Ravebot

Norwegian hitmaker Kygo has unveiled a new single, "Can’t Get Enough," a dance-pop collaboration with his partner, Victoria Nadine. Blending tropical house textures with a pulsating pop core, the track is out now via Casablanca Records. Nadine, a rising pop artist in her own right, delivers heartfelt vocals that glide over Kygo's signature synth flourishes and warm piano chords. Built around the saccharine hook "I just can’t get enough, I’m craving your love," the song marks the couple’s first musical release together, turning their real-life romance into radio-ready chemistry. Though Kygo has collaborated with global pop icons including Selena Gomez and Ellie Goulding, "Can’t Get Enough" feels notably personal. It's the first of "dozens" of records he's worked on with Nadine, he said. "'Can't Get Enough' is a really special record to me that was the result of Victoria and I writing maybe a dozen songs together over the last year," Kygo said. "It feels like a perfect combination of her sound and my sound that took us both a bit outside our comfort zones musically. We've already performed the song a couple times together while on tour in Asia and are so excited for everyone to hear this song and perform it around the world together in the future." You can listen to "Can't Get Enough" below and find the new single on streaming platforms here. Follow Kygo:X: x.com/kygomusic Instagram: instagram.com/kygomusic TikTok: tiktok.com/@kygomusic Facebook: facebook.com/kygoofficial Spotify: spoti.fi/3bNxrT3 Follow Victoria Nadine:Instagram: instagram.com/victorianadine TikTok: tiktok.com/@victoriaanadine Facebook: facebook.com/victoriaanderseen Spotify: tinyurl.com/2h5cw66s

Photo Credit: Yvette de Wit Live Nation reports a slow start in Q1 2025. But the company has lots of revenue booked that is yet to be realized, according to CEO Michael Rapino. Live Nation’s Q1 2025 earnings report shows drops in total revenue and adjusted operating income compared to the same quarter the year prior. Overall revenue came to $3.38 billion—an 11% drop from last year, with adjusted operating income dropping 6% to $341 million. The first quarter results come after Live Nation reported moderate year-over-year growth in its earnings last year. Live Nation showed a small increase in total revenue and a slower growth rate in adjusted operating income. But things have slowed since the burst in live event attendance in the couple of years post-COVID. However, Live Nation isn’t forecasting dark skies all year, as CEO Michael Rapino pointed to event-related deferred revenue—money earned for future events they’ve got booked—stands at $5.4 billion. That’s up 24% year-over-year, and will lead to a “historic” year for live music, according to Rapino. Similarly, there were 95 million tickets sold for Live Event concerts, up double digits from the previous year. “As more artists tour the world, fan demand is reaching new heights across ticket sales, show attendance, and on-site spending. Ticket sales are pacing well ahead of last year, with deferred revenue for both concerns and ticketing at record levels,” says Michael Rapino, President and CEO of Live Nation. “To support even more fans seeing their favorite artists, we’re continuing to expand our global venue network, adding 20 major venues through 2026. As the global experience economy grows, the live music industry is leading the way, and we’re positioned to compound growth by double digits over many years.” Globally, Live Nation had its best Q1 for concerts, with a revenue of $2.5 billion and a record adjusted operating income of $7 million, thanks to growth in markets like Latin America and Asia Pacific. International attendance was also similar to that of the prior year, with 22.3 million fans attending 11,300 shows. Sell-through rates in the first week for shows were consistent in this quarter with that of Q1 2024. View the full article

SiriusXM has posted its Q1 2025 financials, including a revenue dip, and reiterated its full-year guidance. Photo Credit: SiriusXM SiriusXM has reported small revenue and net income decreases for Q1 2025, when its satellite radio subscribers dipped from the same period in 2024. Nevertheless, execs have reiterated their full-year guidance. The savings-minded company shed light on its first-quarter showing today, pointing to almost $2.07 billion in revenue for the three-month stretch. Down about 4% from 2024’s first quarter, the figure reflects slips on the core satellite radio side (revenue fell 5% YoY to $1.58 billion) and Pandora (a 2% or so YoY decline to $487 million). Behind satellite radio, SiriusXM disclosed $1.47 billion in subscription revenue (down 5% YoY), with a cumulative $111 million stemming from advertising, equipment, and other sources yet. Separately, SiriusXM reduced its cost of services by 4% YoY to $644 million during the quarter, the report shows. And as of March 31st, self-pay subscribers were down 1% YoY to roughly 31.34 million, with the falloff representing a 16% improvement from its Q1 2024 counterpart. But paid promotional subs and paid accounts in Canada decreased by a combined 439,000, the document indicates. Shifting to Pandora, the business posted $132 million in subscription revenue (down 1% YoY) and $355 million from advertising (down 2% YoY). Fueling those sums were 42.36 million MAUs (down 6% YoY), including 5.71 million self-pay subscribers (down 5% YoY). And in keeping with the figures, Pandora’s ad-supported listener hours totaled 2.35 billion during Q1, about 5% less than in 2024’s opening quarter. All told, SiriusXM identified adjusted EBITDA of $629 million (down 3% YoY), with net income of $204 million (compared to $241 million in the prior-year quarter). During the corresponding earnings call, SiriusXM execs didn’t reveal an abundance of new information; among other things, they aren’t anticipating a “material impact” on their operations from auto tariffs. But they did reiterate their high hopes for an ongoing advertising buildout – besides doubling down on the initially mentioned 2025 guidance. That guidance refers to revenue of $8.5 billion, adjusted EBITDA of $2.6 billion, and a free cash flow of $1.15 billion. “Q1 marked our first full quarter since unveiling our new strategic direction and sharpened focus on super serving our core in car audience at SiriusXM,” CEO Jennifer Witz said. “We are already seeing early benefits from these efforts as reflected in our solid first quarter results. Given our momentum and despite broadening economic uncertainty, we’re pleased to confidently reiterate our full year guidance today,” concluded Witz, whose company in March initiated a new round of layoffs. Despite this confidence, the market doesn’t appear too enthusiastic with the financials; during today’s trading, the spun-off SiriusXM (NASDAQ: SIRI) saw its share price slip close to 9% to $19.50 per share. View the full article

Rave On is a new drama film on Berlin’s techno scene. Today, the trailer for the movie is out now. The film is written and directed by Nikias Chryssos and Viktor Jakovleski. The film follows Berin music producer, Kosmo (Aaron Altaras), as he tries to deliver his new vinyl record to a legendary DJ at a notorious techno club. What begins as a simple task transforms into an existential rave odyssey through Berlin’s club scene. The film blends a fictional narrative with a guerrilla documentary approach. It’s even filmed at real parties in actual techno locations to capture the authenticity of Berlin’s nightlife. Additionally, the music features a mix of club classics and original tracks created exclusively for the film by artists Ed Davenport and John Gürtler. Expect the film to debut in Germany on July 31, 2025 and screened at the Cannes Film Market this month. A statement from the playmaker expressed that techno music is one of the most important German cultural exports. Rave On shall showcase raw and real experiences and promises an authentic atmosphere and roller coaster ride of a watch. There have been a plethora of documentaries on some of our favorite artists. Those include Avicii, Armin van Buuren, Carl Cox, Swedish House Mafia, Hardwell, Martin Garrix, and more. Some other fictional films on the international electronic music scene include Eden (2014), Beats (2019), and Berlin Calling (2008). For films on music festivals, The Festival (2018) is a British comedy film that follows a group of friends as they attend a massive music festival after one of them experiences a particularly rough breakup. If you’re looking for a laugh, check out this lighthearted, raunchy comedy about friendship, heartbreak, and the transformative (often messy) experience of attending a large music festival. “Rave On is a singular cinematic experience that blends a fictional narrative with a guerrilla documentary approach and immersive cinematography. [A] love letter to techno music and Berlin’s nightlife. Our international distributors are in for a wild ride.” Check out the trailer for Rave On below. What are your thoughts? Source: Variety The post Trailer for Rave On, Movie Set Within Berlin Techno Scene, Revealed for Cannes Film Market appeared first on EDMTunes.

Earlier today, the Brooklyn Mirage was gearing up for an incredible opening weekend, hosting Hard Techno High Priestess Sara Landry for her Eternalism tour stop in New York. Sadly, their official Instagram account released a statement informing attendees that the show for tonight has been canceled due to an inspection deadline. The New Brooklyn Mirage The megavenue, which has been under new management since last year, has been under construction for the 2025 season. The Brooklyn Mirage has historically been an EDM mecca, and this year will be no different. Artists in the 2025 lineup include Nora en Pure, Adriatique, James Hype, Artbat, Illenium, Meduza, Black Coffee, and more. Moreover, the venue also hosts different productions, events, and festivals, including Pride, Elrow, S20 New York, City Fox, and the Amsterdam-based production Awakenings. The Statement Unfortunately, the Mirage did not manage to clear the inspection deadline. To guarantee the safety of all attendants and staff, the show tonight has been canceled. Positively, tickets will be immediately refunded. The Mirage will keep the public updated about the remaining shows for the weekend. Moreover, they will keep us informed about final inspection and signoffs. The post Brooklyn Mirage Releases Statement: Opening Is Delayed By Inspection appeared first on EDMTunes.

Nora En Pure’s Purified event at Jungle Island during Miami Music Week 2025 was a sold-out show that took place on Thursday, March 27, 2025. The South African DJ known for her deep house sound took her Purified brand to the tropical and unique setting of Jungle Island located on Watson Island, Miami. Now, you can listen to DJ Mag’s special recording of Nora En Pure’s set from this event premiered on YouTube. She treated the crowd to a two-hour set and played some of her latest Enormous Tunes tracks such as ‘Indulgence’, ‘Pretoria’, ‘Protected’, and ‘Epiphany’. Additionally, she also played tracks by other artists such as Tinlicker, Dominik Gehringer & Jordan Arts, and Anyma & Massano. Not to mention nine unknown track IDs yet to be revealed. You can view the tracklist here. The lineup for the event included Nora En Pure, Yotto, Innellea, Adam Sellouk, Paradoks, and Jono Stephenson. The Purified event series is known for its deep house and melodic techno sound. What’s more, Nora often performs in unique and often beautiful locations, where her sets evoke peace to accompany the environment. And that is why she is known as the Queen of Deep House. She is globally recognized for her signature blend of melodic deep house, progressive house, and indie dance, characterized by cinematic soundscapes, ethereal melodies, and organic instrumentation. This year, she has a rigorous performance schedule in the US, South America, Europe, Indonesia, and Australia. With three new releases this year already, the year is still only beginning. Tune into her takeover on Pandora Chill Radio! We can’t wait to see what’s next from her. Watch her DJ set live from Purified Jungle Island, Miami below. Nora En Pure DJ Set Live From Purified Jungle Island – Miami Music Week Source: DJ Mag The post [WATCH] DJ Mag Shares Nora En Pure Purified Jungle Island Set From Miami Music Week appeared first on EDMTunes.

Speaking with EDM Maniac, Koco Nikki shares her journey from Los Angeles to Las Vegas, where she has forged a path as a leader in the nightlife and hospitality industries. A double alumna of UNLV, Nikki’s career spans roles with TAO Group, Virgin Hotel, and large-scale Insomniac festivals. As co-founder of Elation Events, she helped shape the underground electronic music scene while prioritizing safety and inclusivity. Today, as a Lecturer at UNLV and a key figure at Zouk Group, Nikki is not only advancing her own career but actively mentoring the next generation of people in the industry, pushing for a more inclusive, collaborative, and empowering future for all in nightlife and hospitality. Maniac Magazine: Give us a rundown of your personal background, your career, and the key moments along the way. Nikki: I’m originally from Los Angeles. I moved to Vegas a little over a decade ago, initially to escape the high cost of living and heavy traffic. But it seems like they both followed me here! I am a double alumna of the University of Nevada, Las Vegas, where I earned my Bachelor’s and Master’s degrees in Hospitality Management and Administration. Music and hospitality have always played a significant role in my life, as they create meaningful relationships and experiences. Throughout my career, I’ve had the opportunity to work across various areas in the nightlife and entertainment industry. I worked for TAO Group in VIP promotions and marketing, and later joined the team at Virgin Hotel, working artist relations for a beach club. I am also fortunate to have and still work large-scale Insomniac festivals, such as Dreamstate and EDC. One of my achievements is that in 2018-2019, I co-founded and co-owned Elation Events, a start-up live music events company. We created, marketed, and produced multiple live music events, starting with trance, then added Hardstyle and Techno/House to the mix. Our events averaged between 400 and 600 people per show the first year, and we produced close to 20 shows. I also created a partnership with Insomniac Events to bring “Dreamstate” branded shows to off-strip locations, resulting in a thriving underground live music culture. Currently, as my big-girl job, I serve as a Lecturer in the Food and Beverage and Events department within the William F. Harrah College of Hospitality at UNLV. During the weekends, I continue my passion and involvement in hospitality and guest experience with Zouk Group in Resorts World Las Vegas, managing VIP hospitality and curating memorable experiences for my guests. Maniac Magazine: Your career in the nightlife industry is inspiring. What were some of the most significant turning points that helped you break through? Nikki: Working in the nightlife and entertainment industry has definitely been an exciting journey. With each passing year, I find myself reflecting on the challenges I faced and the growth that has followed. Of course, there have been challenges, but each one pushed me to become more resilient and more passionate about what I do. And for that, I am deeply grateful. I have also been fortunate to have had mentors, managers, and colleagues who believed in me and opened doors along the way. Their support played a significant role in helping me get to where I am today. Maniac Magazine: How have you navigated the challenges of a male-dominated industry, and what steps have you taken to ensure women’s voices and perspectives are represented? I had to learn to be assertive and set boundaries. Nowadays, when I see a female entering the industry, I make it not only a point to uplift them by offering help and advice, but also to push them towards opportunities that may arise. Creating a safer, more inclusive environment has also become a top priority for me. The nightlife industry has carried a stigma of harassment and unsafe conditions, and it’s time we actively work to change that stereotype. Maniac Magazine: For women aiming for leadership positions in industries that aren’t always diverse, what advice would you give to help overcome obstacles and build a solid support system? Nikki: The journey is not going to be easy. Know your worth and stay resilient. There will be moments when your contributions will go unnoticed, and you will feel overlooked. But don’t let that shake your confidence. Be compassionate and speak up for those around you, regardless of their role. There will be others that still feel shy and are intimidated to stand up for themselves. Above all, keep your integrity and be real. In an industry full of distractions and noise, staying grounded in your values and ethics, and being genuine will set you apart. Maniac Magazine: The Las Vegas nightlife scene has seen a lot of change over the years. How do you see women contributing to this transformation, and what do you think the future holds for women leaders in the scene? Nikki: Las Vegas is welcoming different facets of entertainment, in addition to nightlife in the city: sporting events, concerts, etc. As more women step into high-level leadership roles, they are shaking the male-dominated industry. I foresee women becoming trendsetters, reshaping the culture towards being more inclusive and creating safe yet memorable experiences. Maniac Magazine: Looking back at your journey, what achievements are you most proud of, especially in terms of paving the way for women in the nightlife and hospitality industries? Nikki: I still look back proudly on my time with Elation Events—we were focused on creating unforgettable experiences for the underground electronic music scene in Las Vegas. Our events had prioritized safety, inclusivity, and community, offering not only memorable moments but also meaningful growth opportunities for those eager to learn about live music event coordination. Today, I am grateful to have a voice as a university-level Lecturer. My goal is to positively shape the next generation of industry leaders, encouraging them to lead with integrity and respect for their community. Maniac Magazine: Looking ahead, how do you hope to empower or mentor the next generation of women in nightlife? What changes would you like to see in the industry as more women step into leadership roles? Nikki: I absolutely feel mentorship plays an important role in anyone’s career. I hope to be the kind of mentor I once needed: someone who not only listens and offers guidance, but someone who, without ego, connects emerging young women with opportunities that will support their career growth. The Las Vegas nightlife is surreal and iconic, but it is also ready for an evolution. I would love to see more women step into executive leadership roles, such as VP of Entertainment or Director of Operations, not only leading with intention but also shaping future strategy and operations. I hope the nightlife industry becomes more collaborative than competitive and more inventive than corporate. The post Las Vegas Nightlife & Hospitality: Behind The Scenes With Koco Nikki appeared first on EDM Maniac. View the full article

In a world that often demands conformity, some of us only truly breathe when the bass drops. For those unfamiliar with the rave scene, it might just look like a chaotic mix of lights, flailing bodies, and pounding music. But for ravers, it’s more than that—it’s the only space where we feel fully ourselves. Rave culture, at its core, is about radical self-expression, acceptance, and freedom. It offers an escape from the rigid expectations of daily life. In a society that asks you to fall in line, the rave invites you to let go. 1. The Mask We Wear in “Real Life” In daily life, people often wear masks—metaphorically speaking. At work, you’re the professional. With family, you may play a certain role. Online, you curate a version of yourself that fits the platform. It’s all a performance based on rules set by other people. The modern world encourages us to hide our quirks, repress our emotions, and stay within the lines. Most social settings reward safety and punish vulnerability. Expressing too much joy, sadness, weirdness, or raw energy can feel like a risk. But raves flip that script. Come exactly as you are, or better yet, come as who you really want to be. 2. The Permission to Be Free At a rave, there’s no dress code. Glitter is welcome. So are neon, fur, wings, or almost nothing at all. People dance without worrying who’s watching. Strangers hug without inhibition. You can scream, cry, spin in circles, or sit quietly on the grass and just be. In real life, we have to follow the orders of our parents, teachers, bosses, and so many others telling us who to be and how to act. In a world built on conformity, authenticity is a true act of rebellion. This unspoken permission to be your true self is incredibly powerful. It unlocks something deeply human. For some, raves are the only place that gives them that kind of permission. 3. Music is a Mirror The music itself plays a huge role. Dubstep, techno, house, trance—all of it is immersive. It’s not about singing along or performing. It’s about surrendering to a rhythm bigger than you. In those moments on the dance floor, time melts. The ego fades. People often describe feeling “connected to everything” or “like their truest self.” This isn’t just poetic language, it’s neuroscience. Music, movement, and collective energy release dopamine, oxytocin, and endorphins. These brain chemicals are linked to joy, bonding, and authenticity. 4. A Chosen Family Rave culture is built on community. Not just going out with friends, but finding people who get you in ways your biological family or “real life” friends may not. The values of PLUR (Peace, Love, Unity, and Respect) may sound cheesy to outsiders, but they outline a code of conduct in the rave world. Whether it’s trading kandi, helping someone who’s overwhelmed, or simply vibing with a stranger under the lasers, these are moments of shared humanity. And when you feel accepted without having to hide or explain yourself, something inside you softens. You remember who you are beneath the noise of expectations. 5. There’s No Pressure to Achieve Anything In everyday life, we’re constantly chasing goals, like grades, promotions, money, followers, and external validation. We’re taught that our value comes from productivity or accomplishment. That grind mentality can make it hard to feel at peace with just existing. But at a rave, there’s no scoreboard. No agenda. You’re not there to impress anyone—you’re there to feel, to move, to exist in the moment. 6. It’s a Reconnection to Your Inner Child Most adults lose touch with their inner child. We’re told to grow up, be serious, and stop dreaming. But raves bring playfulness back to life through costumes, art installations, interactive lights, dancers, theme camps, and so much more. People tap into creativity and imagination they forgot they had. They paint their faces, dance barefoot, hug strangers, build things, and let loose. That reconnection to uninhibited play can remind someone who they were before the world told them who to be. So… What Is “Real Life” Anyway? Here’s the twist: when people say they feel more like themselves at a rave, maybe their rave self is their real self. Maybe it’s not about escaping life—it’s about returning to it. It’s about returning to the unfiltered, unpolished version. The version that isn’t edited for LinkedIn or dulled down for uptight dinner party conversations. Raves aren’t perfect. They can be messy, loud, and intense. But they remind us of something sacred: that our most authentic selves deserve space. Not just on the dance floor, but everywhere. So the next time someone says, “I feel more like myself at a rave than in real life,” don’t assume they’re lost in fantasy. Maybe they’ve just found a version of reality the rest of the world hasn’t caught up to yet. Featured Image Courtesy: Insomniac Events. The post Why You Feel More Like Yourself At A Rave Than In Real Life appeared first on EDM Maniac. View the full article

In a world that often demands conformity, some of us only truly breathe when the bass drops. For those unfamiliar with the rave scene, it might just look like a chaotic mix of lights, flailing bodies, and pounding music. But for ravers, it’s more than that—it’s the only space where we feel fully ourselves. Rave culture, at its core, is about radical self-expression, acceptance, and freedom. It offers an escape from the rigid expectations of daily life. In a society that asks you to fall in line, the rave invites you to let go. 1. The Mask We Wear in “Real Life” In daily life, people often wear masks—metaphorically speaking. At work, you’re the professional. With family, you may play a certain role. Online, you curate a version of yourself that fits the platform. It’s all a performance based on rules set by other people. The modern world encourages us to hide our quirks, repress our emotions, and stay within the lines. Most social settings reward safety and punish vulnerability. Expressing too much joy, sadness, weirdness, or raw energy can feel like a risk. But raves flip that script. Come exactly as you are, or better yet, come as who you really want to be. 2. The Permission to Be Free At a rave, there’s no dress code. Glitter is welcome. So are neon, fur, wings, or almost nothing at all. People dance without worrying who’s watching. Strangers hug without inhibition. You can scream, cry, spin in circles, or sit quietly on the grass and just be. In real life, we have to follow the orders of our parents, teachers, bosses, and so many others telling us who to be and how to act. In a world built on conformity, authenticity is a true act of rebellion. This unspoken permission to be your true self is incredibly powerful. It unlocks something deeply human. For some, raves are the only place that gives them that kind of permission. 3. Music is a Mirror The music itself plays a huge role. Dubstep, techno, house, trance—all of it is immersive. It’s not about singing along or performing. It’s about surrendering to a rhythm bigger than you. In those moments on the dance floor, time melts. The ego fades. People often describe feeling “connected to everything” or “like their truest self.” This isn’t just poetic language, it’s neuroscience. Music, movement, and collective energy release dopamine, oxytocin, and endorphins. These brain chemicals are linked to joy, bonding, and authenticity. 4. A Chosen Family Rave culture is built on community. Not just going out with friends, but finding people who get you in ways your biological family or “real life” friends may not. The values of PLUR (Peace, Love, Unity, and Respect) may sound cheesy to outsiders, but they outline a code of conduct in the rave world. Whether it’s trading kandi, helping someone who’s overwhelmed, or simply vibing with a stranger under the lasers, these are moments of shared humanity. And when you feel accepted without having to hide or explain yourself, something inside you softens. You remember who you are beneath the noise of expectations. 5. There’s No Pressure to Achieve Anything In everyday life, we’re constantly chasing goals, like grades, promotions, money, followers, and external validation. We’re taught that our value comes from productivity or accomplishment. That grind mentality can make it hard to feel at peace with just existing. But at a rave, there’s no scoreboard. No agenda. You’re not there to impress anyone—you’re there to feel, to move, to exist in the moment. 6. It’s a Reconnection to Your Inner Child Most adults lose touch with their inner child. We’re told to grow up, be serious, and stop dreaming. But raves bring playfulness back to life through costumes, art installations, interactive lights, dancers, theme camps, and so much more. People tap into creativity and imagination they forgot they had. They paint their faces, dance barefoot, hug strangers, build things, and let loose. That reconnection to uninhibited play can remind someone who they were before the world told them who to be. So… What Is “Real Life” Anyway? Here’s the twist: when people say they feel more like themselves at a rave, maybe their rave self is their real self. Maybe it’s not about escaping life—it’s about returning to it. It’s about returning to the unfiltered, unpolished version. The version that isn’t edited for LinkedIn or dulled down for uptight dinner party conversations. Raves aren’t perfect. They can be messy, loud, and intense. But they remind us of something sacred: that our most authentic selves deserve space. Not just on the dance floor, but everywhere. So the next time someone says, “I feel more like myself at a rave than in real life,” don’t assume they’re lost in fantasy. Maybe they’ve just found a version of reality the rest of the world hasn’t caught up to yet. Featured Image Courtesy: Insomniac Events. The post Why You Feel More Like Yourself At A Rave Than In Real Life appeared first on EDM Maniac. View the full article

Chicago’s Taste of Randolph has locked in another sneaky-good lineup for the free community festival’s 28th summer. Windy City music fans can stop by the long-running block party on Randolph St. in the West Loop from June 13-15, where they’ll be treated to six blocks of food and drinks from more than 15 of Chicago’s top restaurants, and sounds from an eclectic roster of heralded house DJs, indie bands and alternative acts. On the electronic side, this year’s lineup features a headline B2B from Chicago house icons J. Worra and Gene Farris, a live performance from Montreal electro-funk duo Chromeo, and a bevy of bumping DJ sets from Kyle Watson, Chris Luno, Girl Math (VNSSA B2B Nala), and Yung Bae, plus more of Chicago’s finest in DJ Heather B2B Lady D and Trés Mortimer, among others. Fans can also catch iconic electronic rockers Phantogram, acclaimed Chicago-hailing ensembles OK Go, Slow Pulp, and Spitalfield, and more alternative acts like Slow Joy and Scarlet Demore. Check out the full lineup below. Though Taste of Randolph’s 2025 food partners are yet to be announced, last year’s event featured bites from Baked Cheese Haus, Forno Rosso, Gaijin, Gino and Marty’s, and other Chicago vendors. Merchant booths will also showcase goods from local businesses. Taste of Randolph is open on Randolph St. between Peoria and Racine from 5-10PM on Friday, June 13, and Noon-10PM on Saturday and Sunday, June 14-15. Admission is free, but there is a $10 suggested donation, with all proceeds going toward the West Loop Community Organization. For more information, visit tasteofrandolph.org. Featured image courtesy: Taste of Randolph. Credit: Kennedy Cottrell. The post Free Chicago Festival Taste Of Randolph Shares Sneaky-Good Lineup For 2025 appeared first on EDM Maniac. View the full article

Merlin is now a member of the Music Fights Fraud Alliance. Photo Credit: Merlin Months after bringing on its first director of content integrity, Merlin has officially joined the Music Fights Fraud Alliance (MFFA). The indie collective (and AI fair-training advocate) announced as much this morning. Established in 2023, Music Fights Fraud, in keeping with its name, bills itself as “a global task force aimed at eradicating streaming fraud.” And in pursuit of the objective, MFFA is said to collaborate with the 23-year-old National Cyber-Forensics and Training Alliance (NCFTA) on “a shared database of identified fraud markers.” From there, members can “track, investigate, and respond to fraudulent activity in real time,” according to Music Fights Fraud, which welcomed former Recording Academy government-relations MD Michael Lewan as executive director in February. Regarding these members, the MFFA’s diverse ranks include Downtown, Spotify, Amazon Music, SoundCloud, DistroKid, Believe, and about 15 others, the appropriate website shows. That group now features Merlin as well – with CEO Jeremy Sirota describing his organization’s MFFA membership as a means of building “a more ethical digital marketplace” for actual artists. “Illegitimate activity siphons revenue away from genuine artists and undermines trust across the entire ecosystem,” Sirota indicated. “We believe that protecting the value of music is rooted in collaboration, accountability, and transparency. “Since the MFFA’s founding, Merlin has championed its work to our members. By joining the MFFA, we can help to better defend the rights of genuine artists and build a more ethical digital marketplace,” the Merlin head concluded. As things stand, it’s not exactly a secret that many “genuine artists” are getting a rawer-than-ever deal on streaming services, which are facing daily floods of AI “music.” This refers in part to controversial royalty-accrual stream minimums and an adjacent spike in library sizes. At the intersection of those points, many already know that a small percentage of uploads are generating recording royalties on Spotify. Less widely considered, however, is the portion therein of royalty-accruing works attributable to AI as opposed to proper human talent. That isn’t a Spotify-specific criticism; in fact, the service claims to have promptly put the kibosh on a multimillion-dollar AI royalty scam. (It probably doesn’t need saying given the multimillion-dollar descriptor, but other DSPs weren’t nearly as quick to catch on; MFFA may help prevent similar situations and federal charges moving forward.) Nevertheless, reports have shed light on alleged streaming farm operations on Spotify and different DSPs. And when dozens of identical 50-second tracks, all attached to generically named “ghost” artist profiles with just a handful of monthly listeners each, have racked up thousands of streams apiece over multiple years on Spotify alone, it’s hard not to be suspicious in this area. View the full article

Photo Credit: John Mayer (VMG), Mandy McCormack (TeamTY), Jordan Isbell (VMG), Trisha Yearwood, Jen Bontusa (VMG), by Natalie Simmons Trisha Yearwood partners with Virgin Music Group for new music and her recent catalog via her Gwendolyn Records. Her new album, THE MIRROR, is set for release on July 18. Virgin Music Group, the leading partner to independent artists, labels, and entrepreneurs, has announced the signing of a partnership with country superstar Trisha Yearwood and her label Gwendolyn Records for new music and the artist’s recent catalog. The deal also brings Yearwood home to the Universal Music Group family with Music Corporation of America (MCA), the Nashville-based label she called home from 1990 through 2006. MCA will continue to work her catalog from his era. This new chapter in Yearwood’s legendary career officially kicks off today with the pre-order and pre-save campaign for THE MIRROR, her first album of songs fully co-written and co-produced by the Georgia native. Tomorrow, “The Wall Or The Way Over” and “Bringing The Angels” will be released as a preview of what’s to come from the full album, which is due for release on July 18. Fans can pre-order the album now, available in digital, CD, standard vinyl, and limited-edition custom color vinyl. “I’m honored to join forces with Virgin Music Group as I embark on this exciting new chapter. Bringing my Gwendolyn label into the MCA/Universal family truly feels like coming home. I can’t wait to share my new album, THE MIRROR. Creating this music has been one of the most rewarding experiences of my life,” said Trisha Yearwood. “Trisha Yearwood is one of the most talented and enduring artists in the world,” said Jacqueline Saturn, President, Virgin Music Group North America, and EVP of Global Artist Relations. “We are so proud to have her and her Gwendolyn Records catalog on our roster and are looking forward to her legions of fans hearing this incredible new music.” “We are thrilled to welcome Trisha Yearwood back to the family, coming full circle as we celebrate and amplify her iconic MCA catalog. In partnering her Gwendolyn Records label with Virgin Music Group, Trisha enters an exciting independent chapter—one where she retains creative and commercial control, supported by a world-class global team. We are so happy for her,” said Mike Harris, President and CEO of Music Corporation of America. “Trisha is one of the beloved artists in Nashville,” said Jen Bontusa, Virgin’s Senior Vice President of Label Management based in Nashville. “It’s been amazing working with her and her team so far and we’re looking forward to a long and successful partnership.” Yearwood also recently received three new RIAA certifications. The most played song by a female artist in the history of Billboard’s monitored era, “She’s In Love With A Boy,” was certified double platinum, while “Walkaway Joe” and “XXX’s and 000’s (An American Girl)” were certified gold. To support her new music, Yearwood is embarking on her first headlining tour in six years. The spring run launched April 30 in Austin, TX. View the full article

Dust off your dancing boots—the lineup is here for EDC’s country music crossover party, YeeDC! After grabbing headlines and rounding up ravers in its debut at last year’s EDC Las Vegas, the genre-bending party series is back at the festival’s Downtown EDC area for 2025, where it promises to again blend the heart of country music with high-octane electronic beats all weekend long. With electrifying sets to come from country music mixers VAVO, Country Night, and Roadhouse, fans can expect a night of remixed hits from the acoustic genre’s biggest stars and crossover talents like Morgan Wallen, Kane Brown, Marshmello, and more. Attendees can also check out the Rave Ranch, showcasing small businesses, specialty “Boozy Boot” cocktails, professional dancers, burlesque performances, and even line dancing lessons to make sure you’re steppin’ in time. Check out the full YeeDC! lineup below. Following its debut in 2024, the rootin’ tootin’ party rolled on to Beyond Wonderland 2025, hosting a pop-up at the Beatbox Art Car, and brought down home vibes to Insomniac’s first-ever floating festival, EDSea, as a standout theme. Now, beyond the festival circuit, it has evolved into its own standalone party series, showcasing its unique country-electronic fusion and bringing big names, such as Brandi Cyrus, to clubs across Southern California. Before and after YeeDC! returns to EDC Las Vegas, fans can practice their two-stepping at three YeeDC! club shows this month, touching down at Time Nightclub in Orange County on May 9, Avalon Hollywood in Los Angeles on May 23, and Bloom in San Diego on May 25. EDC Las Vegas will return to the Las Vegas Motor Speedway this May 17-19, with performances from Martin Garrix, Eric Prydz, Alison Wonderland B2B Kaskade, ILLENIUM B2B SLANDER, Gorgon City, Dom Dolla, Charlotte de Witte, Sara Landry, Gesaffelstein, Dimension, and hundreds more. For more information on YeeDC!, visit lasvegas.electricdaisycarnival.com or check out the party’s official Instagram page. Featured image courtesy: Insomniac Events / YeeDC! The post EDC Las Vegas Drops 2025 Lineup For Country-EDM Fusion Stage, YeeDC! appeared first on EDM Maniac. View the full article

Dust off your dancing boots—the lineup is here for EDC’s country music crossover party, YeeDC! After grabbing headlines and rounding up ravers in its debut at last year’s EDC Las Vegas, the genre-bending party series is back at the festival’s Downtown EDC area for 2025, where it promises to again blend the heart of country music with high-octane electronic beats all weekend long. With electrifying sets to come from country music mixers VAVO, Country Night, and Roadhouse, fans can expect a night of remixed hits from the acoustic genre’s biggest stars and crossover talents like Morgan Wallen, Kane Brown, Marshmello, and more. Attendees can also check out the Rave Ranch, showcasing small businesses, specialty “Boozy Boot” cocktails, professional dancers, burlesque performances, and even line dancing lessons to make sure you’re steppin’ in time. Check out the full YeeDC! lineup below. Following its debut in 2024, the rootin’ tootin’ party rolled on to Beyond Wonderland 2025, hosting a pop-up at the Beatbox Art Car, and brought down home vibes to Insomniac’s first-ever floating festival, EDSea, as a standout theme. Now, beyond the festival circuit, it has evolved into its own standalone party series, showcasing its unique country-electronic fusion and bringing big names, such as Brandi Cyrus, to clubs across Southern California. Before and after YeeDC! returns to EDC Las Vegas, fans can practice their two-stepping at three YeeDC! club shows this month, touching down at Time Nightclub in Orange County on May 9, Avalon Hollywood in Los Angeles on May 23, and Bloom in San Diego on May 25. EDC Las Vegas will return to the Las Vegas Motor Speedway this May 17-19, with performances from Martin Garrix, Eric Prydz, Alison Wonderland B2B Kaskade, ILLENIUM B2B SLANDER, Gorgon City, Dom Dolla, Charlotte de Witte, Sara Landry, Gesaffelstein, Dimension, and hundreds more. For more information on YeeDC!, visit lasvegas.electricdaisycarnival.com or check out the party’s official Instagram page. Featured image courtesy: Insomniac Events / YeeDC! The post EDC Las Vegas Drops 2025 Lineup For Country-EDM Fusion Stage, YeeDC! appeared first on EDM Maniac. View the full article

In the shadow of Indio’s sprawling festival grounds, Framework in the Desert 2025 didn’t just follow the main event—it matched it. For three consecutive nights, a hangar in Thermal, CA transformed into something far bigger than an afterparty. More than 14,000 people passed through the Atlantic Aviation grounds from Friday to Sunday, a new record for the fourth edition of the desert-born series. The setup felt more immersive than industrial. Central to the weekend was the Long Feng Art Car, a Burning Man relic reborn as the event’s stage. Massive LED scales pulsed across dragon heads. Dancers twisted in sync beside moving metal. It didn’t feel borrowed—it felt like it belonged. Chris Lake brought firepower Friday night, then doubled down with a surprise b2b alongside Chris Lorenzo. The pair revived their Anti Up project to an unsuspecting crowd, a moment fans will talk about long after the desert dust fades. deadmau5, meanwhile, opened the weekend with his signature wall of sound and sharp visuals, marking a rare and blistering Framework 2025 set. 2025: Celebrity-Soaked Framework By Saturday, tickets sold out and the scene swelled. The hangar was packed shoulder to shoulder. Tech-house star Mau P headlined to a rapt crowd, delivering one of the weekend’s tightest sets. Backstage, BLACKPINK’s LISA stepped into the spotlight—sort of. She brushed elbows at Wynn Nightlife’s VIP enclave, and word spread quickly. Other standouts that night included Max Styler and Interplanetary Criminal, who handled earlier slots with finesse and force. The programming felt curated, not crowded—no overlap, no noise bleed, just smart sequencing and deep focus. Closing Sets and Unlikely Aliases On Sunday, Alesso switched identities. Ditching the mainstage persona, he appeared under his underground alias BODY HI, delivering a finale of techno-tinged edits and thumping reinterpretations of his catalog. It was a night built for heads, not hits. Support acts like Francis Mercier, Layton Giordani, and Milhuska each brought distinct energy, proving that Framework’s bookings stretch well beyond headline bait. The lineup’s cohesion spoke louder than any branding ever could. Broader Beyond the Hangar Framework’s desert presence wasn’t confined to one venue. At Coachella’s Yuma Tent, their curated lineup featured heavyweights like Amelie Lens, Eli Brown, and Chris Stussy—and it showed. Lines spilled out of the tent nightly. Inside, the vibe was the perfect counterpoint to the sun-drenched main stages. Offsite, Zenyara’s Desert Nights added another layer. Produced by Framework and Corso Marketing Group, the private estate event leaned into luxury while keeping its lineup tight. AFROJACK’s surprise set, Anyma, and Bob Moses (Club Set), anchored the programming, while guests like Emma Roberts, Zedd, and Winnie Harlow filled the VIP tables. Framework Doesn’t Rest Between Weekends While most party crews pack it up after Weekend 1, Framework accelerates. Their 7 Days of Framework series at LA’s Sound Nightclub began that same weekend. Friday brought Alok’s “Something Else” concept, followed by Sparrow & Barbossa on Saturday. Acts like Dixon, Jimi Jules, and AFROJACK presents Kapuchon follow midweek, keeping energy high before the second festival weekend begins. This wasn’t just a good year for Framework—2025 was a defining one. What began as a well-executed afterparty now feels like its own movement. From Long Feng’s surreal debut to Chris Lake’s surprise b2b, Alesso’s alter ego, and Lisa’s VIP cameo, the weekend proved one thing: Framework doesn’t follow festival culture—it curates it from the inside out. The post Looking Back at Framework in the Desert 2025: From Surprise B2Bs to VIP Sightings appeared first on EDMNOMAD. View the full article

Photo Credit: SiriusXM SiriusXM announces the launch of Morgan Wallen Radio to bring fans closer to the country superstar ahead of his latest album, I’m the Problem. The limited-run channel, which debuts today, is available to SiriusXM subscribers in their cars on Channel 57, and on the SiriusXM app through May 31. Curated by Wallen himself, the channel features his biggest hits, deep cuts, and all 37 tracks from his new album. In addition to his own music, Wallen hand-picked songs from musical influences, unexpected favorites, and close friends. Listeners will also hear exclusive commentary and behind-the-scenes stories from the country megastar on the making of his new album, his upcoming I’m the Problem stadium tour, favorite collaborations, untold stories from on and off the road, and much more. The first two weeks of the channel set the stage for Friday, May 16, when Wallen’s new album drops at midnight. Starting May 16, Morgan Wallen Radio will feature a back-to-back album playback all weekend long, spinning all 37 tracks, with commentary from Wallen and check-ins with fans at his Nashville bar, This Bar & Tennessee Kitchen. It’s an opportunity for Morgan Wallen superfans to familiarize themselves with the new album while getting the inside scoop from the artist himself. As Wallen prepares a refreshed setlist for his 20-stadium tour, which kicks off on June 20 in Houston, he’s also highlighting some of his favorite artists by bringing the personally curated, multi-genre Sand In My Boots Music Festival to Gulf Shores, Alabama, this May. That event sold out in less than two hours. Wallen continues to donate a portion of every ticket sold to his Morgan Wallen Foundatio, which supports youth music and athletic programs and gives communities access to essentials in times of crisis. With its flagship subscription entertainment service SiriusXM, the ad-supported and premium streaming services of Pandora, and an expansive podcast network, SiriusXM has a combined monthly audience of approximately 160 million listeners. Eligible customers can get their first three months of SiriusXM for free. View the full article

Photo Credit: Joshua Hoehne Cultural metaverse Fortnite is set to return to the U.S. iOS App Store next week following a ruling in the years-long legal battle between Epic Games and Apple. The decision comes after a California federal court found that Apple had “willfully violated” a previous injunction designed to open the App Store to greater competition and alternative payment methods. The dispute has been ongoing since 2020, when Apple removed the game from its App Store after Epic updated the game to allow players to bypass Apple’s payments system—and the mandatory 30% commission. Epic responded to Apple’s removal of the game with an antitrust lawsuit, arguing that Apple’s practices stifled competition and harmed both developers and consumers. In 2021, Judge Yvonne Gonzalez Rogers issued an injunction preventing Apple from blocking developers from directing users to alternative payment options. After years of legal wrangling and appeals, now Judge Gonzalez Rogers has delivered a scathing 80-page decision this week. She concludes that Apple has “intentionally violated a prior court order” and referred the company and its Vice President of Finance, Alex Roman, to federal prosecutors for a criminal contempt investigation. In the ruling, Judge Gonzalez Rogers writes: “This is an injunction, not a negotiation. There are no do-overs once a party willfully disregards a court order. Time is of the essence. The court will not tolerate further delays. As previously ordered, Apple will not impede competition. The court enjoins Apple from implementing new anti-competitive acts to avoid compliance with the injunction. Effective immediately—Apple will no longer impede developers’ ability to communicate with users nor will they levy or impose a new commission on off-app purchases.” Epic Games CEO Tim Sweeney has called the decision a major victory. “It compels Apple to compete with alternative payment services instead of obstructing them, which is what we sought from the beginning,” Sweeney says. With the issue of payments resolved, Sweeney says the app will return to the iOS store next week—nearly five years after its removal. “Apple’s 15-30% junk fees are now just as dead here in the United States of America as they are in Europe under the Digital Markets Act,” Sweeney continues on X/Twitter. “Unlawful here, unlawful there.” Apple has expressed strong disagreement with the ruling and intends to appeal. However, because the court order is effective immediately, Fortnite will be able to return without any objection from Apple until that appeal is heard. View the full article

Exciting news for one of our favorite EDM couples — Calvin Harris and Vick Hope. The iconic dance music artist and the popular radio host are getting ready to welcome their first baby, as Hope is pregnant. The couple, who got married in September 2023, are expanding their family. Hope recently shared some photos on Instagram that clearly show she is pregnant. In one picture, taken while she was hosting the 2025 Roundhouse Poetry Slam, her baby bump was visible under a fitted top. Another image, from her recent BBC Radio 1 interview with singer Florence Pugh, showed her gently holding her stomach. Fans and friends quickly filled the comments section with well-wishes for the couple. This happy announcement comes a little over a year and a half after Calvin Harris and Vick Hope said “I do” in a ceremony held in Hulne Priory, located in Alnwick, Northumberland, in September of 2023. The pair’s relationship began in 2022, and they were engaged by the end of that same year. Now, the world awaits the arrival of the first heir to Calvin Harris’ crown. [H/T] Billboard The post Calvin Harris And Vick Hope Are Expecting Their First Child appeared first on EDMTunes.

Michael Bibi has shared the full lineup for One Life London, his charitable show supporting the Royal Marsden Cancer Charity. The house music icon and Solid Grooves label founder, who is back at the top of his game after beating CNS lymphoma—a rare form of cancer affecting the brain and spine—in December 2023, will bring his philanthropic event series back to the British capital for an open-air showcase at Silverworks Island on July 5. Bibi will headline the industrial docks of Broadwick Live’s 20,000 capacity venue, joined by a huge roster of masterful minimal tech selectors, including Italian legend Marco Carola, famed NYC-to-Ibiza duo The Martinez Brothers, and top Dutch groover Chris Stussy. Elsewhere on the lineup is a selection of London’s finest in Ben Sterling, Luke Dean, and Fabric resident Jaden Thompson, globetrotting favorite BLOND:ISH, and surging international names like Mexico’s Kinahau, Dublin duo OBSKÜR, and talented Parisian Salomé Le Chat, among others. More special guests will be revealed on show day. Check out the full roster below. Once again, a percentage of all ticket and merch proceeds will be donated to the Royal Marsden Cancer Charity, which helps finance the Royal Marsden NHS Foundation Trust hospital where Bibi received his treatment. Fans can also make additional donations at their point of purchase. After last summer’s One Life show at Finsbury Park, Bibi donated more than £120,000 (close to $150,000 USD) to the charity and encouraged attendees to join Anthony Nolan, a UK stem cell transplant register, having undergone a life-saving stem cell transplant during his own treatment. The lineup announcement arrives days after Bibi dropped “Sungazing,” with Alexa Sunshine Rose, marking his first official release since beating cancer. “A song I started before being diagnosed with a brain tumor, eventually gave me the strength to carry on fighting with the vision of surviving, in order to be able to see it be released one day,” Bibi wrote on Instagram last week. “That is now becoming a reality.” Tickets for Michael Bibi presents One Life London 2025 are available here. Featured image courtesy: Michael Bibi. The post Michael Bibi Finalizes Lineup For One Life London 2025 appeared first on EDM Maniac. View the full article

(l to r) Influence senior partner Rene McLean, co-managing partner Lynn Hazan, founder Lylette Pizarro, and DJ Khaled. Photo Credit: Influence Media Partners Three months after securing $360 million in debt financing, Influence Media Partners has taken a stake in DJ Khaled’s song rights and launched a pair of JVs with the New Orleans native. New York City-headquartered Influence Media opted to emphasize the joint ventures – and its “unconventional” efforts “to increase future brand value for artists through multifaceted partnerships” – in the formal announcement. Starting there, then, the first of the JVs will see Influence Media and DJ Khaled coordinate on “original content across film and television,” besides taking steps to “secure legacy-defining commercial ventures.” Though the involved parties didn’t get into specifics here, Influence did indicate that “several film projects” are “currently in various stages of development” thanks to the tie-up. (DJ Khaled elaborated on his silver-screen ambitions in a Forbes interview.) Additionally, the company – which had and presumably still has a hand in Will Smith’s comeback – relayed that the focus is also on “brand partnerships and content deals” in this area. Hard details are sparser yet when it comes to other elements of the union, under which Influence will look to “expand commercial opportunities” via NIL “rights in certain exclusive categories.” Despite the lack of concrete information, logic suggests further announcements will shed light on the NIL dealmaking’s scope before long. On the core song-rights side, BlackRock- and Warner Music-backed Influence only confirmed that it’d “invested in the rights of DJ Khaled’s illustrious music catalog.” But in a statement, DJ Khaled mentioned his “iconic recordings.” “I’m proud that my legacy will continue to resonate and connect with audiences around the world with this partnership through Influence Media,” the 49-year-old said. “These iconic recordings I’ve created will continue to be curated in the most optimum manner to impact culture with nearly two decades of music. “In addition, I’m excited for the world to see and experience the film and television projects Influence and We The Best are developing and producing together. This next phase of my career will be filled with ground-breaking cultural impact, and I look forward to being at the forefront in all categories,” concluded Khaled, who’s set to release an album entitled Aalam of God later in 2025. Anonymous and purportedly well-informed sources have pointed to a nine-figure valuation for the deal; when reached for comment, an Influence Media rep didn’t immediately divulge the actual dollar amount at hand. Whatever its total value, the deal marks the latest in a line of sizable music-IP plays on the year. Notwithstanding market factors and the sheer volume of already-wrapped catalog purchases, these transactions (all compiled by DMN Pro) extend to the work of Notorious B.I.G. and Deadmau5, with massive raises from GoldState, Pophouse, and more to boot. View the full article

Ellie Goulding, one of the electronic dance music community's most beloved vocalists, has launched Everystate, a wellness company developing functional mushroom supplements. The brand’s first product is a cacao and reishi blend designed to mix with hot water or milk. It’s available as part of a monthly subscription starting at £36, with plans to expand into retail. Functional mushrooms have gained traction for their potential to improve focus, mood and skin health, though the market is still relatively nascent in the UK. Everystate is entering a space that has already started to boom in the US, where brands like MudWtr and Four Sigmatic have built large followings. Goulding this week announced the launch on social media, noting that the Everystate team has been "working on this for years." View the original article to see embedded media. Despite the celebrity connection, Goulding insists the venture is not a superficial endorsement, co-founding the company alongside wellness executive Gemma Feare and nutrition entrepreneur Jonathan Relph. The chart-topping singer-songwriter also contributed her own capital alongside VC firm Era, among others. "I haven’t actually, surprisingly, got involved with that many things in my career," Goulding told The Sunday Times. "I’ve been so preoccupied with my career and with music... "There hasn’t been anything that’s really been sort of on my level, that’s aligned with me strongly enough for me to really commit to it." She acknowledged that many artists turn to endorsements or brand deals to supplement income from live shows, which has become less reliable as inflationary pressures hike the costs of touring. But for Goulding, who said she's been using similar products "for a long time," it seems personal alignment matters more than short-term profits. "Fans can see through something when it’s perhaps not authentic," she added. "That’s why you have to really think about what you’re going to take on and whether it’s right for you." You can find out more about Everystate via the company's website. Follow Ellie Goulding:Instagram: instagram.com/elliegoulding TikTok: tiktok.com/@elliegoulding X: x.com/elliegoulding Facebook: facebook.com/elliegoulding Spotify: spoti.fi/3qvpOEG

Brooklyn Mirage's new LED system delivers higher pixel definition than the record-breaking Vegas Sphere, claimed the venue's newly appointed CEO, Josh Wyatt. While the stunning Sin City venue has garnered international attention for its immersive visual capabilities and $2.3 billion price tag, Wyatt's comparison suggests a competitive edge for Brooklyn Mirage, which has become a cornerstone of New York's electronic music scene. "This actually has the highest pixel definition of any LED experience in a venue in the United States," Wyatt said in a video shared on the venue's social media. "It's actually a higher pixel definition than the [Vegas] Sphere." The revamped open-air events space in East Williamsburg features a 270-degree LED installation with a combined 30K resolution and approximately 100 million pixels across more than 3,000 tiles. While the exact physical dimensions haven't yet been specified and the term "pixel definition" is ambiguous, Wyatt is likely referring to density. The high pixel count over a smaller area suggests a higher pixel density than the massive Sphere, which totals over 170 million pixels spread across 160,000 square feet, or about 1,600 pixels per square foot. View the original article to see embedded media. After an ambitious redesign and construction project, Brooklyn Mirage, which is housed in the expansive Avant Gardner complex, is scheduled to reopen tonight, May 1st. Wyatt took the helm in the fall of 2024 and vowed to address head-on the venue's oft-maligned pain points, like overcrowding, safety concerns and limited rideshare access, among others. "Trust, transparency and accountability are the three key words in my moral compass," Wyatt told EDM.com in a sweeping interview ahead of the venue's relaunch. "I have pushed those three words down into the fiber of the company to ensure that employees understand that these are key expectations I have as CEO." Upcoming events at Brooklyn Mirage will feature headlining sets from Black Coffee, Sara Landry, Peggy Gou, Charlotte de Witte and The Chainsmokers. You can find the venue's calendar and purchase tickets here. Follow Brooklyn Mirage:X: x.com/brooklynmirage TikTok: tiktok.com/@avantgbk Instagram: instagram.com/brooklynmirage Facebook: facebook.com/brooklynmirage

Sound Waves Festival is preparing an unforgettable edition to celebrate its 20th anniversary and presented the final phase of its program with great surprises for the Mainstage. In the first wave of artists we know the names of: OGUZ, BLK., SNTS, JAZZY and ONLYNUMBERS, then in the second phase FATIMA HAJJI, FANTASM, BASSWELL, REBEKAH, NOVAH, CLOUDY and now to close the main stage LORENZO RAGANZINI, LUCIID, ORNELLA, JOANNA COELHO, MISS SHEILA and AEREA are announced. In this edition, the festival advances more news: the Vicious Stage, a new stage with the emerging talents in the Portuguese and Spanish scene. The 18th edition of the Sound Waves Festival in Esmoriz will host 30 performances, divided into 2 stages – Mainstage and Vicious Stage – with the Techno, Hard Techno and Schranz variants Phase 1: OGUZ, one of the biggest references in hard techno today. Coming from Ireland, a name that is redefining the underground electronic scene, BLK. SNTS and JAZZY will bring the darker side of industrial techno. To close the first phase, the French ONLYNUMBERS, which needs no introduction Phase 2: FATIMA HAJJI and REBEKAH the pioneers of hard techno and industrial techno. After a great performance at Sound Waves Winter Edition FANTASM “The Wonder Boy”. BASSWELL, one of the headliners. NOVAH and CLOUDY will make their debut at the festival with fresher sounds. Phase 3: LORENZO RAGANZINI leads the third phase of the line up. As a big news in the line up and for the first time ever: LUCIID and JOANNA COELHO join nationals ORNELLA and MISS Sheila for 2 exclusive b2b and the duo AEREA performs in a live set. Sound Waves guarantees a memorable celebration of 20 years of history on July 5th: a line up with 2 stages full of international and national stars, grab your tickets here. Sound Waves Is More Than Techno: Website | Instagram | YouTube | beepdMusic

EDC Thailand is officially coming back for round two. After a strong debut in January 2025, Insomniac has confirmed that the festival will return from January 16 to 18, 2026. This time, it will take place at a brand new venue, Rhythm Park in Phuket. A New Location and Familiar Highlights The first edition in 2025 was held at Boat Avenue in Laguna. The setup featured the Kinetic Field mainstage along with 4 other stages, carnival rides like a ferris wheel and a merry-go-round, dancers at the entrance, and performers throughout the site. Each day offered a different experience, but what stood out the most was the six-minute fireworks show on the final night. It happened before the last set and felt like a full display on its own, not just an ending. The lineup included a wide mix of genres and names. From Skrillex and The Chainsmokers to Illenium, R3HAB, Subtronics, and Afrojack, there was something for every part of the crowd. Local vendors and light installations added to the space without feeling overdone. If you were there, you’ll remember how it felt walking from the water zone toward the mainstage once the sun went down. There wasn’t a need to run around. Everything flowed. Hotel EDC Comes to Asia for the First Time One of the biggest changes for 2026 is the launch of Hotel EDC in Thailand. It’s the first time Insomniac is bringing this concept outside the United States. Hotel EDC is more than just accommodation. It includes access to pre-parties, curated activities, daily programming, wellness areas, and shuttles directly to and from the venue. Registration is already open on the official website, with more details expected as the date gets closer. Tickets and Presale Info Presale opens on May 2 at 9 AM ICT. Limited early bird pricing is available: 3-Day General Admission: ฿6,590 3-Day VIP: ฿10,590VIP tickets include express entry, elevated viewing platforms, private restrooms, and dedicated lounge zones. Payment plans and Hotel EDC room packages will be shared soon. Looking Back Before Heading Into 2026 There were a few moments at EDC Thailand 2025 that still stand out. The Chainsmokers closed with “Closer” and the entire crowd sang along without even reaching for their phones. Being in the middle of that felt right. Then there was Illenium’s set when he played “All That Really Matters.” I was with my friends, and everything just hit. It caught me off guard in the best way. The lights, the song, the timing, it felt personal. EDC Thailand coming back means this is becoming something worth holding onto. If you were there the first time, you already know why it’s worth going again. Check out our full recap of the 2025 edition to see exactly what went down and why this festival matters. See you under the electric sky in January 2026!

From an early age, D. Ramirez displayed an innate passion for music, experimenting with various instruments and genres. His journey into the electronic music realm began in the early 1990s, where he quickly made a name for himself as a trailblazing artist in the burgeoning dance music community. One of D. Ramirez’s defining characteristics as an artist is his ability to seamlessly blend elements from different genres, creating a distinctive and dynamic sound that defies categorisation. His tracks often incorporate elements of house, techno, electro, and progressive, resulting in a sonic landscape that is both versatile and captivating. D. Ramirez’s breakthrough came with the release of his now seminal remix of Bodyrox ’Yeah Yeah’, which not only received critical acclaim but also became a dancefloor anthem, a No. 2 chart hit, and received an Ivor Novello Award nomination. This success catapulted him into the international spotlight, and he continued to produce a string of chart-topping hits and underground classics. Throughout his illustrious career, D. Ramirez has graced the stages of some of the world’s most prestigious clubs and festivals, delivering electrifying performances that leave crowds in awe. His ability to connect with his audience and create an unforgettable atmosphere is a testament to his talent and dedication as a DJ. In addition to his thriving career as a producer and DJ, D. Ramirez has also played a pivotal role in shaping the electronic music landscape through his involvement in various industry endeavors. He has shared his knowledge and passion for music through workshops, collaborations, and mentorship programs, inspiring the next generation of electronic music artists, working alongside The Toolroom Academy amongst others. We sat down with Dean in his studio in London to talk his new album and alter ego Raze.D What made you want to launch Raze.D? Was there a specific moment when you thought, “Yeah, I need to do this” The inspiration for RAZE.D really came during the pandemic when everything slowed down, and the world of dancing and clubbing stopped. With no pressure to create for the dancefloor, I finally had the space to step away from the club scene and dive deeper into my own sound. It felt like the perfect time to work on what I saw as my magnum opus — something that was deeply personal and more introspective, free from the expectations of dance music. Without the usual context of DJ sets and clubs, I was able to focus on creating something that expressed my emotions and artistic vision in a completely different way. Raze.D became my outlet to explore these new ideas and to create a body of work that felt truly mine, without boundaries. It’s a reflection of where I was mentally and artistically at the time, and it allowed me to fully embrace a sound that was darker, more atmospheric, and personal. The project has a real 80s indie electronic feel with some clear influences from the era. How important was this music to you growing up in Sheffield in the 80’s, set against the backdrop of a city in industrial decline? Growing up in Sheffield in the ’80s was a huge influence on the music I make today. The city was going through a tough time, with industries closing down and a sense of uncertainty in the air. It was a time of change, but also of creativity and resilience. The music from that era — from electronic pioneers like Heaven 17, The Human League, and Cabaret Voltaire — was a soundtrack to that moment. It was a mix of melancholy, rebellion, and hope, and it resonated deeply with me. That sound from the ’80s, especially the indie electronic side of things, has always stayed with me. It felt like a way of expressing the tension and energy of the time, and it really shaped my musical taste. For RAZE.D, I wanted to capture that spirit — that raw, emotional, and atmospheric feel that came out of the industrial decline in Sheffield. It’s not just about the sounds of the ’80s, but about channeling that sense of defiance and introspection into something fresh. The city’s vibe, combined with the music that was coming out at the time, had a lasting impact on me. It’s in my DNA, and it feels natural to draw from that influence when creating music now. At the same time, the whole Angry Silhouette album manages to feel fresh and modern. How do you keep it sounding authentic while avoiding a complete nostalgia trip? It was really important to me that Angry Silhouette felt fresh and modern, while still drawing from those ’80s influences. I think the key to keeping it authentic without falling into pure nostalgia was to stay true to the emotion and vibe of that era, but then push it forward with my own personal sound. The synths, the atmospheric textures, and the darker tones all have roots in the ’80s, but I wanted to give them a new context — something that feels relevant to today. I avoided getting stuck in just recreating the past by blending those sounds with more contemporary production techniques and incorporating elements from modern genres like electronic, indie, and even post-punk. I also kept the songwriting at the forefront, ensuring that the emotion and themes in the music felt timeless, not just retro. Ultimately, I wanted to create something that felt familiar but still had a unique voice and energy. It’s about taking inspiration from the past but filtering it through the lens of my own experiences and artistic growth. Are you using any original 80s hardware in the studio, or are you using all modern tools to recreate that classic sound? Is there a specific synth, drum machine, or production trick that defines the Raze.D sound in particular? I do have some original ’80s gear in the studio, and it definitely plays a role in capturing that classic sound. For example, I use the Roland SH-101 and the ARP Odyssey, which have that unmistakable warmth and character from the era. But I’m also not trying to recreate the ’80s sound exactly — it’s more about using those vintage pieces as a foundation and blending them with modern tools to give it a fresh, current edge. In terms of production tricks, I love using analog synths with pedals for extra texture, like running a synth through my Meris pedals or the Chase Bliss pedals. That combination of analog warmth with modern effects gives the sound a lot of depth. I also tend to layer sounds in a way that’s quite atmospheric, using reverb and delay to build that cinematic feel, while focusing heavily on creating a strong emotional undercurrent in the music. What defines the Raze.D sound, I’d say, is a mixture of dark, cinematic synths, with lush, ambient textures and a real emphasis on emotion. It’s not just about the sounds I use, but how they’re put together to evoke a feeling — something that feels introspective, raw, and almost otherworldly. Has working on Raze.D changed how you approach music in general? Absolutely, working on RAZE.D has shifted my approach to music in a big way. For years, I was immersed in dance music, which comes with its own set of expectations — the rhythm, the energy, the focus on the club environment and the genre. But with RAZE.D, I was able to step away from that and really focus on creating something more personal and introspective. I gave myself the freedom to experiment without the pressure of making something for the dancefloor. The whole process made me realize how much I enjoy exploring different emotions through music, and it encouraged me to take more risks with my songwriting and production. I’ve become more interested in using sound to tell a story or convey a feeling, rather than just creating for a specific environment. Now, I’m more open to pushing boundaries, mixing genres, and following my instincts, even if it takes me in unexpected directions. RAZE.D has definitely redefined what music can mean to me, and it’s something I want to carry forward into everything I create, whether it’s for my own projects or collaborations. This project has highlighted your skills as a songwriter (and lead singer). Did you find it difficult to write ’songs’ as opposed to the club tracks and remixes you’re known for as D.Ramirez? Did the various melodies and vocal hooks come easily? Writing songs for RAZE.D definitely felt like a different challenge compared to the club tracks and remixes I’m known for as D.Ramirez. When you’re creating dance music, it’s often about building energy, keeping things moving, and making sure everything hits at the right moment on the dancefloor. But with Raze.D, I had to think about structure, melody, and lyrics in a way that was more emotionally driven and less focused on the beat. It wasn’t always easy to switch gears and start writing proper songs with full vocal melodies, hooks, and lyrics. I had to let go of the mindset of simply creating for the club and allow myself to explore different musical ideas. At first, it felt like a bit of a stretch, but as I got into it, I found the melodies and vocal hooks started to come more naturally. I think the key was allowing the process to flow without forcing anything — once I opened myself up to songwriting, it became a creative outlet that felt both freeing and deeply personal. So, while it was a challenge, it also felt incredibly rewarding to tap into a new side of myself musically. It was like discovering a new language I hadn’t spoken in a while. Angry Silhouette landed in January – what was the overall vision behind it? Is it tied together by an overriding concept or more of a collection of ideas that naturally came together? Angry Silhouette definitely has a central vision, but it also evolved naturally over time. The album is a reflection of the emotional journey I was on during the pandemic, a period when everything slowed down, and I had the chance to really step back from dance music and explore something more introspective. There’s definitely an overriding concept of personal reflection, societal change, and the emotional weight of those experiences, which is expressed through the lyrics, melodies, and atmosphere of the album. While there’s a unifying theme of emotional depth and introspection, the album also became a collection of ideas that came together organically. Each track reflects a different mood or feeling, and in a way, they’re like snapshots of my state of mind at the time. I didn’t set out to make a perfect, cohesive album — I just allowed the music to come as it felt right. But when I looked at the finished product, I realized it had a strong narrative running through it, both thematically and sonically. So, in short, Angry Silhouette is both a product of a carefully thought-out vision and a collection of spontaneous ideas that naturally aligned. It’s clearly a very personal project and you’re baring your soul in different ways. Was that difficult and has it been cathartic? Are some songs an uncomfortable listen for you? It was definitely a personal project, and at times, it was a little uncomfortable to dive so deeply into my own emotions and experiences. Writing and recording Angry Silhouette felt like an act of vulnerability, especially with the vocals being front and center. There were moments when I had to confront feelings I hadn’t fully processed before, and it was hard to put that out there for people to hear. But at the same time, it was incredibly cathartic. There’s something healing about expressing what’s inside of you, even if it feels raw or unsettling at first. Some of the songs, especially the more introspective ones, can be difficult for me to listen to now because they capture such a specific emotional moment. It’s almost like looking back at a period of time that you’ve moved past, and the feelings attached to that can stir up a lot. But overall, I think the vulnerability in the project was necessary. It helped me work through some things, and I think it connects on a deeper level with listeners who might resonate with those same emotions. So, while it was tough at times, the process was definitely worth it. It gave me a new level of honesty in my music, and I hope that comes through for others. What challenges do you see now compared to pre-pandemic with releasing music, the industry and finding a new audience? The landscape of releasing music has definitely changed since pre-pandemic times, and there are a few challenges I’m navigating now. For one, the way people consume music has shifted even more towards streaming and social media, and that creates a lot of noise. There’s so much content out there, and getting people’s attention is harder than ever. You have to be active on multiple platforms, and algorithms tend to push certain kinds of content, which can make it harder for more niche or experimental artists to break through. It’s a bit of a double-edged sword — more access to music, but also more competition. Another challenge is that, with live music and touring being disrupted for so long, there’s been a huge shift in how artists can connect with their audiences. Touring and live performances have always been an essential way to build a fanbase and create deeper connections with listeners. Now, even though things are opening up, there’s still a sense of caution in how people engage with live shows, which makes it harder to build that personal connection in the same way. And then, of course, there’s the struggle of building a new audience, especially after stepping away from the dance music world. With Angry Silhouette, I’m not just making the same kind of music I was known for as D.Ramirez, so I have to find ways to reach people who are into that kind of introspective, atmospheric sound. It’s been about finding the right audience that resonates with the emotional depth of RAZE.D and introducing them to the new project without losing the people who followed me in the past. Overall, it’s definitely a different landscape now, but there’s still room for growth. The key is to stay authentic, keep experimenting, and find the right platforms and community where your music truly connects. How do you want the listener to react to this album? What are the main things you’d love them to take away from it? With Angry Silhouette, I want the listener to experience something emotional and thought-provoking. The album is deeply personal, and I hope it resonates on an emotional level, whether that’s through the vulnerability of the lyrics or the atmosphere created by the music. I’d love for people to feel like they’re not alone in their struggles or moments of introspection. It’s about connection — if someone hears a song and feels like it speaks to something inside them, that’s a win. I also hope the album opens up a new way of thinking about the role of electronic music in storytelling. It’s not just about the beat or the groove; it’s about creating a world of sound that makes the listener feel something. I’d love them to take away a sense of discovery, maybe even challenge their expectations of what an album can be. I want them to feel like they’ve been on a journey with me, one that reflects the complexity of being human, the highs and lows, and everything in between. Ultimately, it’s about creating an experience that sticks with them, something that makes them think, feel, and maybe even come back to the album at different points in their lives and find new layers. What’s next? Are there more releases, live shows, or something bigger? And if someone’s never heard Raze.D before, where should they start? What’s next? I’m definitely excited for what’s ahead. I’m already planting the seeds for Album No. 2, but considering how long Angry Silhouette took to come together — about four years — don’t expect it to drop too soon! I’m also thinking about live shows, though the way I approach performance with Raze.D will be different. It’s about creating the right environment for the music, and I want to make sure that when the time comes, it’ll be something truly special for the audience. As for newcomers to Raze.D, I’d suggest starting with Angry Silhouette. It’s the core of what the project is about. But for a more immediate taste, you can check out the playlist on YouTube and the album on Spotify. That should give you a good feel for the sound and vibe of Raze.D. The post In the studio with D.Ramirez and the launch of Raze.D appeared first on Decoded Magazine.