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Photo Credit: Pop Smoke / YouTube UMG allegedly threatened to nix Pop Smoke’s posthumous debut album over their belief that a guest verse by Pusha T featured a Drake diss. Just after Pusha T dropped a bombshell claim that Def Jam urged him to censor a Kendrick Lamar guest verse on Clipse’s forthcoming album, his manager drops another. According to Steven Victor, who manages Pusha T and signed Pop Smoke to his imprint, Victor Victor Worldwide, UMG wanted to censor a Pusha verse from Pop’s posthumous debut album, which they believed featured a diss aimed at Drake. “What happened on the Pop Smoke song is that UMG thought that he was dissing Drake on that song,” said Victor. “He wasn’t, but they thought he was. Pop Smoke was released on my label, and obviously, I managed Pusha. So they came to me and said, ‘We’re not going to put this out now, unless you get Pusha to change these lyrics.’ Even though it has nothing to do with Pop Smoke, they’re like, ‘Either he changes these lyrics, or we’re not putting the album out.’” “First of all, he’s not dissing Drake,” argued Victor. “But how do you tell him to just change his lyrics or you’re not putting this album out?” Ultimately, Pusha was taken off the song, “Paranoia,” which was released on Shoot for the Stars, Aim for the Moon without his contribution. But the song in its original form leaked online, and led many fans to believe that Pusha’s lyrics were, in fact, taking aim at Drake. Meanwhile, Young Thug also called out Pusha for the nixed verse. “I don’t respect the Pusha T verse on the song with me and Gunna, ‘cause I don’t have nun to do with y’all beef nor does Gunna, and if I knew that was about [Drake] I would’ve made changes on our behalf.” “Don’t feel bad, nobody knew what the verse was about,” Pusha replied. “The label heads that stopped it didn’t even know. They only assume because [Drake] told them. The same way he told about the Ross ‘Maybach 6’ verse. And if he’ll tell record executives about rap verses, God knows what else he’ll tell. I don’t deal in police work, police rappers, or police n—as!!” View the full article

Photo Credit: Subtronics.net Subtronics makes his triumphant return to Los Angeles this December with a record-breaking five-night stand at the Shrine Expo Hall. The DJ’s first LA appearance since selling out the Kia Forum in 2023, this impressive run marks the second-highest number of sold-out shows by an electronic artist at the venue, just behind Fred again…’s historic nine-night streak. Subtronics’ 360-degree shows, which put him in the center of the Shrine Expo Hall, run from Wednesday, December 3 through Sunday, December 7. Remaining tickets are extremely limited for the December 3 show, while December 4, 5, 6, and 7 are already sold out. A touring juggernaut, Subtronics (whose real name is Jesse Kardon) has successfully brought his unique sound design to continuously sold-out major events. These include the annual Miami Music Week “Deadbeats vs Cyclops” event in March, his Cyclops Rocks at Red Rocks in April, and most recently, the launch of his 2025 Wynn residency in Las Vegas. Subtronics is appearing at the Shrine in support of his latest release, the EP Fibonacci Part 1: Oblivion. The project will unfold as two parts and converge into an album when the second part releases later this year. The eight tracks on Fibonacci Part 1: Oblivion are geared to connect with fans in live sets, while Part 2 will be an entirely different listening journey. Hailing from Philadelphia, Subtronics’ musical journey began with a fervor for his drum set and an appreciation for Radiohead. Discovering dubstep in high school ignited his passion for music production, which has propelled his artistic trajectory. In the past decade, Subtronics has honed his skills to create his signature sound design, which pushes the boundaries of electronic music. Known for his live performances and advanced mixing abilities, he has cultivated an ever-growing fanbase, headlining such festivals as Lollapalooza, Bonnaroo, Ultra Music Festiva, Electric Daisy Carnival Las Vegas, and more. Having sold out every headline tour since 2018, Subtronics inked a groundbreaking national tour deal with Live Nation in 2023. Notably, he has curated festival-level events at venues like Red Rocks, The Kia Forum, Tacoma Dome, The Armory Minneapolis, Hampton Coliseum, Barclays Center, and arenas around the country. He also holds his bi-annual, three-day festival, Cyclops Cove, in Boca Raton, Florida. Subtronics recently made the debut of his 2025 residency at Wynn Nightlife in Las Vegas during EDC Week. View the full article

RÜFÜS DU SOL ‘s Inhale / Exhale returns in a new form with Inhale / Exhale Remixed, as the Grammy-winning trio invite a global group of underground selectors to reinterpret their 2024 album. Known for balancing festival-scale emotion with late-night intimacy, the band hands over the keys to their world— resulting in a sprawling 15-track remix collection. Released via Rose Avenue / Reprise Records, the album sees the Sydney-born, LA-based band tapping into their roots. While we also see them extending a hand to the next generation of global talent. This album brings together a wide range of producers from across the electronic spectrum. Each artist offering fresh takes on the band’s most recent material. 15 Artists Put Their Spin on Inhale / Exhale Every track on the remixed album is reimagined by a unique artist. It includes contributions from producers spanning different scenes and sub-genres. Carlita opens the project with her take on Inhale. While Francis Mercier injects deep Afro-house flair into Levitating. Sofia Kourtesis reworks Standing at the Gates into something brighter and twitchier. Meanwhile, Swiss duo Adriatique lend their signature hypnotic pulse to In the Moment, an already-viral remix that predates the full release. In addition to highlights from Andrea Oliva, Enamour, Nitefreak, Maxi Meraki, and Emanuel Satie. Each remix offers a new portal into RÜFÜS DU SOL’s evolving sound. From the Studio to the Stadium—and Back Again Inhale / Exhale Remixed arrives as RÜFÜS DU SOL continue their world tour across North America and Europe. With nearly every date sold out—including stadiums in Los Angeles, New York, and Sydney, the Inhale / Exhale World Tour is now officially the best-selling solo electronic tour. It’s a massive flex for the genre. A clear indication of just how far they’ve pushed the boundaries between live performance, electronic production, and emotional storytelling. While the tour leans into spectacle, the remix album does the opposite—it narrows the lens. The intimacy of these reworks, many drawn from late-night after-hours aesthetics, restores RÜFÜS DU SOL’s music to the club spaces that first made them famous. The Art of Curation Part of the remixed album’s strength lies in its diversity—not just in geography but in sound. You’ve got Afro-tech pioneers (Nitefreak) and melodic house artist (Enamour). Also, Peruvian futurists (Sofia Kourtesis), and sonic sculptors like Samm and Moeaike all contributing. It’s a cross-section of where electronic music is headed right now —global, genre-fluid, and rooted in strong artistic identity. In an industry where remix albums often feel like afterthoughts, Inhale / Exhale Remixed stands out for its cohesiveness and range. This album doesn’t dilute the original— but it deconstructs it and rebuilds it for entirely new contexts. Inhale / Exhale Remixed by RÜFÜS DU SOL is streaming now on all platforms. Whether you caught them on tour or are just discovering the depth of the remix culture they support, this release is worth your attention. Best played loud, long after midnight. The post RÜFÜS DU SOL Releases 15 New Tracks: Inhale/Exhale Remixed appeared first on EDMNOMAD. View the full article

Photo Credit: Jimmy Buffett and Jane Slagsvol / Jimmybuffett.com Jimmy Buffett’s widow and his former business manager sue each other to remove one another from the administration of the late star’s estate. Jane Buffett (née Slagsvol), Jimmy Buffett’s wife of 46 years, and Rick Mozenter, his former business manager, are seeking to remove one another from the administration of the late singer-songwriter’s estate. Both parties have launched court actions against each other, each accusing the other of hostility and mismanagement of a trust containing $275 million worth of assets. Buffett’s wife became the sole beneficiary of a marital trust holding the bulk of the legendary hitmaker’s assets upon his death in September 2023. Her court filing says these assets, which include real estate and a 20% stake in his island-themed hospitality company, Margaritaville, are worth around $275 million. She was made a co-trustee of the marital trust alongside Rick Mozenter, an account at the business management firm Gelfand Rennert & Feldman. However, the relationship between the two parties has soured, with both pursuing litigation to remove the other from their administration roles tied to the estate. Mozenter’s petition, filed on Monday (June 2) in Florida, claims he was Jimmy Buffett’s “trusted financial advisor” for over 30 years. He further asserts that Buffett intentionally limited Jane Buffett’s control of the trust out of concern over his wife’s “ability to manage and control his assets.” “Other than serving as a non-controlling trustee, Jane has no ability to manage the trust,” write Mozenter’s attorneys. “This fact has made Jane very angry. As a result, Jane has repeatedly acted in a hostile manner toward Rick and has been completely uncooperative with Rick in his attempts to administer the trust.” Attorneys for Mozenter, from the law firm Comiter Singer, say Jane has refused to meet with him or otherwise assist him with “key duties” involved in managing the trust. Instead, Mozenter claims she has interfered with his work, namely by ousting her husband’s longtime law firm and harassing his former boat captain to such a degree that the trust was forced to pay a large settlement. But Jane tells a different story. Her court petition, filed in California on Tuesday (June 3), alleges that Mozenter has been “openly hostile and adversarial” while blocking her access to key information about the late singer’s financial portfolio. “Mr. Mozenter has failed to perform even the most basic tasks required of him in his role as co-trustee, including providing Mrs. Buffett with information concerning trust assets and finances, which has left Mrs. Buffett in the dark with regard to the state of her own finances,” write her attorneys, from the firm Sullivan & Cromwell. “Mr. Mozenter has belittled, disrespected, and condescended to Mrs. Buffett in response to her reasonable requests for information she undoubtedly was entitled to receive.” Jane Buffett’s court filing says she met with Mozenter a month after Jimmy’s death in October 2023, asking how much income she should expect to receive annually from the trust. According to Jane’s filing, Mozenter “dragged his feet” for 16 months, repeatedly ignoring her requests for an answer. In February 2025, Mozenter finally provided the requested estimate, but the results were “shocking.” Jane was told she would see less than $2 million in annual income, which her lawyers argue is not enough to cover her expenses and is “a remarkably poor return for a trust with an estimated $275 million in assets.” According to Jane’s lawyers, that estimate is even more surprising given that the trust had received over $14 million in distributions from Margaritaville over the previous 18 months. As a result, Jane became concerned that Mozenter was mismanaging the trust. She requested additional financial information from him, and claims he once again stonewalled. Further, Jane’s filing claims that in addition to being “unprofessional and combative” toward her, he refused her request to sell a piece of real estate in the Bahamas—despite the Buffett family rarely using the property, and the fact that it costs over $300,000 a year to operate. Both Jane Buffett and Rick Mozenter are seeking to nix the other from the marital trust’s administration and have a new co-trustee appointed. Mozenter’s petition also asks that the court remove Jane as the personal representative of Jimmy Buffett’s estate. View the full article

Photo Credit: Gabriel Tovar Goldman Sachs has long had a bullish outlook on the global music industry, but its latest ‘Music in the Air’ report reveals the investment bank wildly overestimated recorded music and streaming revenues for 2024. The overestimate has prompted a notable downgrade in its future forecasts—the streaming plateau is here. Goldman Sachs initially projected a robust 7.6% global music industry growth rate for 2024. However, the actual growth rate clocked in at 6.2%—marking the first time in years that the sector failed to meet the bank’s expectations. The most glaring shortfall in this report was in recorded music. Goldman Sachs forecasted an 8.9% year-on-year increase, but the real figure was only 4.8%—a miss of over four percentage points. This underperformance is confirmed by IFPI data and has reflected in the broader slowdown, especially the streaming segment. Goldman Sachs predicted a 10% compound annual growth rate (CAGR) for streaming between 2024 and 2030, but has now revised this figure down to 7.9%. The most dramatic adjustment comes in ad-supported streaming—where growth rates have plateaued. Growth forecasts for that segment were slashed from 11.3% down to just 5.7% for 2024. Meanwhile, subscription streaming projections for 2025 were cut from $33 billion to $31.3 billion. Ad-supported streaming also got a forecast downgraded by $2.1 billion to $11.3 billion. As a result of these misses, Goldman Sachs has slashed its future forecasts for recorded music revenue forecasts across the board. The 2025 projection was cut from $33.9 billion down to $31.4 billion, with growth rates for 2025 and 2025 now expected at 5.8% and 6.6% respectively. That’s down from the previous expected rates of 8.8% (2025) and 8.4% (2026). The bank’s long-term outlook for the sector has also been tempered, it now anticipates a 6.8% CAGR for the global music market through 2030—down from 7.5%. While the report for streaming and recorded music revenue is a disappointing one, not all segments of the music industry delivered disappointment. Live music and physical sales of CDs and vinyl outperformed or met expectations. That’s mostly due to superfans and resilient demand for physical music. Music publishing remained stable with forecasts unchanged at $10.7 billion for 2025. This report underscores a pivotal moment for the music industry. After years or rapid expansion, growth is slowing, particularly in the recorded music and streaming markets. The bank’s overestimation has led to a more cautious and realistic outlook—with future projections now reflecting the sector’s evolving dynamics and challenges as the digital landscape matures. View the full article

Snoop Dogg, one of the defendants looking to dismiss a $107 million lawsuit filed by Lydia Harris. Photo Credit: Bruce Baker A federal court has officially ordered a stay in Lydia Harris’ $107 million lawsuit against Snoop Dogg, Universal Music, Death Row Records, and several others. Judge David Hittner just recently signed off on the defendants’ stay request pending the resolution of their respective dismissal pushes. We covered one of those pushes in late April, when Snoop Dogg and Death Row urged the court to toss the suit and to label the pro se plaintiff a vexatious litigant. Long story short, Harris is the ex-wife of Death Row co-founder Michael Harris and, following Snoop Dogg’s 2022 acquisition of the label, says she’s owed big for her purported stake. That’s despite the $107 million default judgement that a court ordered Suge Knight to pay her years back. (Knight is behind bars on a voluntary manslaughter conviction.) Per Harris, strategic bankruptcy maneuvering and asset-concealment efforts prevented her from collecting the sizable sum. As noted, however, Snoop and his team are refuting the position in no uncertain terms. Meanwhile, attorney David Kenner, also a defendant, is himself urging the court to toss the suit for failure to state a claim – as are Universal Music, Lucian Grainge, and Jimmy Iovine in a different motion yet. And at least as of early May, Harris was looking to bring even more defendants into the fold. “Plaintiff now seeks leave to file a Supplemental and Amended Complaint to add the following defendants: Marion ‘Suge’ Knight, [attorney] Dermont Givens [sic], and [hip-hop label exec] Alan Grunblatt,” she wrote at the time. “These individuals are believed to have played a central role in orchestrating fraudulent Bankruptcy fraud in addition to the contrived pretrial summary judgement filings,” proceeded Harris. It’s against this backdrop that Judge Hittner granted the above-mentioned stay request. Though the corresponding order doesn’t dive into the precise reasons for approval, it does note that a previously scheduled pretrial conference is on ice while the dismissal motions play out. As things stand, we’ll have to wait and see where said motions go from here; related updates hadn’t made their way into the docket at the time of writing. Also silent on the overarching suit is Harris, who has already addressed the case in lengthy interviews. But she doesn’t seem to have publicly weighed in as of late. Plus, her Instagram profile appears to have been set to private. View the full article

Dubstep phenom Subtronics has announced a series of 360° performances at LA's famed Shrine Auditorium and Expo Hall, offering fans a chance to experience his high-intensity sound from every angle. The 360° DJ sets, a rarity in Subtronics' touring repertoire, will place him in the center of the Shrine, surrounded on all sides by fans. The immersive configuration is expected to heighten the audiovisual experience, marrying his frenetic, heavy-hitting tracks with cutting-edge production design. Subtronics' run marks the second-highest number of sold-out shows by an electronic artist at the venue, just behind the spectacular nine-night streak from Fred again.. back in November 2023. The storied Shrine, a fixture of the city's live music scene since the 1920s, has hosted iconic acts ranging from Elvis Presley to The Rolling Stones to Beyoncé. Subtronics' debut at the venue marks a significant moment for the Philly-based electronic music superstar, who recently released the first part of a new two-pronged album, Fibonacci Part 1: Oblivion. Subtronics will take over the Shrine from Wednesday, December 3rd through Sunday, December 7th. Fans can purchase tickets here. View the original article to see embedded media. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics TikTok: tiktok.com/@subtronics Facebook: facebook.com/subtronicsofficial Spotify: tinyurl.com/yupr7jmk

Zeds Dead’s Deadbeats has shared the full lineup for its annual Backyard Jamboree in Denver. The day after the powerhouse bass duo makes its return to Red Rocks for “Deadrocks XI,” producers Dylan Mamid (aka DC) and Zachary Rapp-Rovan (aka Hooks) will stick around in Denver for the single-day festival in Civic Center Park on July 4. Hosted by their influential bass label, this year’s Deadbeats Backyard Jamboree will feature a traditional headline set from the label bosses, with support from top Deadbeats signees and next-gen stars peddling a wide range of bass-heavy sounds. This year’s lineup includes mind-melting bass favorites like Ravenscoon and Cool Customer, rising genre names like Dom Jamal, Skellytn, and PapaJay, and new-school trap standout Nikita, the Wicked. At the same time, fans can expect forward-thinking 4/4 beats from NOISES, Soki, Kennan Mathias, and prodigious former OWSLA producer Alex Young’s experimental club project, Villager. Elsewhere around the downtown Denver greenspace, attendees can indulge in a variety of food truck delicacies and take part in carnival-style rides and games, including the event’s famous hot dog eating contest, hosted this year by dubstep producer-DJ and social media personality Heyz. For more information or to purchase tickets, visit deadrocks.net. Featured image courtesy: Deadbeats. Credit: Sam Silkworth. The post Deadbeats Drops Full Lineup For 2025 Backyard Jamboree In Denver appeared first on EDM Maniac. View the full article

Gunmen on motorcycles opened fire on an electronic dance music event in the coastal town of Puerto Colombia on Monday night, killing three people and wounding nine others, El Universal reports. The attack occurred on a private estate around four miles from the city center, near the Papiros Toll plaza on the coastal highway known as Vía al Mar. The victims were partying at the rave, dubbed "Talent Test," when four assailants arrived on a pair of motorcycles and "began shooting indiscriminately" into the crowd, according to local authorities. Two people reportedly died at the scene: Luis Alfredo Vergara Julio, 25, who suffered fatal wounds to his face and neck, and Ronaldo José Alarcón Castrilleros, 19, who sustained three head wounds. A third victim, Maciel Karina Gómez, 25, died later at a local hospital. Gómez, an influencer and aspiring EDM artist, was one of 12 DJs performing at the event. She had shared videos of her dancing on social media just minutes before she was fatally shot. Maciel Gómez/Instagram The attack follows a pattern of violence that has plagued Colombia's coastal regions, where criminal organizations often target gatherings and public events. Authorities have not yet identified the perpetrators or established a motive for the shooting. "Between 10pm and 10:30 pm, at Kilometer 7 on the road to the coast, in an area known as Villa Olvega, a group of young people were enjoying a private party when they were interrupted by individuals who began shooting indiscriminately," Edwin Urrego, commander of the Metropolitan Police of Barranquilla, said in a statement. "As a result of this attack, three people died and nine more were injured." Colombian authorities have launched an investigation into the shooting.

Imagine this: you’re at your favorite music festival, the energy is electrifying, and you want to capture every heart-thumping beat, every stunning light show, every unforgettable moment. Or maybe you’re a DJ, seeking to document your journey and share your passion for music with the world. Perhaps you’re just a tech aficionado, always on the lookout for the latest and greatest gadgets. Whichever category you fall into, the GoPro Hero 12 Black, currently on sale for just $300, is your ticket to superior content creation. Although this device is an older model, it boasts a range of premium features that outshine many of its competitors. Constructed to withstand extreme conditions, the Hero 12 Black is a dependable companion for your wildest adventures. Whether you’re diving into a vibrant underwater world or getting lost in a pulsating crowd of festival-goers, this GoPro model is ready to roll. With its durability and waterproof capability up to 33 feet, it’s designed to keep up with your pace, no matter how fast or furiously you move. But it’s not just about ruggedness. The Hero 12 Black is also a powerhouse in terms of performance. With the ability to record continuously for up to 155 minutes of 1080p footage (or 70 minutes of 5.3K video), you can rest assured that you won’t miss a single beat, drop, or highlight. A Deeper Dive into the Features Superior Sensor Quality and Versatility One of the key factors that set the Hero 12 Black apart from other action cameras is its superior sensor quality. The model comes equipped with a 1/1.9” sensor, allowing for high-resolution, crisp, and clear video and photo capture. This sensor size is larger than what you’d find in many competing products, meaning that it can gather more light and deliver better image quality, even in challenging lighting conditions. But it’s not just about size. The sensor’s 8:7 aspect ratio offers an additional layer of versatility that content creators will surely appreciate. This unique aspect ratio lets you crop your footage into various sizes, including vertical 9:16 for Instagram Stories, widescreen 16:9 for YouTube videos, traditional 4:3 for standard displays, or full-frame 8:7 for maximum detail capture. This means you can adapt your content to fit various platforms and audiences, thereby increasing your reach and impact. Furthermore, the sensor’s high dynamic range ensures that your footage retains detail in both highlights and shadows, so your sunset DJ set or your dawn festival experience will be captured with all its breathtaking nuances. Endless Adventures with Extended Battery Life As music lovers, DJs, festival attendees, and tech enthusiasts, we know how important it is to stay in the moment without worrying about battery life. Fortunately, the Hero 12 Black has got us covered. With up to 155 minutes of 1080p recording (or 70 minutes of 5.3K), this GoPro model lets you immerse yourself in the experience without the constant need to recharge. Whether you’re recording an entire DJ set, capturing every moment of a festival day, or simply exploring the world around you, the Hero 12 Black ensures you won’t miss a beat. And when it’s time to recharge, the USB-C fast charging capability will get you back in action in no time. So, for those spontaneous jam sessions, those unexpected festival encounters, those awe-inspiring views, trust in the GoPro Hero 12 Black to capture it all. With its extended battery life, you can focus on creating and experiencing, rather than worrying about when you’ll need to find the nearest power outlet. Final Thoughts In the world of content creation, the right equipment can make all the difference. The GoPro Hero 12 Black, with its robust durability, superior sensor quality, versatile aspect ratios, and extended battery life, is a tool designed to elevate your content game. Whether you’re a DJ, a festival-goer, or just a tech enthusiast, this device is made to enhance your experiences and help you share those unforgettable moments with the world. Even better, this premium device is currently on sale for just 300 dollars. For such a high-quality product, that’s an absolute steal. So why wait? Grab your GoPro Hero 12 Black today, and start capturing the world in a whole new light. Remember, life is a symphony of experiences, and with the GoPro Hero 12 Black, you’re the conductor. So, let’s make some magic happen. The post [DEAL] Get the GoPro Hero 12 Black for Just $300 appeared first on EDMTunes.

Manchester’s foundational Sankeys nightclub is teasing a comeback in its home city. The Sankeys brand, which has lived on as a promoter and party series in the eight years since its flagship nightclub in the city’s Ancoats district closed, hinted at a return to Manchester in a post on Instagram yesterday. “Hello Manchester… it’s been a while,” the company wrote, alongside a black and white image of its former space at Beehive Mill, the former cotton mill and soap factory that housed the venue from its underground beginnings as “Sankeys Soap” in 1994, to its growth into a powerhouse clubbing brand with venues in Ibiza, New York, Tokyo, and other global cities. After several brief closures throughout its 23-year run, Sankeys Manchester finally closed for good in 2017, when Beehive Mill was sold and subsequently redeveloped into a luxury office and apartment space. The club’s other franchises around the world closed within the following year. In the time since, Sankeys has remained active with several one-off events, including a 25-year anniversary festival in 2019. Its last event was held at London’s Studio 338 during the UK’s Bank Holiday weekend in 2023. Though it remains unclear whether the cryptic message alludes to a permanent space or a simple tour stop, other moves from the brand might suggest something bigger than the many sporadic comebacks they’ve had down the years. Sankeys has also notably updated its Instagram bio to “A Return To Manchester?” and changed its primary email to [email protected]. Check out the brand’s post below. Featured image courtesy: Sankeys. The post Manchester’s Historic Sankeys Nightclub Teases Return appeared first on EDM Maniac. View the full article

A live performance from Pusha T as part of Clipse. Photo Credit: Ben Sisto Let the Drake v. Universal Music fallout continue: According to Pusha T, execs at the major’s Def Jam subsidiary urged him to censor a Kendrick Lamar guest verse on Clipse’s forthcoming album. The decidedly interesting tidbit emerged in a new GQ interview with both Pusha T and his brother Malice, who are set to release Let God Sort Em Out as Clipse next month. The duo’s first album since 2009, this Pharrell Williams-produced project was initially expected to drop via Def Jam. As described by Pusha, Def Jam approved of the album – save a Kendrick Lamar guest verse on “Chains & Whips.” The way Pusha tells the story, despite his public remarks about difficulties getting the touring Lamar into the studio, the recording process wrapped a while ago. But after the Lamar-Drake showdown took center stage – and fueled an ugly lawsuit between the latter rapper as well as Universal Music – UMG was hesitant to release the track (and the album) if it contained Lamar’s lines. How hesitant, you might ask? Though Pusha says the relevant bars aren’t direct or even indirect shots at Drake, Def Jam allegedly pushed him to “censor” the guest appearance. Evidently, he was unwilling to do so – hence last week’s announcement that Let God Sort Em Out would become available through Roc Nation. In fact, besides allowing Clipse to find a new professional home, Def Jam also let Pusha (who himself had a comparatively small Drake beef years ago) walk from his solo contract, per the interview. However, “allowing” and “let” don’t necessarily paint a full picture here. In a separate sit down, Pusha manager Steven Victor elaborated that Clipse had coughed up a seven-figure sum to exit the contract. Translation: the Drake showdown is having a very real effect on Universal Music’s releases and artist contracts. With the high-stakes battle still in full swing – Team Drake closed out May by pushing back against UMG’s dismissal motion – it’ll certainly be worth keeping the point in mind moving forward. (Side note: Lamar reportedly removed several Drake attacks from “Euphoria” as well, Top Dawg’s Terrence “Punch” Henderson revealed earlier in 2025.) Running with the important idea (and the possible implications for not just future diss tracks, but all rap efforts), Drake’s attorneys are adamant that “Not Like Us” actually caused the public to believe that their client is a pedophile. “UMG’s theory is that all of this was ‘hyperbole’—a harmless joke that no reasonable person would take seriously because it was part of a ‘rap battle,’” Drake’s counsel summed up in the late-May filing. “But UMG’s theory collides with the reality that the Recording’s false allegations of pedophilia, broadcast to the entire world via the most powerful music company, have proven to be toxic and indelible. In other words, UMG’s ‘just joking’ narrative runs headfirst into the concrete facts,” they continued. View the full article

Photo Credit: Revolt Black News 50 Cent makes good on his promise after he vowed to let Trump know what Diddy has said about him, heading off a potential pardon for the mogul. 50 Cent promised to let Trump know what “really bad” things Sean “Diddy” Combs has said about him, after the president stated he would “look at the facts” pertaining to a potential pardon for the disgraced star. Now, the rapper has made good on that promise, posting a pair of clips on Monday featuring Combs condemning the president. The first video features Combs in conversation with Charlamagne Tha God, discussing a potential race war if Trump were in office. A second clip shows Diddy condemning the president on Revolt, saying, “White men like Trump need to be banished.” 50 Cent commented in the caption of one clip, “Welp can’t ask him for help then, buddy.” In the other clip’s caption, he remarked, “See, Trump don’t like shit like this, buddy; you run your mouth [too] much.” Meanwhile, Combs remains on trial in New York for federal sex trafficking and racketeering charges. Should he be found guilty on all charges, Combs could spend life in prison. On Tuesday, during the trial’s fourth week and 15th day of testimony, a hotel security officer claimed Diddy paid him $100,000 to make sure the surveillance footage of Combs assaulting Cassie Ventura never got out to the public. 50 Cent’s efforts to curb a potential pardon for Combs comes hot on the heels of Trump’s pardon for YoungBoy Never Broke Again. Last week, Trump was asked about a potential pardon for Combs, and the president said he would consider it, but would need to look at the facts of the case. “I haven’t spoken to him in years,” said Trump. “He used to really like me a lot. I think when I ran for politics, that relationship busted up. […] I would certainly look at all the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.” View the full article

Photo Credit: The Cars by E.J. Camp Primary Wave Music announces a royalty deal with The Cars. This deal comes less than a year after partnering with the Estate of Ric Ocasek on his publishing catalog. Independent publisher Primary Wave Music has announced their partnership with The Cars. Terms of the deal will see the publisher acquire the band’s artist royalties. It comes less than a year after Primary Wave partnered with the Estate of Ric Ocasek on his music publishing catalog—including all songs from his time with The Cars. Included in the deal are some of The Cars’ biggest hits, such as “Just What I Needed,” “You Might Think,” “My Best Friend’s Girl,” “Drive,” and many more. Released in 1984, “Drive” was the band’s highest charting single, soaring to #3 on the Billboard Hot 100 on release. The song topped the Adult Contemporary chart and went on to be nominated for a Grammy in the category “Best Pop Performance by a Duo or Group with Vocal.” “Together with last year’s partnership for Ric Ocasek’s publishing, Primary Wave is uniquely positioned to preserve and honor the legacy of The Cars,” says Samantha Rhulen, SVP of Business and Legal Affairs at Primary Wave. “Their music has left a lasting imprint on culture and continues to inspire fans and musicians around the world. It’s a privilege to be entrusted with this partnership.” The Cars formed in Boston in 1976, fronted by singer, songwriter, and rhythm guitarist Ric Ocasek, bassist and vocalist Benjamin Orr, lead guitarist Elliot Easton, keyboardist Greg Hawkes, and drummer David Robinson. Combining elements of new wave, rock, and pop, The Cars quickly became one of the most influential and successful bands during this time. Their music was characterized by catchy hooks, sleek production, and a blend of synthesizers and guitar-driven rock. The Cars reached the height of their popularity with Heartbeat City in 1984, an album that produced several major hits, including “Drive,” “You Might Think,” and “Magic.” The album was also recognized for its innovative music videos, particularly for “You Might Think,” which won the first-ever MTV Video Music Award for Video of the Year. During this time, The Cars became one of the biggest bands in the world, selling millions of albums and filling arenas with energetic live performances. The band’s legacy was officially recognized when they were inducted into the Rock and Roll Hall of Fame. Their music continues to influence new generations of artists, and their blend of rock, new wave, and pop remains a staple of classic rock radio. View the full article

Photo Credit: Fever Fever secures over $100 million in funding to further its position as a leader in live experiences, namely music and sports. Fever is on the rise with funding to further its continued growth as a leading platform for live experiences like music and sports. Fever has secured over $100 million in funding from L Catterton and Point72 Private Investors through the completion of an equity funding process, including existing investors. The technology platform—now operating in over 40 countries—has become a trusted partner for prestigious institutions across all live entertainment verticals, with a strong track record in the past year in both sports and live music. Fever now reaches hundreds of millions of people through its discovery platform and media. Fever continues to cement its reputation as a disruptor in live entertainment. The company has built a dynamic, multi-category, data-driven ecosystem that connects millions of fans worldwide with the most exciting venues, festivals, and independent promoters. Some recent marquee partnerships include influential independent promoters like TCE Presents, Cercle Music, and Last Tour; iconic venues like the Clapham Grand and Brooklyn Storehouse; and culture-defining festivals like Rock in Rio Lisboa, Primavera Sound, and Pitchfork Music Festival. The platform also provides ticketing and demand generation for some of the world’s most renowned sports organizations, including Real Madrid and FC Barcelona, LIV Golf, and the X Games. This financing highlights a remarkable year prior for the company, during which it achieved over 20x revenue growth from pre-pandemic levels, while maintaining full-year EBITDA profitability. Point72 Private Investments’ backing of Fever underscores the growing role of technology in shaping the sports industry. Fever is now exploring opportunities to work with the New York Mets, owned by Point72 Chairman and CEO Steve Cohen, to further enhance fan engagement through experiences. Fever will also leverage L Catterton’s deep consumer insights and look to unlock new opportunities to engage audiences through experiential marketing and branded events, in line with the growing trend of brands leveraging live experiences to strengthen customer connections. The company is redefining the landscape as legacy players struggle to adapt, emerging as an independent, innovation-led alternative in a market long overdue for reinvention. View the full article

Guitarist, producer, and songwriter Jake Fine talks about his ‘cohesive vision’ for Lo-fi projects ‘azayaka‘ and ‘Tone Bo,’ retaining the essence of emotion in his music, how ‘the creative process kicks in,’ and using Downtown Music’s bespoke service to tackle unique music challenges. The following recaps an interview with Jake Fine as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with. Jake Fine grew up in a ‘musical family.’ However, when he left his small Jewish school, which had 100 students for a public school in town with a jazz program, the moment marked a crucial step in his identity as a musician. “I was overwhelmed. I didn’t know how to play Jazz and was yelled at by the instructors, but I had assimilated those steps into my identity. Those were the baby steps. [I questioned,] What does that mean in terms of what I do and how I navigate the world?” Although Fine never sought a formal music education, he attended Berklee College to gain ‘a path to follow.’ Each step brought Fine an ‘in-over-my-head’ moment within that creative community, but he looked inward for the correct answers. “What’s my role at this music college full of skilled people? How deeply do I want to explore each aspect of the craft?” That self-reflection followed Fine well through Berklee and beyond. “That existential question of what are the things I want to do to create within this community?” Fine’s musical identity, he explains, is one that ‘doesn’t overwhelm or feel calculated. “It’s more fulfilling.” “In my Lo-fi ‘azayaka’ catalog, you find melodies that you can hum to. Some people call it background music, but there’s jam. There’s the musical intention behind it. I try to retain that.” Fine’s instrumental music catalog now has over 150 songs. “At the top of my mind is being perceived as [someone] retaining a high level of musicality, but also being intentional about giving the song what it needs.” For Fine, true contentment comes from ‘making songs that last.’ He explains, “There are subtle ranges with jazz hop, chill hop, sad beats, and sleepy beats. Whichever one I’m making retains the essence of that emotional thread.” Viewing his craft as a ‘sequel,’ Fine is constantly aiming to ‘achieve something just a little bit better, but with similar textures.’ “I like listening to my older songs. I had less skill, but my musical sensibility was still there. I’ll hear the instrumentation and the feel and the tempo and think: what was I doing in a beginner mindset that I can achieve better now?” “As long as I can draw inspiration, I will be as prolific as I can. And there are plenty of artists out there to draw inspiration from. Hopefully, that keeps it fresh,” he said. Fine is committed to going wherever inspiration takes him. “Ask me in two years. I’ll be making Lo-fi for 6 or 7 years at that point. Who knows? Maybe I’ll try to integrate more electronic sound design at that point. Maybe I’ll feel like I need something fresh?” Diving into his collaborative creative process, Fine explains that it involves discussing life, then extracting the emotional context — ‘and trying to understand what they want to create and what they want to say.’ “If you’re doing something with an artist, you’re there to serve the music that they want to create — especially if there’s a writer involved.” “Often, my job as someone more skilled in that setting with specific instruments is that I grab an instrument and offer up something. Certain chord progressions. Certain moods.” “If you’re skilled with sound design or drums, you’re probably going to begin with that. So, I start with picking up a guitar. That’s just the way in. Find a chord progression everyone feels passionate about. Move forward.” Although much of the creative process appears spontaneous, Fine clarifies that he has always made a lot of time investment behind the scenes. “I’ve done my research. I know what [those] artists created. I’ve listened to their catalog. I’ve even thought of a few chord progressions.” However, that preparation might fall short. “Sometimes I’m [collaborating with] an R&B artist, but they [say they] love Mitski.” That’s when spontaneity comes into play. “Now, I’m trying to create a heavier indie world.” When it comes to creative flow for his projects ‘azayaka’ and ‘Tone Bo,’ surprises and confusion are not part of the process. “I know that whole ecosystem. I know the genre. I know what I want to create, and I know which drums I want to grab. That’s an easy flow state. I’ve written over 150 songs; I know what I want out of it.” “I make a chord progression that I love on a felt piano or a guitar. Put the layers in and get the drums going. It doesn’t take too long now, but that’s after 200 reps.” Fine’s cohesive vision for his Lo-fi tracks is about ‘finding my sound.’ “I want to create music that I genuinely feel proud of.” As an artist, Fine aims to create music that people enjoy and appreciate. But as a producer, his goal is multilayered — with strategic ambition. “There’s a certain level of success that I want to achieve. I’ve had to make space for that ambition. When you can circle back to allow yourself to be hungry to achieve something, it feels really good.” “I want my name to be synonymous with a high level of quality. That journey is multifaceted because it’s such a hard craft to master.” “After putting in 10,000 hours, it’s not wrong to want to achieve a certain level of quality in your work and a certain level of success to be attached to that. That is a positive thing.” To fulfill his ambition, Fine requires a publishing process that can keep up. “Having a bespoke service with the Downtown team has made it easy for me. I’ve got my system going, and it works well.” As most of Fine’s music is released independently, it requires a service that can overcome challenges unique to his genre. “I send in Atmos mixes and have them connected to the correct ISRC. I need all that done correctly because I don’t want to have to do it twice. With songs released every week and every two weeks, I need the Atmos connected.” “Downtown has provided me with a good platform for consistently releasing songs, and my royalties are collected properly. And when something goes wrong, needs replacement, or that shaker’s too loud, [the team] have the ability to replace the master and update the publishing to different DSPs.” To artists just beginning their journey as songwriters, producers, etc., Fine says, “Any platform that can help you collect money that is rightfully yours, and to capitalize on the intellectual property that is yours — that’s a good thing. A platform that helps you fairly split money without too much logistic complication. That’s a positive thing.” “Downtown has checked those boxes for me. It’s part of my system as a producer and creator with multiple artist projects.” About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here. View the full article

Damian Lazarus’ famous Day Zero jungle party is heading to Brazil in 2026. After 11 years of transcendental beats in the jungles of Tulum, the long-running destination event will debut on Brazil’s northern coast in São Miguel dos Milagres on January 3, 2026. Lineups and additional details will be unveiled in the coming months, with the trailblazing Crosstown Rebels boss set to curate another sunset-to-sunrise showing from DJ tastemakers and unique live acts on the fringes of modern house and techno. “After spending the last few years searching for the most perfect locations for a new Day Zero experience, I can finally reveal that BRASIL will become the next chapter in our evolving story,” Lazarus wrote on Instagram today. ”We are not giving away too much right now, just to say that this will be an exceptionally magical experience.” Day Zero Milagres will be produced in partnership with local promoters Entourage Live, Plus Network, Gaz Events, and BOMA, according to a report from Billboard. The Brazil event will mark the party brand’s second global expansion, after Lazarus brought Day Zero to the Israeli desert, near Masada National Park, in 2019. Several other scheduled editions in Israel were canceled amid the COVID-19 pandemic. In his social media announcement, the producer and DJ went on to confirm that Day Zero Tulum will remain the brand’s flagship event and will make its scheduled return to the Mexican city’s famous open-air Zamna venue on January 10, 2026. The party has helped kick off the new year in Tulum nearly every year since its founding in 2012, with off-years in 2018 and 2021. Pre-sale registration for Day Zero Milagres 2026 is now open here. For more information, visit dayzerofestival.com. Featured image courtesy: Day Zero. Credit: Skyler Greene / Alive Coverage. The post Damian Lazarus’ Day Zero To Debut In Brazil In 2026 appeared first on EDM Maniac. View the full article

Damian Lazarus’ famous Day Zero jungle party is heading to Brazil in 2026. After 11 years of transcendental beats in the jungles of Tulum, the long-running destination event will debut on Brazil’s northern coast in São Miguel dos Milagres on January 3, 2026. Lineups and additional details will be unveiled in the coming months, with the trailblazing Crosstown Rebels boss set to curate another sunset-to-sunrise showing from DJ tastemakers and unique live acts on the fringes of modern house and techno. “After spending the last few years searching for the most perfect locations for a new Day Zero experience, I can finally reveal that BRASIL will become the next chapter in our evolving story,” Lazarus wrote on Instagram today. ”We are not giving away too much right now, just to say that this will be an exceptionally magical experience.” Day Zero Milagres will be produced in partnership with local promoters Entourage Live, Plus Network, Gaz Events, and BOMA, according to a report from Billboard. The Brazil event will mark the party brand’s second global expansion, after Lazarus brought Day Zero to the Israeli desert, near Masada National Park, in 2019. Several other scheduled editions in Israel were canceled amid the COVID-19 pandemic. In his social media announcement, the producer and DJ went on to confirm that Day Zero Tulum will remain the brand’s flagship event and will make its scheduled return to the Mexican city’s famous open-air Zamna venue on January 10, 2026. The party has helped kick off the new year in Tulum nearly every year since its founding in 2012, with off-years in 2018 and 2021. Pre-sale registration for Day Zero Milagres 2026 is now open here. For more information, visit dayzerofestival.com. Featured image courtesy: Day Zero. Credit: Skyler Greene / Alive Coverage. The post Damian Lazarus’ Day Zero To Debut In Brazil In 2026 appeared first on EDM Maniac. View the full article

It may be the beginning of Summer but we’re already looking forward to Fall, when music lovers from around the world should mark their calendars for one special date – the return of Atmosphere by Tomorrowland. This year, the anticipation is higher than ever. After a long wait, the event is back on Friday, November 14, at Antwerp Expo, and it promises to be a night of unforgettable music, awe-inspiring performances, and high-energy crowd interactions. Tomorrowland Atmosphere isn’t just a concert; it’s a music festival that defines the very essence of electronic dance music culture. It’s a platform where the most influential names in the scene come together to share their passion for music and create memories that last a lifetime. The event promises to be a musical extravaganza, with DJ sets that will keep you dancing till the early hours and performances that will leave you wanting more. If you’re a music follower, a DJ, a festival attendee, a raver, or a technology enthusiast, this is the event you’ve been waiting for. The energy, the music, the atmosphere – it’s an experience you don’t want to miss. So, mark the date on your calendar, gather your friends, and get ready for a night of music and memories at Tomorrowland Atmosphere. Event Details and Line-Up What’s happening? Given the reputation of Tomorrowland Atmosphere, you can expect nothing short of a spectacular night. The event will be held at the Antwerp Expo, a venue that perfectly complements the grandeur of this event. The doors will open to an arena filled with stunning visuals, state-of-the-art sound systems, and an atmosphere that will take your breath away. But what truly sets Tomorrowland Atmosphere apart is the line-up of artists. The full line-up is set to drop on Thursday, September 4. While the anticipation builds, rest assured knowing that Tomorrowland has a reputation for bringing together the most influential names in the scene. Expect a night of high-energy performances that will have you dancing non-stop to beats from the world’s best DJs. Ticket Information When can I get my tickets? With an event as popular as Tomorrowland Atmosphere, getting your hands on a ticket can be a race against time. But don’t worry, we’ve got you covered. Pre-Sale starts on Tuesday, September 9. This is your chance to secure your spot at the event before the general sale begins. But that’s not all. For those who miss out on the Pre-Sale, the General Sale starts on Thursday, September 11. This is your final chance to grab a ticket to the musical event of the year. Remember, tickets sell out fast, so make sure you’re ready when the sales go live. Want to stay ahead of the game? Register now for exclusive access to the Pre-Sale at atmosphere.tomorrowland.com. Not only will you have early access to tickets, but you’ll also stay updated with all the latest news, updates, and line-up announcements. So, don’t wait, register now and get ready for a night of music, energy, and unforgettable moments at Tomorrowland Atmosphere. The post Tomorrowland Brings Atmosphere Back to Antwerp This Fall appeared first on EDMTunes.

There are places you go to see in Ibiza, and there are places you go to feel it. Island Hospitality's portfolio of destinations belongs firmly to the latter. With venues spanning from barefoot beachfront bliss to velvet-lined intimacy and slow-food sanctuaries, this network of scene-stealing spots has grown into a favorite among electronic music enthusiasts visiting the legendary party island. Here's why the renowned hospitality firm's venues are essential stops on any musically minded Ibiza itinerary. c/o Island Hospitality ChinoisIf Ibiza's nightlife scene is a Marvel multiverse of superclubs, Chinois is the independent Academy Award dark horse. Tucked inside the Ibiza Gran Hotel, the club is among the most intimate venues on the White Isle, and this summer will feature one of the island's best rosters of DJ residencies. Chinois trades the cattle-herd chaos of larger clubs for something more luxurious but no less unrelenting, an intoxicating room built from the dancefloor up and soundtracked by deeply influential electronic artists. The 2025 season will feature performances from Claptone, Honey Dijon, Âme, Bedouin, The Blessed Madonna, Kerri Chandler, Francis Mercier, Shimza, Mahmut Orhan and many others. View the original article to see embedded media. BeachouseThe sun-drenched Beachouse is what what shows up in your Balearic daydreams when the minutes on the clock aren't ticking fast enough at work. Perched on Playa d'en Bossa's gilded edge, it's the rare venue where "wellness" and "DJ set" aren’t mutually exclusive. By day, think sunrise yoga, barefoot brunch, sea-to-table cuisine and friends gathering over grilled octopus and citrus-infused cocktails. But after the sun dips, Beachouse transforms with the signature BOHO Experience on Thursdays and Moonlit Dinners every Friday to Sunday, with time-stretching live music to capture the sublime soul of Ibiza's culture. View the original article to see embedded media. Finca La PlazaNestled like a well-kept secret in Santa Gertrudis, Finca La Plaza is housed in a rustic finca that feels equal parts The White Lotus and a Pedro Almodóvar film. While there’s no dancefloor here, make no mistake: this masterclass in Mediterranean dining grooves in its own way, especially on summer nights, when live music fills the open-air courtyard restaurant every Tuesday, Wednesday and Thursday. You may also see your favorite DJs dining. The weekly musical lineup offers the perfect backdrop to Finca La Plaza's sustainably crafted Mediterranean menu, which reflects the venue's commitment to farm-to-table cuisine, celebrating local flavors. Finca La Plaza also features one of the most extensive wine cellars in Ibiza, with over 500 labels from leading European vineyards, including rare vintages from Spain, France and Italy. View the original article to see embedded media. Mikasa IbizaWith panoramic views of Ibiza's UNESCO-listed Old Town, Mikasa Ibiza is a boutique hotel in a league of its own. Every room's design is inspired by the island's lunar cycles, which is perfect, since your sleep schedule will likely be ruled by them. There’s morning yoga. There’s a lush café. The shores of Talamanca Bay and a bevy of renowned restaurants are just a few steps away. And from June to September, the rooftop transforms into a sunset gathering where cocktails flow and DJ sets elevate the golden hour into something magical. View the original article to see embedded media. Massa CoffeeMassa Coffee is where your days turn into actual parties of one: your brain, a cold brew and a laptop if you want to produce music with breezy marina views. Tucked into Marina Botafoch, Massa is a go-to spot for DJs pre-gig, travelers pre-beach and everyone in between. Its menu is all clean fuel: refreshing smoothies, fresh juices, energy-packed breakfasts, nourishing bowls and craft coffee. View the original article to see embedded media.

Warner Music Group has brought its catalog to karaoke platform Singa. Photo Credit: WMG Warner Music Group (WMG) is getting in on the karaoke action under a new deal with Singa, which has already added “a vast collection of original master recordings” from the major label. WMG and the self-described “first truly digital streaming service for karaoke” unveiled their pact today. Extending to Warner Music proper as well as Warner Chappell, the agreement is Helsinki-headquartered Singa’s first with a major, the parties emphasized. Now, the nine-year-old karaoke service, which offers a paid tier for $9.99 per month, is bolstering its existing library of 120,000 “soundalike” renditions with WMG’s “extensive catalog.” Besides the latter detail and the initially mentioned “vast collection” particular, the companies didn’t elaborate on the tie-up’s precise scope. However, a cursory glance at the karaoke platform points to an all-encompassing WMG-catalog integration; the “Originals” section currently features releases from Cardi B, Linkin Park, Dua Lipa, and a variety of others. And the ADA parent Warner Music further relayed that Singa has separate contracts in place “with publishers and indie labels.” Shifting to compensation, WMG rather unsurprisingly opted against diving into hard terms. But the major went ahead and applauded “Singa’s investment in rights management technology,” which purportedly “ensures that all music use is transparent to rights holders.” “The company has partnered with leading back-office service providers to develop usage tracking and revenue reporting tools, setting a new standard for industry accountability,” WMG indicated here. In any event, a new revenue stream is (at least in theory) a new revenue stream, and WMG SVP of strategy and business development John Rees in a statement touted the resulting “opportunities for our artists and songwriters.” “With this partnership, we’re ushering in a new era of karaoke where music becomes a more dynamic experience for fans,” weighed in Rees. “This collaboration not only enhances the way people engage with music, but also creates valuable opportunities for our artists and songwriters, enabling them to reach more fans and unlock new revenue streams. Together, we’re paving the way for continuous innovation in music,” the 15-year Warner Music vet concluded. Time will tell whether Singa can parlay the deal into separate unions with Sony Music and Universal Music. Bigger picture, Robert Kyncl’s comparatively tech-friendly Warner Music – which didn’t consider joining Universal Music’s since-resolved TikTok standoff – is apparently pulling out the monetization stops against the backdrop of slowing revenue growth. All that’s certainly worth keeping in mind amid rumored settlement discussions between the majors and Suno as well as Udio. If the AI platforms and the individual labels are actually racing to hammer out licensing terms as reported – and that isn’t necessarily the case, we previously noted – WMG might be the first to seize an agreement. View the full article

Photo Credit: Yout.com Yout is a stream ripping website at the center of a high-profile criminal prosecution in Brazil—marking a significant escalation in the fight against online copyright infringement. This prosecution comes in the wake of the Recording Industry Association of America’s (RIAA) legal campaign against all stream-ripping services. Yout is operated by American Johnathan Nader and allows users to download audio and video from streaming platforms like YouTube. The services bypass YouTube’s built-in protections against downloading its streams. The RIAA has previously targeted Yout in the United States, resulting in a lengthy legal battle over whether stream-ripping violates the Digital Millennium Copyright Act (DMCA). That case remains unresolved, but in Brazil authorities are taking action. Prosecutors in Brazil have filed a criminal complaint against Nader, accusing him of facilitating unauthorized downloads of copyrighted content for profit. The São Paulo court recently rejected Nader’s motion to dismiss the charges, stating that prosecutors presented sufficient preliminary evidence to proceed with the case. If convicted, Nader could face up to four years in prison. Brazil’s case against Yout is a direct response to the music industry’s global push against the practice of stream-ripping. Industry groups like the RIAA argue that the practice is a major threat that deprives artists and rights holders of legitimate income. In 2022, the prosecution offered Yout a way out in the form of a deal. In exchange for several predetermined terms, the public prosecutor was willing to suspend criminal prosecution. Those terms include Yout’s operator paying 1.9 Brazilian real ($400K) to be allocated to a special fund earmarked for social programs in Brazil. The deal also required Yout to block all Brazilian traffic and local payments. Nader has declined this settlement deal and decided to take the case to court. Yout instead argues in court that it is ‘internet DVR’ and does not store any copyright infringing material. Now the case will proceed in Brazilian court with a hearing date set for August 9, 2025. The hearing will be held virtually since Nader lives in the United States—he is not expected to appear. Prosecution will present several witnesses, with at least one music industry representative speaking to the court. View the full article

Teenage Engineering is setting its sights on making “[the] year 2025 even more flipped out”, starting with a ‘Set your own price’ for its coveted OP-1 Field synth, sampler and drum machine. Why? “Why not?”, says the brand — or, more specifically, because it’s running “a delicate experiment.” As of today, the homepage of Teenage Engineering’s website is dedicated to this wacky OP-1 Field experiment. An interactive slider lets you set a price between $1,399 and $9,999. Sadly for some, this slider doesn’t reach down to $99. READ MORE: All the music gear to buy instead of Teenage Engineering’s $2,300 OP-XY Once you set your price (presumably $1,399), you can check out on the TE store. Except, you can’t right now — unfortunately, it looks like the Swedish brand is fresh out of stock of its sought-after synth. You can, at least, sign up for an alert for when it’s back in stock, and it appears TE will be running this experiment for the rest of June. Judging by the new webpage, the brand will be running similar ‘experiments’ throughout the rest of 2025. “new flipped out ’25 offers will be presented during the rest of the year…(or until the world is a little bit more stable),” adds some copy by TE. Why is the beloved company doing all of this, anyway? “This is a delicate experiment,” says Teenage Engineering, “and a question. It’s about why, how, and why not? It’s for us to understand the market, for us to figure out how you think, how you act. And if it’s possible to really please you 100%. This is also a reflection of the world and the time we live in. Let’s try new things! Good things. Try crazy ideas – like what would happen if people voted with their wallets? What if it was up to you? Well now it is.” OK — so, let’s get one thing straight. This is a sale, right? But Teenage Engineering is disguising it as a “delicate experiment”? Well, hey, we’ll take it — at least you can save $600 off the original price. The real question we have is, ‘Which cashed-up thrill-seeker will crank this slider up to 11 and drop $9,999 for some clout?’ We’d like a word, if that’s you. If the price is still a little steep for you, we’ll gladly recommend any of TE’s Pocket Operators, which come in at under $100. You might also be the right market for the retro-future EP-133 K.O.II, which you can pick up for a cool £269. Pick your own price at teenage.engineering The post Set your own price for a Teenage Engineering OP-1 Field. Why? “Why not?” appeared first on MusicTech. View the full article

London-based four-piece Le Bon Jams return with their highly anticipated debut EP, ‘109%’, due for release on Friday 20th June via [PIAS] Électronique. Following a breakout year that saw praise from tastemakers like Arielle Free, Jess Iszatt (BBC Radio 1), Mark Knight, TSHA, and Don Diablo, Le Bon Jams turn up the heat with their debut EP ‘109%’. Bursting with disco-tinged house, uplifting pop hooks and an electric French-touch vibe, the four-track release blends nostalgic warmth with a modern edge and is a feel-good ride through the band’s most infectious work yet. Opening with lead single Hear My Love, the EP wastes no time setting the tone – a radiant, popleaning anthem with shimmering synths, punchy pianos and crisp grooves topped with irresistible vocal hooks. Speaking about the track, the band have shared: “It was the first track we collaborated on for Le Bon Jams, and in many ways, it still captures the heart of our vision as a band. We’re really proud of this one and hope listeners connect with it as much as we did while making it!” Next up is What U Need, which solidifies the EP’s tone with Le Bon Jams’ signature uplifting energy and crisp, funk-flecked grooves. It’s a confident continuation that keeps the pulse high and the mood buoyant. Spotlight follows, injecting a bit more attitude into the mix. Gritty basslines and dynamic production showcase the band’s versatility, adding a punchier, club-ready edge to the EP without losing its feel-good foundation. Closing out the project is Can’t Stop – a euphoric, rhythm-led track that encapsulates the warm, retro-inspired aesthetic that defines Le Bon Jams’ sound. ‘109%’ will be released Friday, 20th June via [PIAS] Électronique. ABOUT LE BON JAMS Emerging from the heart of London, Le Bon Jams is a powerhouse collective formed by Laura Welsh, Joe Brown, Frank Colucci, and James New, each boasting impressive careers as artists, producers, and songwriters. Together, they fuse analogue synths with live instrumentation, crafting a unique blend of dance energy and indie soul. From underground clubs to mainstream radio, Le Bon Jams are shaping the sound of 2025. Their music is a soundtrack to life’s most unforgettable moments—highs, lows, and everything in between. THE MEMBERS James New – Former frontman of Mumm-ra, hit songwriter for Dua Lipa, RAYE, Sugababes (130M+ streams). • Joe Brown – Grammy-nominated producer, worked with Lapsley, Tkay Maidza, Gabriels, CASISDEAD. Laura Welsh – Former Polydor artist, co-writer on Gorgon City’s ‘Here For You’, collaborations with John Legend, Greg Kurstin, Armin van Buuren. Frank Colucci – Multi-instrumentalist & producer, worked with Tom Grennan, Ashnikko, Ethel Cain, Oh Wonder Le Bon Jams – ‘109%’ Released 20/06/25 Pre Save – https://lebonjams.ffm.to/109-per-cent Find Out More & Follow Le Bon Jams Instagram | Spotify [PIAS] Électronique Instagram The post Le Bon Jams Release Their Highly-Anticipated Debut EP ‘109%’ appeared first on Electric Mode.

Fresh off a run of gigs in Brighton and Ibiza, Stirling returns to Canada feeling more inspired than ever. With a powerful story of persistence, passion, and purpose, he sat down with us to talk about his journey from discovering vinyl in a friend’s living room to playing internationally and building serious momentum with his productions. Let’s get into it… Hey DJ Stirling, thanks for taking the time to chat with us today! To kick things off, where in the world are you right now? “Yes, certainly, thank you! I’m just getting back from Ibiza. I literally just landed back in Canada late last night, and I must say, I’m actually feeling quite refreshed and motivated after going to Brighton to attend the BMC conference and play a couple of gigs, and then from there going down to Ibiza to meet up with the crew and play at Pikes. Always good to be home, though of course.” How did you first get into DJing? “Yeah, it’s interesting when I think back to how I started. You see, for me, music has always been something that I enjoyed so much, and dance/electronic music in particular, when I was younger, was something that always moved me. I can remember when I was fresh out of college, I got a factory job to just quickly start making some money to pay down College as I planned out my career, and one of the guys that worked on my shift was a DJ. And so one day we were literally just chatting back and fort,h and he asked me what I like outside of working out and other hobbies that I was into, and I said, “I really love music.” He simply asked me, “What kind of music do you like?” and so I wanted to tell him, and then he then proceeded to tell me how he’s a DJ at some nightclubs in Windsor, Ontario – We became instant friends Straight away, I remember it sparked my interest because the idea of being a controller of music to me and putting various sounds and rhythms together for some reason excited me. So, anyways, he ended up inviting me to his place, and that’s where I got introduced to vinyl records. And BAM, the next day I started purchasing records straight away from the UK and would spend a couple of hours almost daily just trying to find new music that I could play for my friends when we had house parties and so on. From there, it was game on! I now had records, a mixer, turntables, and headphones haha I was instantly hooked… After making several train wrecks with a few records in my own bedroom, I finally figured out how to beatmatch. I still remember the goosebumps I got from mixing my first two records together, not just in time, but that actually sounded in key and good together… It’s funny because even today, I’ll still get goosebumps and watch the hair stand up on my forearms behind the decks when I’ve got two or three records plus maybe some sound effects or loops going on all at the same time to make something more out of a song. That’s what I’ve always loved about DJ’ing… Is the emotion, the connection with music and others, and creating moments that feel exciting” Is there a story behind your artist name? “I wouldn’t say there’s anything fancy behind the story of my artist name, I mean it’s really just my last name, and that’s what people have always called me by – STIRLING Whether it was my teachers in school or coaches and friends in various sports, it just stuck with me. STIRLING! I can remember about a year ago getting challenged with the idea of like “hey, what do you want your artist name to b?e” And for m,e it was quite simple – STIRLING Personally, I didn’t really like the idea of naming myself something else to try and be different or for some marketing play, Stirling is who I am and what feels naturally fitting. How would you encourage emerging artists wanting to break through? 
 “I mean, to be fair, I still have quite a ways to go. But that being said, I do feel like with any endeavor that you’re trying to be successful in, there are always formulas and clues left behind from those who have been successful before you. Success always leaves clues and insights. Further to that, for those who do get discouraged, I say look at other things that you’ve been successful at in life and transcend that same attitude, energy, and effort into your music. Make a plan, set your goals, connect with industry leaders, meet up with other DJs and Producers, spend time in the clubs getting to know management and promoters, travel to conferences, carve out studio time, and adhere to your schedule. It’s like operating a business really. It takes a tremendous amount of effort, planning, and consistent execution, like anything does.” Share your favourite clubbing memory. “Carl Cox – At ‘The Guvernment’ in Toronto! It was my first time seeing him… That man moved the crowd, myself included, with every damn record he threw down. And yes, he was spinning vinyl. I can remember he had at least 5 record bags, 4 turntables, no CDJs, and he created so many moments that night for the crowd. It was wild. I can remember waking up the next day, wondering, “what happened to my calves and my right elbow haha!!! I must have been dancing and fist-pumping so damn hard! Haha… But yes, by far, that was my most favorite club memory that really set the standard for me.” Provide an outlandish rider (be creative). “Oh nice haha. I’m a pretty simple guy. Just feed me and I’m good. But since you asked, specifically, I’d like to have: 1 chicken shawarma platter (I eat shawarma all the time haha) – One time during a B2B set, I ran across the street to get a Chicken Schawarma wrap haha – true story A Big Ass fan 2 face towels 2 Litres of filtered water That’s it haha I get hungry when I play ;-)” Describe yourself using a famous quote.. “The best way to predict the future is to create it” – Abraham Lincoln. I’ve always believed in showing up with intent with whatever it is that I do. Whether it’s behind the decks, in the studio, with my family, in the gym, and so on. Which song do you wish you’d written? “I don’t think I’ve ever told myself, “wow I wish I had written that song”, I’ve just simply always had appreciation for what an artist has done and how it’s made me feel For instance, I can remember competing at an international level on a world championship stage, and in preparation for the competition, I must have listened to Eminem’s “ Lose Yourself” track 1000’s leading up to the day. The phrase “You only get one shot, do not miss your chance to blow. This opportunity comes once in a lifetime.” Is something that would give me that same feeling I mentioned earlier with the goosebumps and hair raising on my forearms, every day! It brought out such intense emotions for me that made me push myself, over and over and over… It literally fueled my training sessions.” Was there a moment you knew this was going to be more than just a hobby? [A sigh and pause from Stirling…. (got a little emotional)…] “It was a moment I had with my wife about 1 year ago. I could see that she truly believed in me after seeing the energy I was pouring into music. She must have noticed the happiness it gave me over anything else I had done, once I started producing my own tunes. And the momentum kind of just started building from there.” Tell us about your plans for 2025. 
 Well, on the production side of things I’ve got my release coming out on Ferris wheel recordings this Friday, June 6th, which I’m really excited about – It’s called ‘Testify’ feat. David LeSal. I’ve also got several other tracks lined up for labels that are going to be going out over the next couple of weeks that I think should be able to get some good traction. So, feeling good on that side of things and hopeful that I’ll have several more releases throughout 2025! I’ve got a few well-known vocalists on some of these tracks as well that I’m really excited to share more on soon! From a DJ/Gig standpoint, I have Toronto, Germany, and Ibiza on the schedule right now and looking to nail down several more venues/locations in the coming weeks. So, stay tuned for some updates there as well. Find Out More & Follow Stirling Stirling Instagram | TikTok | Official Website The post Get To Know STIRLING: Tech House DJ, Producer & Motivational Powerhouse appeared first on Electric Mode.