? Drum & bass will go wherever it needs to; and reach more people as time goes on. Despite the doubts of many, drum & bass is here to stay—especially soulful, liquid, atmospheric, and jungle sounds. It’s been 30+ years and it’s clear that the movement is growing. We already hear it on car commercials, cooking shows and through sports outlets. My sole motivation here is to get this more under-represented side of the genre introduced to more listeners. We literally have new people pop into the stream every week saying, “I’ve never heard drum & bass like this.” I love that! Will the type of drum & bass I promote ever be “mainstream”? I don’t know. I think in many ways it will always be underground music to some extent. As long as I have the energy to keep pushing the sounds, I will…and I hope that JUICE Drum and Bass will continue to be a major player in North American drum & bass culture. If you were talking to a young up and coming drum & bass producer and DJ, what advice would you give them to get on one of your line-ups? We don’t generally host events which are mixed genre, neuro, or heavy drum & bass, so don’t send us those sets. Nothing wrong with it, it’s just not what we play. If you’d like to play our night or be a guest on a feature livestream, send us a current soulful set. This means we want to hear what new soulful tunes you’re listening to, what moves you. If we haven’t met before, research our night a bit. Check out our socials or come hang out on our Twitch stream to see what we’re about. Also, please don’t email or message me to “talk to the main guy” or “the dudes in charge.” I AM the main guy. Chemynne’s story is an inspiration to anyone who has ever dared to dream big and pursue their passion against the odds. Her dedication to the soulful side of drum & bass has not only shaped the scene in the US but has also resonated with fans and artists worldwide. As JUICE Drum and Bass enters its third decade, we can only expect great things from Chemynne and her unwavering commitment to the music.

Winter Music Conference (WMC) has announced its second wave of programming for the highly anticipated 35th anniversary edition, taking place from Wednesday, March 26 – Friday, March 28, 2025, at Eden Roc Miami Beach. This latest update includes WMC-sanctioned events, official parties, industry-leading speakers, and a special Closing Keynote featuring Danny Tenaglia and Nicole Moudaber. WMC 2025 Sanctioned Events: A Celebration of Electronic Music Returning for another landmark edition, WMC Sanctioned Events provide WMC wristband holders free or discounted access to some of the most exclusive Miami Music Week showcases, club takeovers, and pool parties. Among this year’s highlights are: Armada Invites Pool Party Axtone & Friends Pool Party MK presents Area10 Pool Party Danny Tenaglia, Nicole Moudaber, Jonathan Cowan Anjunabeats Miami Pool Party Toolroom Pool Party Heartfeldt Pool Party WAKYIN & Major League DJz Glitterbox featuring DJ Jazzy Jeff & Moodymann Markus Schulz (Open to Close) And many more! Official WMC 2025 Events WMC 2025 will kick off with the Official WMC Opening Party at M2 Miami on Tuesday, March 25, 2025. This night promises a stellar lineup featuring Timmy Trumpet, Deorro, and Audien at the 35,000 sq. ft. megaclub in South Beach. The following day, Thursday, March 27, the Official WMC Pool Party at Eden Roc will be headlined by Brazilian superstar Alok, with special guest KSHMR. Other performers include Cheat Codes, Elephante, Frank Walker, HAYLA, Jonas Blue, and more. WMC delegates will have complimentary access to both flagship events with their wristbands. WMC 2025 Closing Keynote: Legends Unite One of the biggest highlights of WMC 2025 is the special Closing Keynote featuring Danny Tenaglia and Nicole Moudaber, moderated by Katie Knight. This conversation will reflect on WMC’s 35-year impact on the global dance music scene, the genre’s evolution, and what lies ahead. With Tenaglia celebrating 50 years behind the decks, this keynote will be an unmissable event. Second Wave of Speakers Announced WMC 2025 continues to build an impressive roster of industry leaders and artists. Newly announced speakers include: Afrojack Alok Sam Feldt Young Franco Mary Droppinz Juliet Fox Crystal Waters BT Industry representatives from Spotify, Ophelia Records, Night Bass Records, Toolroom Records, MusiCares, The Orchard, Thrive Music, Splice, Beatport, and more will also be present, offering insights on topics such as global music trends, getting signed to labels, and artist self-care on tour. They join previously announced speakers, including David Waxman (Ultra Records), Cristiana Votta (Manager, Black Coffee), Chris Johnson (SoundCloud), Andy Daniell (Defected Records), and Sam Mobarek (Warner Records). Limited WMC 2025 Tickets Still Available Due to high demand, the first tier of WMC 2025 tickets has sold out, but limited passes are still available at WinterMusicConference.com. What’s Included in a WMC 2025 Ticket? Access to Official WMC 2025 Events: Tuesday, March 25: WMC Opening Party @ M2 Miami – Featuring Timmy Trumpet, Deorro, and Audien. Thursday, March 27: The Official WMC Pool Party – Featuring Alok, KSHMR, Cheat Codes, Elephante, Frank Walker, HAYLA, Jonas Blue, and more. Friday, March 28: EDMA/IDMA Award Show Pool Party – Honoring electronic music’s brightest stars with live performances. Educational Panels Led by Industry Experts Free or Reduced Entry to WMC Sanctioned Events Networking Opportunities with Artists, Producers, and Industry Professionals For those looking to experience the best of Miami Music Week 2025, Winter Music Conference remains the ultimate industry event. Stay tuned for further announcements and lineup updates at WinterMusicConference.com. The post Winter Music Conference 2025 Unveils Second Wave of Programming for 35th Anniversary appeared first on EDMTunes.

Miami Music Week 2025 is set to sizzle as EDM.com announces the return of its highly anticipated event, EDM.com & Friends, on Wednesday, March 26, 2025. Hosted at the iconic C-Level Rooftop of The Clevelander in Miami Beach, this all-day affair promises a fusion of cutting-edge electronic music and unparalleled networking opportunities.​EDM.com Event Details: Date & Time: Wednesday, March 26, 2025, from 11:00 AM to 9:00 PM EDT​ Location: C-Level Rooftop at The Clevelander, Miami Beach​Official EDM.com Demo Drop: Kicking off the event, the Official EDM.com Demo Drop will take place from 11:00 AM to Noon. This session offers emerging artists a coveted platform to present their tracks directly to influential record labels, including:​ Confession Label​ Hood Politics Records Stereo Hype Global Peak Dial House Hats + More!Participants are encouraged to arrive early, as the demo drop starts promptly at 11:00 AM.​ Artist Lineup: Following the demo session, attendees can look forward to an exhilarating lineup of performances from renowned DJs and producers. Past editions have featured top-tier talent, and this year’s event continues that tradition with Henry Fong, Kaleena Zanders, Sunday Scaries, Myles O’Neal, PLS&TY and more! Embed: https://www.instagram.com/p/DG69IGSPBRA/?img_index=1 Tickets: Tickets for EDM.com & Friends are now available and can be purchased through Tixr. Given the event’s popularity and the exclusivity of the venue, early ticket acquisition is highly recommended.​ For more information and ticket purchases, visit: Tixr Event Page Don’t miss this opportunity to immerse yourself in the vibrant atmosphere of Miami Music Week, connect with industry leaders, and experience live performances from some of the most exciting names in electronic music.

The Tim Bergling Foundation, founded by Avicii's family in the wake of his tragic death by suicide in 2018, is calling on young people to share their stories for a new book. The initiative aims to collect over 1,000 messages from individuals under 25, which will be featured in the second edition of the organization's series, This Is What We Need – For A Better Day. Inspired by Avicii’s track "For A Better Day," the project was developed to amplify youth voices in conversations around mental health, where adults have traditionally dominated the dialogue. The new book aims to provide a platform for young people to express their ideas, needs and hopes for a brighter future, with the foundation pledging to use these stories to spark meaningful change. "We listen, we act, and we make sure decision-makers do too," the Tim Bergling Foundation said. Its previous collection of stories was presented directly to Sweden’s Prime Minister Ulf Kristersson, ensuring these voices are heard and advocated for at the highest levels. The Swedish organization has also built cuboid physical spaces at Sickla Köpcentrum, Forum Uppsala and Mobilia Malmö for people to record their stories. They will be open from March 10-23. View the original article to see embedded media. Beyond the book, the Tim Bergling Foundation continues to support youth mental health through various initiatives. The nonprofit has built several music studios across Sweden, offering safe spaces where young people can explore creative outlets and make music, and also partners with Ångestpodden to help students start their own mental-health focused podcasts. The foundation has also hosted "Together For A Better Day" tribute concerts at the Avicii Arena, using music as a means to inspire others and break the stigma surrounding mental health struggles. You can watch the first-ever concert in-full here. Fans can submit their stories and suggestions here for a chance to be included in the second edition of This Is What We Need – For A Better Day.

Martin Garrix is breaking new ground with his upcoming single, "Angels For Each Other," a collaboration with Indian singer-songwriter Arjit Singh. In a behind-the-scenes TikTok video, the superstar DJ and producer shared his excitement about lending his vocals to his own track for the very first time. "If you had told me a few years ago that I'd be singing on one of my own songs one day, I never would have believed you," Garrix said. "So, so stoked for the release this Thursday. So much love to everyone for the crazy support so far." The highly anticipated track marks a fresh chapter for Garrix. "Angels For Each Other" blends English and Hindi, melding diverse musical influences and offering a unique fusion of his signature sound with soulful Indian melodies. Watch the clip below. The buzz surrounding "Angels For Each Other" is growing, with many fans speculating it could be a key feature at Miami's Ultra Music Festival later this month. Garrix is also preparing for a major live performance at Mumbai's DY Patil Stadium on March 14th, the night after the song's release. You can pre-save "Angels For Each Other" here. Follow Martin Garrix:X: x.com/martingarrix Instagram: instagram.com/martingarrix TikTok: tiktok.com/@martingarrix Facebook: facebook.com/martin.garrix Spotify: spoti.fi/2YszVxQ

A shocking legal dispute has emerged in the electronic music world as former Tiësto lawyer Paul Grondahl, recently sentenced to three years in prison, argues that the Dutch DJ should be responsible for paying back millions in hidden taxes. The case, which revolves around an elaborate tax evasion scheme, has rocked the industry, implicating one of dance music’s biggest names in a financial scandal of staggering proportions. Tiësto in Vegas, Lawyer in Court On Thursday, DJ Tiësto, who earns millions a year spinning electronic dance music at venues worldwide, will be midway into a three-show swing through Las Vegas. That same day, his former tax attorney will be in a federal courtroom in White Plains, New York, fighting to avoid being left solely responsible for the Dutch DJ’s back taxes. The stark contrast between Tiësto’s high-flying lifestyle and Grondahl’s legal troubles underscores the high stakes of the case. The Tax Fraud Scandal According to court documents, Grondahl helped Tiësto, whose real name is Tijs Verwest, hide approximately $28 million through illegal offshore accounts, allowing the DJ to avoid substantial tax payments to the Dutch tax authorities and the IRS. The scheme, which spanned several years, ultimately led to an extensive investigation, resulting in Grondahl’s conviction and sentencing. While the court found Grondahl guilty of orchestrating the fraudulent financial maneuvers, he now claims that Tiësto was fully aware of the scheme and should share the responsibility for repaying the evaded taxes. His legal team argues that the DJ, who has an estimated net worth of over $170 million, should not be allowed to walk away unscathed while his lawyer bears the full burden of the scandal. “Mr. Butselaar was paid an hourly rate to help his clients,” the lawyer, Kerry Lawrence, told Business Insider. “If anyone is held liable to pay taxes on the millions of dollars in income it should be the artists who earned it, not Mr. Butselaar.” Lawyer’s Defense: Tiësto Knew Everything Grondahl’s defense maintains that Tiësto was not just a passive beneficiary but an active participant in the financial misconduct. According to the claims, the DJ approved the offshore account setups and knew that the funds were being strategically placed in tax havens to avoid government scrutiny. “He’s one of the biggest global DJs, and he knew exactly where his money was going,” an insider familiar with the case told The Independent. The defense’s argument raises a major question: Will Tiësto face legal consequences? As of now, no charges have been filed against him, but legal experts speculate that Dutch and U.S. authorities may revisit his involvement in light of Grondahl’s testimony. Implications for the Dance Music Scene The revelation of this tax fraud case has sent shockwaves through the EDM community. Tiësto, a Grammy-winning artist, has remained silent on the accusations, choosing not to comment publicly while the case unfolds. However, his reputation could take a significant hit if the claims gain traction. With high-profile DJs like Afrojack and Armin van Buuren also facing tax-related scrutiny in the Netherlands, some believe that the Dutch government is cracking down on electronic music stars who have exploited financial loopholes for years. This scandal might set a precedent for stricter financial oversight in the industry. What’s Next? Grondahl’s legal team has already indicated that they will appeal his sentence, and if they succeed in proving Tiësto’s involvement, the DJ could face financial penalties or legal action. For now, all eyes are on the Dutch authorities and whether they will take the next step in investigating Tiësto’s role in the massive tax evasion scheme. Stay tuned for more updates as this case develops. The post Tiësto’s Former Lawyer Points Finger at Him Over Millions in Back Taxes appeared first on EDMTunes.

In 2025, Sónar+D will once again convene a boundary-pushing gathering of artists, technologists, scientists, musicians, engineers, and radical thinkers from around the world. Under the banner of “new horizons of music, creativity, and the arts in an era of omnipresent AI”, the upcoming Sónar+D aims to examine the most provocative frontiers and latest breakthroughs at the intersection of human ingenuity and artificial intelligence. Sónar+D 2025 will be held on June 12, 13, and 14 at the Palau de Congressos de Fira Montjuïc, within Sónar by Day, offering attendees access to dozens of talks, debates, and performances from 10:00 AM, as well as more than 50 concerts and DJ sets. A Platform for Innovation From its inception, Sónar+D has fostered dialogue among diverse fields such as design, visual arts, digital culture, and emerging technologies. In 2025, this mission remains at the core: Artists and Musicians will debut AI-enabled performances, new experimental tools for composition, and immersive audio-visual experiences that seamlessly merge human creativity with advanced machine learning. Engineers and Technologists will present novel ideas in data-driven artistry, human-machine interface design, and generative visual systems that reshape how audiences experience live events. Scientists and Visionaries from quantum computing, biology, and neuroscience will reveal how we might tap into new computational paradigms and break creative barriers by applying discoveries from other disciplines to art and music. The Transformative Potential of AI Over the last decade, AI has rapidly evolved from an academic field of study into a ubiquitous companion—present in everything from personal devices to large-scale cultural production. At Sónar+D 2025, expect critical discussions and explorations around: Creative Co-Creation: Is AI now a collaborator rather than a tool? Artists will reflect on their experiences of partnering with algorithms—be it for composition, choreography, or conceptual design—and how these collaborations have expanded the scope of what is possible in music and the arts. Democratizing Creativity: With AI-driven tools becoming more accessible, a new generation of creators is emerging. Sessions will investigate how grassroots communities and independent artists harness open-source models, enabling them to produce professional-level works in music and beyond without major studio support. Ethics and Authenticity: Sónar+D will engage with the urgent ethical questions around AI’s creative capabilities. Specialists will grapple with issues of originality, copyright, and the role of human authorship when machines become co-creators. Spotlight on Quantum Computing and Interface Design Two major focal points at Sónar+D 2025 will be quantum computing and the evolution of interface design—both of which promise to reshape the creative process in profound ways. Quantum Soundscapes Researchers will demonstrate how quantum computing can be harnessed to generate unprecedented sonic textures. By leveraging quantum bits’ ability to exist in multiple states at once, artists can develop music that transcends classical composition approaches—leading to performances that feel as if they arise from an entirely new dimension of possibility. Beyond the Screen: The Next Interfaces From neurofeedback systems that allow wearers to manipulate live visuals via brainwaves, to advanced wearable instruments and immersive environments driven by motion capture, the horizon of interface design is expanding in ways that bridge virtual and physical realms. These new modalities will form the beating heart of immersive installations and performances on display at Sónar+D. Community and Collaboration Beyond the main stages, Sónar+D 2025 will be a hub for interactive workshops, hands-on labs, and collaborative sessions. It will offer: Labs & Hackathons: Rapid prototyping sessions where cross-disciplinary teams experiment with state-of-the-art technologies to spark new ideas in audiovisual performance, modular synthesis, and interactive art. Seminars & Roundtables: Forums for ethical debate, open discussion on societal impact, and brainstorming about how new technologies can serve human creativity (rather than eclipse it). Networking & Inspiration: A global gathering of music producers, software developers, and digital culture enthusiasts, all keen to learn from each other and forge networks that will shape the future of art. Sonar + D Highlights Among this year’s invited figures are Libby Heaney (UK) presented by SEIDOR, Tega Brain (AU), Rebecca Fiebrink (UK), Xin Liu (CN), yaboihanoi (TH), Albert.DATA (ES), Danielle Braithwaite-Shirley (UK), Forensis & Bill Kouligas (INT), YESSI PERSE & laSADCUM (ES), and the premiere of ‘Ama’, the new project by Maria Arnal (ES). The festival expands its collaborations at a local and global level with renowned cultural, academic, and scientific entities such as the New Museum, Serpentine Gallery, Tabakalera, the Onassis Foundation, Universitat Pompeu Fabra, Barcelona Supercomputing Centre, University of the Arts London, IRCAM, IASLab at La Salle-URL; companies like Stability AI and Google Magenta, and pioneering AI projects like AudioStellar. “IA + Creativity”: +RAIN Film Festival (INT) | AI Performance Playground (INT) | AudioStellar presents ‘Territorios sonoros emergentes’ (AR) | Introducing AI & Music (INT) | Joanne Armitage ‘Automating Bodies: Power, Music and AI’ (UK) | Jordi Pons ‘Artistic trends in Music AI’ (ES) | Maria Arnal presents ‘Ama’ (ES) | Marije Baalman (NL) | R-010 & Venerandi presents ‘Phenomena’ (ES) | Rebecca Fiebrink ‘Design your dream music AI tool’ (UK) | Ville Haimala presents ‘Hyporeal’ (FI/DE) | yaboihanoi ‘Lemongrass & Bass: A Thai Recipe for AI Music’ (TH) “Futuring the Creative Industries”:‘Aquelarre Futurista’ with Berta Segura & Francesca Tur (ES) | Chris Watson & Izabella Dłużyk presenta ‘Białowieża’ (UK/(PL) | ‘Hacking the world’ with Berta Segura & Francesca Tur (ES) | Heith, James K and Günseli Yalcinkaya present ‘The Talk’ live AV (EU) | How to future the creative industries (INT) | ‘Lux Mundi’ (ES) | ‘MAT(H)RASH: un nuevo manifesto del arte’ de Julieta Wibel y Mike Fernández con Samantha Hudson y YESSi PERSE (ES) | Music Tech Europe Academy: Startups Pitch Session (EU/ES) | Music Tech Dialogues: Creative Economy Data + DEMODAY (EU/ES) | Saint Abdullah, Eomac and Rebecca Salvadori present ‘A Forbidden Distance’ (INT) | Salome Asega ‘Architect or Gardener’ (US) “Worlds To Come”: Albert.DATA ‘SYNAPTICON’ (ES) | Animistic Beliefs and Jeisson Drenth present ‘Thức Tỉnh’ AV (NL) | Dania + Mau Morgó present ‘replica — relic’ (IQ-AU/ES) | Danielle Braithwaite-Shirley ‘WE CAN’T PRETEND ANYMORE’ (UK) | Forensis and Bill Kouligas present ‘The Drum and The Bird’ (INT) | Libby Heaney ‘Eat my Multiverse’ (UK) Presented by SEIDOR | Alice Sparkly Kat and Manuka Honey ‘Listen, the stars are talking’ (US/UK) | Safety Trance presents ‘DESTRUCCIÓN’ (VE) | Tega Brain ‘Questions of Automation’ (AU) | Vica Pacheco presents ‘ITA’ AV (MX) | Xin Liu ‘Cosmic Metabolism’ (CN) | YESSi PERSE & laSADCUM present ‘CYBERMEDIEVAL’ (ES) Rebecca Fiebrink and Accessibility in Musical AI: Professor of Creative Computing at University of the Arts London, a pioneer in AI and music, and the creator of the innovative AI platform Wekinator (2008). Professor Fiebrink will present ‘Design Your Dream Music AI Tool’, a talk guiding attendees in designing personalized AI tools for music creation, highlighting how machine learning can empower artists without prior technical knowledge. Groundbreaking Performances: Innovative Proposals Connecting Music, Visual Art, Dance, and Performance. Musician Dania and visual artist Mau Morgó will use instruments created with 3D scans of Mesopotamian artifacts from the British Museum to question our commitment to decolonization in the world premiere of their radical live collaboration ‘replica — relic’. The rave duo Animistic Beliefs and Jeisson Drenth explore mixed cultural identity in ‘Thức Tỉnh’, combining traditional sounds with contemporary perspectives. Luis Garbán (Cardopusher) debuts his audiovisual project Safety Trance with ‘DESTRUCCIÓN’, a show that fuses reggaeton, industrial, and breakcore. Vica Pacheco merges electroacoustic composition with her own 3D animations in ‘ITA’. Finally, Alice Sparkly Kat collaborates with local collective Akuyte on an audiovisual performance specially created for Sónar. Looking Ahead Sónar+D 2025 underscores a reality in which AI is no longer a distant novelty but a tangible, ever-present force that challenges the very notion of what it means to create. Through AI-driven music performance, immersive installations, and forward-thinking conversations, this edition of Sónar+D will illustrate how we stand on the cusp of a new era—one in which humans and intelligent machines collaborate seamlessly to expand the boundaries of artistic expression. Attendees can anticipate awe-inspiring spectacles of audiovisual alchemy, provocative debates on ethics and authorship, and a unique vantage point on technology’s power to reshape cultural landscapes. As Sónar+D 2025 boldly charts these new pathways, it invites creators, dreamers, and critical voices alike to explore, question, and celebrate the transformative potential of AI-driven innovation in the arts. The post Sónar+D 2025 Will Discuss New Pathways in Music, Creativity, And Arts And AI appeared first on EDMTunes.

Sometimes, the loudest voices don’t need to say a word. ESSE is a name currently enshrouded in mystery, but their sound is unmistakable—there’s little need for an introduction when the music already speaks volumes. At the center of the intrigue is ESSE's "Block Rockin Beats," a bold rework of The Chemical Brothers' seminal classic. With coiling analog synths, deep grooves and a throwback energy that feels both nostalgic and fresh, it’s an interpretation with a modern edge, honoring the track’s raw breakbeat energy while layering it with a deeper, more brooding intensity. Where the original exploded like a riot in the streets, ESSE's twist simmers with a controlled burn, tightening the groove and letting the synths stretch and coil with mesmerizing touch. While ESSE's next moves remain in secrecy, the project is emerging at a pivotal moment as Confession, the influential label helmed by Tchami, is celebrating 10 years of shaping the sound of modern house music. A decade of pushing boundaries, curating unforgettable parties and championing forward-thinking artists has cemented its legacy, making it the perfect home for the enigmatic ESSE. Listen to ESSE's "Block Rockin Beats" below.

Ibiza’s legendary nightlife scene is set to reach new heights as Calvin Harris becomes the first artist in history to secure a double residency at the same venue in a single season. This schedule underscores the unprecedented demand for his electrifying performances at Ushuaïa Ibiza. This summer, the Grammy-winning DJ, producer, and songwriter will dominate both Tuesdays and Fridays at Ushuaïa Ibiza, curating 25 exclusive shows in what promises to be a defining moment for the island’s party scene. There’s no artist quite like Calvin Harris. A global powerhouse, he has redefined dance music with chart-topping anthems featuring superstars such as Rihanna, Dua Lipa, and The Weeknd. With over 56 billion combined streams and a trophy case full of influential awards, his legacy extends far beyond the dancefloor. Now, with this historic residency, Harris continues to shape the future of electronic music in Ibiza. His Friday residency will continue to reign as one of the island’s most sought-after events, while his new Tuesday residency will introduce a fresh concept, pushing the boundaries of production, sound, and spectacle. This announcement follows his exclusive headline set at the grand opening of Ushuaïa Dubai Harbour Experience last October, proving his status as one of the most in-demand DJs in the world. Now, Harris returns to Ushuaïa Ibiza’s iconic open-air stage for a summer like no other. Calvin Harris on His Ushuaïa Ibiza Double Residency “This is something that’s never been done before, and I’m buzzing to be the first artist to hold a double residency at Ushuaïa Ibiza. None of this would be possible without the incredible fans who’ve been with me every step of the way. The energy of people from all over the world, all coming together at the epicentre of electronic music, is something I can’t wait to feel again. Two residencies, two completely different nights – this is going to be a season like no other.” An Unparalleled Experience at Ushuaïa Ibiza At Ushuaïa Ibiza, it’s never just about the music—it’s about creating moments that transcend the ordinary. The venue’s legendary atmosphere, cutting-edge production, immersive visuals, and world-class sound transform every night into an unforgettable spectacle. Fans can expect an elevated festival experience, set against the backdrop of Ibiza’s magical Balearic sky. Yann Pissenem, Owner, Founder & CEO of The Night League and Ushuaïa Entertainment, shares his excitement: “The joy that Calvin brings to his fans is truly exceptional. It’s not just about the music—it’s the unique connection he shares with people from all over the world. His ability to push creative boundaries has been a key part of Ushuaïa Ibiza’s legacy. With this unprecedented double residency, we are set to deliver something truly spectacular this summer.” Get Your Tickets Now Tickets for Calvin Harris’ double residency at Ushuaïa Ibiza are on sale now at theushuaiaexperience.com. With demand at an all-time high, securing tickets in advance is essential to be part of this historic season. The post Calvin Harris Announces Unprecedented Double Residency at Ushuaïa Ibiza appeared first on EDMTunes.

After closing out a headline tour selling out massive venues. Ray Volpe unleashes his track ‘GET SMACKED‘ in collaboration with Vastive. The debut single from his upcoming album FOREVER, VOLPETRON has the bass music community buzzing. Also, marking the end of one chapter and the beginning of the next in Volpe’s career. ‘GET SMACKED’ ‘GET SMACKED’, the next must-play for all riddim DJs, brings massive guitar riffs and bass that will make you feel like you are in the ring with the Volpetron himself. Influenced by metal, trap, and duh-dubstep, this new release amplifies Ray’s ability to create timeless tracks on repeat. The intro leads consists of an electric guitar, announcer-style vocals, and a full drum kit. Altogether, they carry into a fakeout riddim drop that has a heavy bass, signature to Ray’s style. Right after, a short energy-filled transition drops into the second and shorter drop to maximize energy consumption. It is all gas, no breaks when Ray is behind the decks. A massive build comes after the 2nd drop to introduce the 3rd consisting of a classic metal double kick riddemified. Finally, after maximum headbanger status, ‘GET SMACKED’ ends with a perfectly sculpted breakdown. “Get Smacked mutha-“ -‘GET SMACKED’ Ray Volpe’s Rise to Success Ray Volpe’s journey to the top of the electronic music scene has been nothing short of spectacular. From the viral success of his track ‘Laserbeam‘ to sold-out headline shows at venues like the Hollywood Palladium. Volpe’s 2024 was a breakthrough year. Tracks like ‘SEE YOU DROP‘ and ‘SONG REQUEST‘ garnered millions of streams, with the latter going viral on TikTok. Volpe’s music continues to dominate festivals worldwide, including his headline set at EDC Las Vegas and major collaborations, solidifying his place in the bass music scene. Looking Ahead: What’s Next for Ray Volpe in 2025? As Volpe gears up for the release of FOREVER, VOLPETRON, fans can expect even more high-energy tracks from this Laserbeam Legend. The upcoming year is shaping up to be monumental, with the ‘GET SMACKED‘ single already setting the tone for the album. Volpe is scheduled to perform at major events such as Rawhide Event Center and WAMU Theater, continuing to showcase his unmistakable sound to fans all over the world. The post Ray Volpe’s Unleashes ‘GET SMACKED’ with Vastive appeared first on EDMTunes.

John Summit’s self-admitted ‘first fully sober tour in the books’ is one that will indeed go down as a complete chapter in the Indian electronic music tour history books as well. 3 cities, 2 club shows, 1 festival and we are still reeling mid-week from last weekend. John’s exploration here spanned right across sampling a lot of local cuisine to a lot of local talent. Add to it a conclusion that his ‘body runs really well on Indian food’ unlike what he might have pre-assumed. first time in india 🇮🇳 trying to culture my white ass pic.twitter.com/f24yZdjT8B — John Summit (@johnsummit) March 7, 2025 The John Summit bandwagon rolled in BALLR in the city of Pune as its first halt. The excitement was evidently palpable as it was the biggest club gig the city must have witnessed after 8 whole years. Cirez D’s gig here in 2017 was the last time the city witnessed an act of such grandeur in a club. A local sight-seeing spree at the prominent historical spots was an attempt to soak in the culture of a country John is embracing the first time. The spree might have inspired a few mashups making their way in his already stellar set later in the night from a few of the country’s pool of talent. One such name, D-RAIN, summarises the feeling of witnessing his creation churned out by the legend right there first hand. Hearing John Summit drop my edit in Pune was pure madness—the energy, the crowd, the moment, everything just clicked. It was a surreal full-circle experience I’ll never forget D-RAIN John Summits drops D-RAIN’s edit in Pune Asia’s biggest club, Quake Arena, in the city of Hyderabad was the next halt. A glorious atmosphere was guaranteed given the magnitude of the both the name and performing space. John tried some biriyani, a local Indian favorite, the first time here. It did leave some lifelong impression on him for its spices! Lollapalooza India was next the next and final halt. The festival saw him meeting fellow house-music icon Alok as a first. Another stellar set to a packed capacity to close out the festival followed. A set laced with edits of prominent Indian acts again as an appreciation for their talent. ‘Always loving to unearth new talent.’ Sixth Ocean was one such act whose creation made it to John’s set for the tour. John Summit drops Sixth Ocean’s ‘Fanaa’ at Lollapalooza India ‘I am going to be back, definitely. It felt surreal in here’, John quips. ‘The madness in here and the vibe, there seems to be an immediate connect’, he signs off. We are waiting till then John, we are waiting! first fully sober tour in the books 💪 not here to brag i’m just extremely proud of myself that i can perform at my best with full confidence without relying on alcohol.. it’s taken a long road to get here — John Summit (@johnsummit) March 10, 2025 The post John Summit India Tour : ‘First Fully Sober Tour in The Books’ appeared first on EDMTunes.