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Germany’s leading bass festival Blacklist is back at the mighty Turbinenhalle in Oberhausen on October 11th 2025. An epic line up of more than 50 heavy dubstep, trap and drum & bass stars from across the globe has now been revealed to play 12 hours across four stages for 7000 ravers in an unmissable day of heavy rhythms and earth shattering bass. Tickets range from 45 – 85€ and are available from https://blacklist-festival.com/. Oberhausen’s Blacklist Festival is unique in Germany as the only festival that caters to real bass heads. It is a tasteful and in-the-know celebration of sounds across the low end spectrum for fans in Germany but also across Europe. It has become the biggest brand for bass culture in Germany and hosts scene-leading shows of the highest caliber. It now boasts a community loyal to the core and its own unique take on bass culture that always comes to the fore. For one day only, Blacklist transforms the Turbinenhalle into a party paradise. The huge warehouse has four floors and is packed with mind-boggling production, lights, lasers, visuals and of course super seized sound systems that deliver bass with real weight, punch and clarity. The first wave of names includes Black Tiger Sex Machine who will be playing their first European date of the year. The Canadian trio are known for their apocalyptic, cinematic live shows and a hard-hitting fusion of electro, bass and sci-fi storytelling. Meanwhile, genre-blending producer and vocalist Sullivan King merges metalcore intensity with dubstep and EDM energy, whilst the legendary DJ Snake presents: The Outlaw – an alias showcasing the darker, heavier sound that he debuted at Lost Lands last year. Also playing is dark and aggressive dubstep don Code: Pandorum, French bass house innovator Habstrakt, tearout riddim star Hurtbox, dubstep veteran Modestep who will deliver a DJ set of classics, plus the dark, experimental dubstep and glitchy textures of Nimda and masked drum & bass maestro Reaper, plus many more to come. Blacklist Festival marks Germany’s most essential celebration of bass music and 2025 is already shaping up to be an epic edition. Date: 11th October, 2025 Location: Turbinenhalle in Oberhausen Website | Tickets | Instagram The post Germany’s Biggest Bass Festival Blacklist Reveals First Names For 2025 appeared first on Electric Mode.

Having come from the underground UK scene, our sound has always been a bit of a melting pot – full of different genres and sounds that might seem unconnected, but all link together in our music. It’s Rob from Casey Club here and I’m going to take you through 10 tracks that built the Casey Club sound – from genre-defining classics to brand new dubs that always get a wheel at every show! Flava D – In the Dance When I was at uni, there was a small house party and someone playing on a tiny set of decks to about 8 people. They were playing a genre I’d never heard before, garage, and the track was In the Dance by Flava D. I remember being so amazed at the track and asked the DJ loads of questions about how DJing works and what buttons did what. That was the start of me getting properly into music. Without that track, there’s no Casey Club. Having had Flava D support us both privately and in public means an immeasurable amount to both of us on a personal level. My Nu Leng – Senses (ft. Iyamah) For me, this track defines what a good bass track from the 2016ish is. My Nu Leng were the first ever proper rave I went to at The Hub (RIP!) in Plymouth. I remember being absolutely blown off my feet during their set and instantly knowing this is something I wanted to do forever. I’ve had a signed copy of this record on my wall which I sort of have as a reminder of the experiences and quality of music I set out to make right at the start of my journey. Simula – Bonesaw I’ve always loved D&B and anyone who listens to D&B regularly will be able to pick out loads of influences in the music we put out now. Bonesaw for me was particularly special as it was kind of the first time the bridge between jump up and minimal was being crossed where people were properly paying attention. It’s been really cool hearing a lot of the yoi-type sound design get repopularised in the UK over the last few years in D&B. It’s definitely helped me find a sonic middle ground between the UK and North America. (Also shout out to Scruz and Kippo for the crazy remix of this – still gets a spin nearly every set!) Alix Perez – BXL This is another seminal record for me. I can still so clearly remember Alix Perez uploading a teaser video filmed on his phone of his compressor VU meters and everyone sharing it on facebook, back when that was the undisputed way of doing promo! It’s definitely the sort of track where you don’t want to be skipping the drop, just soak it all in. Commodo, Ghantz, Khan – AMK I think it’s hard to talk about UK dubstep without talking about Deep Medi in some capacity. When dubstep got yoi-ified (technically accurate term), these guys stuck to their guns and went further the other way. This track specifically for me just defines that era of dubstep so well. It just sounds so real and analog, it paints such a specific picture in my head of what dubstep from the UK really sounds like. Para – UP2SOMMET The last D&B track I’m going to mention on this list. Para is a producer I’ve been a fan of for a relatively short amount of time but you can really tell he knows his stuff. This track makes such an impact when it drops, it’ll knock your head off if you’re not paying attention. I’m lucky enough to know him now as we both live in the same city. If you can get the chance to see him play I couldn’t recommend it enough! Cesco – Flump (Pineapple Records – 2025) Another local to me, Cesco, has been killing it for a long time now. It’s really hard to pick which tracks of Cesco’s are the best, Superstealth, Swing King and Move Too Slow all deserve an honourable mention in my book. He’s another one who, like me, has his roots in DnB but has turned his attention to UKG and 140 with incredible style. I think there’s a good argument that he has the nicest drums in this era of electronic music. I’ve heard lots of people try to copy them but no one has managed (yet). Hamdi – Counting (Taiki Nulight Remix) If you’ve been paying close attention to either of our social media you’ll know that me and Taiki work together quite a bit. I was writing another track called ‘Papi Riddim’ which led to us both reminiscing about how much we both love dubstep and so he started writing this at the same time. We’ve both been travelling down the 140bpm rabbit hole together for about a year and a half now and have a few collabs in the tank! Phrva – Quintuplet Riddim Phrva has been killing it over the last year or so, for me he’s been a standout in the new North American wave of dubstep, along with guys like Wink, Borne and Alexis B. Their sound reeks of the UK but you can tell it’s got that North American influence. I’ve been lucky to recently start working with these guys and it’s been really cool hearing their take on the 140 genre. I’m super excited to see what the next 12-24 months have in store for them! Skrillex, Sleepnet, Joker – Tears It’s hard to talk about dubstep now and not mention Skrillex, it’s much harder when he teams up with Sleepnet and Joker. I think there’s been a lot of the UK that were sort of angry with skrillex for “ruining” dubstep (I’m looking at you r/realdubstep), but I think it’s fair to say he’s gone full circle and has been instrumental in it’s resurgence. What I love so much about the whole Quest For Fire album, is that you can tell how much Skrillex respects UK electronic music culture. Grab Casey Club- Grill Here

This May, Club 77 celebrates 28 years of independence, sound, and late nights in Eora. To mark the milestone, the club is rolling out a month-long program that reflects its essence: a tight-knit mix of legends, longtime locals returning to the booth, boundary-pushers, emerging voices, and the residents who keep the heart beating, all here to celebrate where it’s been, and where it’s headed next. Across lockouts, shifting subcultures, and the city’s changing pace, 77 has evolved without losing what matters: a commitment to sound, community, and holding space for artists and dancers to grow slowly, intentionally, and close to home. The May program kicks off with a landmark moment: the long-awaited return of Bang Gang, the iconic six-piece collective who helped shape the sound and spirit of Sydney’s electro era. Known for their fearless selections, chaotic energy, and early-internet-era influence, the crew reunites for a one-night-only takeover, joined by special guests, for the first time in over a decade. A collective synonymous with the colour, chaos, and cultural imprint of 2000s clubbing, Bang Gang helped define the sound and spirit of a generation reshaping Sydney’s dance floors and leaving a legacy that still resonates. At the centre of that story is the late Ajax, whose vision and drive were instrumental in shaping both the group’s identity and the era’s sound. His presence will be deeply felt on the night. Reflecting on their formative Friday night slot at Club 77, Dangerous Dan shares: “It gives me this kind of excitement that’s hard to explain — not nervous or anxious, just that fuck-me-this-moment-can’t-come-soon-enough kind of excitement. The Club 77 crowd has always been there for one reason — to dance. It’s dark, it’s loud, and you can’t really talk much anyway. But they know what’s up. That’s my favourite kind of crowd. And what I’ve missed most? AJAX.” As a founding member of Bang Gang, the Sydney-born and Armenia-based Dreems makes his second appearance later in the month, joining Phil Smart for the next instalment of Tempo Comodo, a slow-tempo, exploratory series built on patience, space, and sonic intent. Where Bang Gang brings chaos and colour, Phil Smart brings depth and direction. Returning to close out the month, Club 77’s longest-standing resident and a cornerstone of its sound since 1994 continues to shape the floor with the same curiosity and precision that’s defined his sets for decades. A pioneer of Sydney’s underground scene, he was the driving force behind Tweekin’, one of the club’s most influential late ’90s parties. Earlier that decade, the Jus Right parties laid the foundation for a decades-long relationship with the venue. After Tempo Comodo with Dreems, Phil returns once more to close out the month solo — a final set from one of the DJs who helped shape the club from the ground up. Alongside returning names, fresh faces take the reins, playing 77 for the first time. Among them is Mowgli, a member of Kerfew, the Southeast Asian collective known for open-format sets and high-energy floors, whose long-awaited debut is supported by 77 resident and fellow Kerfew member Deepa. Known for his wide-reaching selections and instinct for groove, Mowgli’s set is a standout, a meeting point between his globally informed style and Deepa’s percussive, genre-spanning sound. Also debuting is DJ D.Dee, the Vancouver-based DJ and founder of Pacific Rhythm. Built on welcoming energy and a deep attention to flow, the ethos of his hometown parties aligns naturally with 77’s own. He’s joined by Mike Who, a longtime resident and key figure in Sydney’s music community. Together, they bring two scenes into conversation, shaped by curiosity, shared values, and dance floor sensibility. Adding to the new wave are artists shaping the future from the ground up. Aquenta and Rydeen go back-to-back, bringing raw groove and percussive energy alongside resident Ciara. A DJ and founder of Crip Rave Theory, a club night centred around Afro-Caribbean music and accessible dance floors, Aquenta brings a sharp sense of rhythm and intention to every set. Ari Kiko joins forces with Jhassic, while Wavyrager and Yemi Sul bring bass-heavy, genre-blurring momentum. Robbie Lowe returns alongside Arunya, a rising name with a sharp sensibility and sound of her own. Together, these artists round out a lineup that looks forward without losing touch with the room. At the core of the program, always, are the 77 residents, the ones who know the room best. Across late nights, first sets, and countless dance floors, they’ve shaped the club’s sound and spirit week in, week out. This month, they carry the birthday celebrations from start to finish. Barney Kato, Mazzacles, Phil Smart, Reenie, Jhassic, Ciara, Mike Who, Deepa, and Wavyrager all feature, holding space, setting tone, and keeping the floor in motion. 28 years in, Club 77 remains a pillar of underground culture, one of the most enduring, inclusive, and forward-thinking spaces in Australian nightlife. While scenes shift and the city changes around it, 77 has continued to evolve, not by standing still, but by championing new voices, nurturing community, and staying connected to the dance floor. This month’s program is more than a celebration; it’s a living reflection of what makes the club matter: the selectors who shaped its sound, the artists driving it forward, and the people who keep it moving. As always, it’s about community, continuity, and sound, held together by an inclusive spirit and a commitment to shaping what comes next. Join Club 77 to celebrate 28 years the only way we know how. All events are free with guest list registration before 12am, or $25 after. To access the full program and register for the guest list, see below or visit the Club 77 website. The post Club 77 celebrates 28 years of Independence appeared first on Decoded Magazine.

Photo Credit: NHL Harmonica players from the Koreatown Senior and Community Center have captivated LA Kings fans with their rendition of “The Star-Spangled Banner.” As the LA Kings geared up to face Edmonton over the weekend in Game 2 of their first-round playoff series, players were reminded to “pack your harmonicas” before the show hit the road. But if you think a harmonica sounds like a strange thing to bring to a hockey game, you may not be familiar with the game’s superstitious nature. While perhaps not as storied in its superstitions as baseball, hockey players aren’t afraid to show their appreciation for what they view as a good luck charm. This year, the harmonica has quickly become an unofficial good luck charm for the LA Kings, thanks to memorable pre-game performances of “The Star-Spangled Banner” played by a group of senior citizens from the Koreatown Senior and Community Center. Less than three miles away from the Kings’ home arena, the center offers 47 programs attended by around 1,500 people each week, according to Board Chair Yong Sin Shin. Seven years ago, a harmonica class was introduced, and the group started practicing the US national anthem in 2021. Several class members played the song to start a Los Angeles City Council meeting at City Hall on June 7, 2023. “That day, we received a standing ovation from LA City Council members and over 100 attendees, which gave us great confidence,” said Shin. This past January, the center was contacted by the Kings, said Shin, who were planning their K-Town Night to be held March 23, when the team hosted the Bruins. The center’s executive director, Kwanil Park, suggested the harmonica group play its well-received rendition of “The Star-Spangled Banner” before the game. The Kings loved the idea. That led to 13 women and one man from the harmonica class, dressed in traditional Korean hanbok, appearing at the game to play the anthem, “to an overwhelmingly positive response.” They were invited back for Game 1 against the Oilers last week, said Shin, and this time the group consisted entirely of women. After the Kings’ incredible win that night, the team’s X/Twitter account posted, “The power of the harmonicas,” with photos from the game. That led to another performance of the group at the following game, this time with the harmonica players wearing Kings jerseys. “The HarmoniKings are 2-0,” declared the team’s social accounts after another win. The team’s last few games have been away, but the Kings will arrive back home this postseason, and local fans are hoping they haven’t seen the last of the Koreatown Senior Center players. “We are currently discussing it with the LA Kings,” said Shin. View the full article

Photo Credit: Suge Knight by Nick Leisure / CC by 2.0 Suge Knight has agreed to a $1.5 million settlement to the family of Terry Carter, the man he ran over and killed in a 2015 hit-and-run. On Tuesday, Suge Knight appeared in court via video and agreed to a $1.5 million settlement in his wrongful death suit. The wife and daughters of Terry Carter, the man Knight ran over and killed with his truck in 2015, will each receive $500,000. The settlement prevents a retrial on claims made by Carter’s family, which would have led to jury selection beginning on April 30 had he not agreed to settle. Knight is currently serving a 28-year-sentence at the Richard Donovan Correctional Facility in San Diego and won’t be eligible for parole until October 2034. But he would have been forced to go on trial anyway—even without his lawyer, David Kenner, who has been trying to exit the case due to a conflict with Suge Knight. Knight provided a statement to Rolling Stone about the incident, explaining he had gotten into an altercation in a restaurant parking lot that night. The altercation escalated when Knight ran over Carter and another man before fleeing the scene. Carter died within an hour of the incident, while the other man suffered two broken ankles and a head laceration. “Terry was a friend of mine. It definitely wasn’t done intentionally. It wasn’t done to bring harm to him,” said Knight. “One of the reasons I settled [is] I got respect for Terry, so that means I’ve got respect for his family.” He continued: “I didn’t want to put the family through more pain. It’s not that I did anything wrong. I never would have. But I do owe the family an apology because of this thing they had to go through.” “It’s hard living without [Terry] when I lived all those many years with him,” said Carter’s widow. “It’s been very, very difficult. I’ve been in pain ever since January 29, 2015; I haven’t had a good day—not one good day.” She added: “I’m not happy with the outcome of it, at all, but I don’t want to give him another opportunity to put on a clown show and act like a bitch. Maybe somebody will shank him in jail.” View the full article

Photo Credit: Morgan Wallen by Andrew Wendowski / CC by 4.0 Nashville record label Big Loud has sold a minority stake in Morgan Wallen’s catalog to Chord Music Partners for $200 million. A representative for Big Loud, the Nashville label that’s home to country star Morgan Wallen, confirmed the sale of a minority stake in the singer’s catalog to Chord Music Partners. Chord made the purchase for $200 million, sources close to the matter said. “Big Loud has sold a minority stake in Morgan Wallen’s master recording catalog to Chord Music Partners, as part of a strategic investment to expand the label’s global footprint and fuel long-term artist development,” the rep told THR. “The deal was executed with the support of the internal Big Loud team, alongside partners at Chord Music, Republic Records & UMG, PLUS Capital, Eisner, Loeb & Loeb, DLA Piper, Dickinson Wright and Armanino.” Chord Music was founded in 2021, a collaboration between investment companies KKR and Dundee Partners. Its portfolio includes songs from John Legend, Ryan Tedder, and The Weeknd, among others. Universal Music Group bought a 25.8% stake in Chord last year as KKR stepped down. Big Loud has fast become one of Nashville’s major record labels since its founding in 2013. Its roster boasts Wallen, Hardy, Ernest, and Miranda Lambert, among others. Even Wallen alone offers lucrative multiples that will earn out steadily over the next decade or so, according to sources close to the strategic investment. Having forged a strong relationship with UMG’s Republic Records, Big Loud signed a multi-year distribution agreement with Republic’s Mercury Records last year. The deal with Chord—in which UMG already holds an equity stake—further strengthens Big Loud’s foothold in the sector and in Universal’s own ecosystem as the world’s largest music company. Morgan Wallen is gearing up for his I’m The Problem stadium tour, which kicks off in Houston on June 20. View the full article

Photo Credit: Victrola Record Players Vinyl sales slowdowns amid broader economic uncertainty spell trouble for several smaller vinyl companies. Vinyl records surpassed CDs as the most popular physical music format over the past few years; 2024 marked the 18th consecutive year that vinyl record sales grew. But the strain on vinyl production facilities has only been compounded by the increased demand. That increased demand was made all the more difficult by many manufacturing plants having closed down when vinyl sales first started to slow down back in the 80s. Now, the problem is getting worse again as vinyl sales appear to be cooling off—after a 33% drop in sales between 2023 and 2024. The birth of new manufacturers, like Jack White’s Third Man Records, helped ramp up capacity over the last decade. But supply shortages during the pandemic contributed significantly to longer lead times. In 2021, lead times averaged 27 weeks for new vinyl albums, compared to only six weeks of lead time two years prior. Ultimately, only major artists like Taylor Swift have the time and resources to put into a vinyl option with an album release. Now, in a post-pandemic landscape facing economic headwinds, numerous small vinyl manufacturers are calling it quits. Just last year, Brooklyn-based Leesta Vall bit the dust, while The Vinyl Lab in Nashville announced in January they would be closing their doors. This week, dozens of subscribers to the Vinyl Me, Please (VMP) record club in Denver have reported unfilled orders, a lack of refunds, and an unresponsive customer support staff. Worse still, some have noted liquidation notices from the company, even while the Denver business insists it will return to normal operations this month. “It seems VMP has stopped shipping records entirely and they’re still charging for memberships that promise new releases,” said long-time member Stewart Eastham, who says he is still seeking refunds from the company totaling over $1,000 in unfilled pre-orders and annual membership fees. “There has been zero communication and no response from customer support for over a month now.” Another long-time member, Chris Kaley, said he blames layoffs at the company within the last year for the lack of response. “They fired everyone,” he said. “Who’s left? They’ve never been this late in ten years.” The company appeared to be doing well in late 2023, but a slew of executive firings and lawsuits in early 2024 led to shipping delays and more job cuts. Between this and the broader economic uncertainty, it’s unknown whether VMP will be able to get back on its feet. View the full article

Photo Credit: Sam Smith, Normani – Dancing With A Stranger (Official Music Video) A copyright infringement lawsuit against Sam Smith and Normani over their hit “Dancing With a Stranger” has been revived by a federal appeals court. A federal appeals court has revived a copyright infringement lawsuit filed against Sam Smith and Normani over their 2019 hit “Dancing With a Stranger,” alleging it copied aspects of a similarly named song from 2015. On Tuesday, a three-judge panel of the 9th US Circuit Court of Appeals reversed a lower court’s decision to dismiss the case. According to the appeals court, a jury could find the hooks of the two songs to be “substantially similar.” Ultimately, a California federal judge will reconsider the matter. Sound and Color, copyright holder of “Dancing With Strangers” by Jordan Vincent and music duo SKX, filed the initial lawsuit in 2022. The filing alleged the song’s title, lyrics, melody, and overall production copied elements of the earlier track. Smith’s song has a noticeably slower tempo, but the lawsuit claimed the similarities are undeniable when the tracks are played at the same speed. Further, it asserted the underlying composition of both songs is “nearly identical,” and their hooks share the same lyrics and arrangement of phrasing. The case was dismissed by a California federal court in 2023, determining that the two songs were not substantially similar other than the phrasing of the title. But that was determined too general to be protected by copyright law. Now, the appeals court says the case should have gone before a jury. The court emphasized that there isn’t a well-defined standard for assessing similarities in the arrangement and selection of songs to determine whether infringement has occurred. “As Sound and Color’s experts opined, the hooks share the same combination of several musical elements, including the same lyrics, the same ‘metric placement’ at the beginning of each syllable, and the same downward ‘melodic contour’ that starts at pitch 7 and ends at pitch 3,” they wrote. “Defendants’ exhibit containing forty-three audio excerpts of songs with similar lyrics but differences in rhythm, pitch sequence, and melodic contour illustrates the ‘wide range of possible expression and broad creative choices’ involved in crafting a hook and thereby shows that broad copyright protection is appropriate.” The order arrives at a crossroads for similar cases, which for a while seem to have trended in favor of the artist being sued. Ed Sheeran won in two lawsuits that went before juries over his songs “Shape of You” and “Thinking Out Loud.” But cases of this nature can go either way; more often these days, such cases have been going before a jury due to the nuance involved in determining whether infringement has taken place. View the full article

Summer festivities in New York are right around the corner, and lineups are flowing like a river. The Radiate and Synchro Events production ManiFest returns to Brooklyn for a very special 4th of July. The underground event will host a plethora of special guests across three stages from 2 pm until 5 am at a secret location that will be disclosed the day of the event. ManiFest Lineup The ManiFest Phase 1 lineup is up and ready with a mixture of headliners and local acts. Independence day will be filled with a heavy Bass and House lineup that will spark up the dancefloor like fireworks. Headliners include Eazybaked, Chef BOYARBEATZ, and SISTO:DEVOUR. Local stars such as Akashic Sounds, Bronze Sun, Celestica, DJ Synchro, and Guyguy. Moreover, EDMTunes’ very own JAESYUN will grace the night with his pulsating beats and fun mixes. Tickets are available here! More of JAESYUN JAESYUN is an international DJ and music producer based in New York City. A classically trained musician and a veteran raver, Jaesyun grew up surrounded by music, but was unable to express his own artistic vision until he dove headfirst into the vibrant world that is New York City nightlife. After feeling inspired by the creativity and resilience of those around him, Jaesyun began putting his extensive training to work to produce his sound while also leveraging his impressive network of nightlife titans and dance music industry insiders to appear on stages across the world. His music is often a blend of high-octane house music that effortlessly weaves together a wide gamut of other genres, taking listeners on a sonic journey. JAESYUN has provided direct support to industry giants such as J. Worra, Kaleena Zanders, OMNOM, BIJOU, and Max Styler. He has also shared the stage with mainstream artists such as Chappel Roan, and Tinashe. The post ManiFest Returns To Brooklyn With Eazybaked, SISTO:DEVOUR, JAESYUN, And More appeared first on EDMTunes.

After a prosperous three years leading Billboard as President, Mike Van has been announced as taking over the new position of CEO. This exciting announcement comes as no surprise. Van’s reign has shown expansive success in revenue and Billboard’s presence worldwide. In the last few years, he has not only cultivated amazing live experiences at THE STAGE in SXSW, Billboard Latin Music Awards, Billboard Music Awards, and Billboard Woman in Music. Moreover, he also led a revolution by modernizing this company by utilizing the power of social media. Billboard’s Visionary CEO In his new role as CEO, he will dive into the task of driving both the editorial and business side of this company with Hannah Karp as his editor-in-chief. Directing Billboard, a company that blankets over 15 countries, will be no easy task. However, Mike Van is no stranger to filling big shoes. He has previously held leadership positions for companies like Pandora, MRC Entertainment, and Complex, amongst others. With over 25 years of experience in marketing and monetization, Mike Van will surely continue to lead Billboard to be a profitable and highly recognized brand. Mike Vance will report to the chairman and CEO of Penske Media Corporation, Jay Penske. Penske applauds Mike Van’s leadership so far, highlighting his abilities to create a collaborative and visionary environment. He is cultivating Billboard into a formidable force. Despite the demanding change within the music industry, Mike Van has continuously been able to supply outstanding results for the brand. “It is the honor of a lifetime to lead Billboard and the team,” Mike Van via Billboard’s Site After the news broke, he stated that Billboard will “shape the next 125 years by continuing to celebrate artist and executive achievements through our charts, content, global IP expansion and evolving our signature live experiences, cementing our position as the definitive voice of music business and culture.” With his words, he leaves everyone watching this brand develop on a hopeful note. They hope he will keep the ball rolling and continue to lead Billboard through the ever-changing industry of media and music. The post Billboard Announces First CEO: Mike Van appeared first on EDMTunes.

It’s that time of year again. One World Radio has officially kicked off the 7th edition of the Tomorrowland Top 1000, a celebration of the most iconic tracks in the history of one of the world’s most beloved music festivals. Starting today, electronic music fans around the globe can tune in for eight hours of daily programming that dives deep into dance music’s most unforgettable anthems. The countdown, featuring 125 tracks each day from Monday to Friday between 09:00 and 17:00 CEST, leads up to a grand finale on Friday, May 9, when the ultimate Number 1 track of 2025 will be revealed. The Power of the People: Fans Shape the Top 10 In a brand-new twist this year, the final order of the Top 10 is still up for grabs. Fans — the People of Tomorrow — can vote to determine the final ranking of the Top 10 via the Tomorrowland App or at tomorrowland.com until May 8. As an added incentive, participants will automatically be entered into a giveaway for two Full Madness Passes for Weekend 2 of Tomorrowland Belgium 2025. The winner, along with the most iconic anthem of the year, will be revealed during the final broadcast. A Top 10 Worthy of Dance Music Royalty While the ultimate #1 remains a mystery, One World Radio has revealed the 2025 Top 10 contenders in random order, and it’s a stacked lineup of timeless classics and modern anthems: Sebastian Ingrosso & Alesso feat. Ryan Tedder – Calling (Lose My Mind) Martin Garrix feat. Bonn – High On Life Hardwell – Spaceman Swedish House Mafia feat. John Martin – Don’t You Worry Child Alesso vs OneRepublic – If I Lose Myself Avicii – Wake Me Up Age Of Love – The Age Of Love (Charlotte de Witte & Enrico Sangiuliano Remix) Armin van Buuren – Blah Blah Blah Avicii – Levels Dimitri Vegas, MOGUAI & Like Mike – Mammoth These tracks have defined dance floors and festival moments for years, and with three new entries shaking up the Top 10, 2025 is shaping up to be one of the most exciting editions yet. What to Expect: Classics, Hits, and Fresh Energy Whether you’re in the mood for hands-in-the-air festival bangers or deep, emotional progressive house, the Tomorrowland Top 1000 delivers it all. Expect a curated selection of all-time radio hits, genre-defining records, and last year’s standout releases — all handpicked by Tomorrowland fans across the globe. As always, the countdown is more than a playlist — it’s a sonic journey through the culture and evolution of electronic music, with One World Radio as your guide. Where and How to Listen Tune in every weekday through May 9 via: The Tomorrowland App Tomorrowland.com One World Radio’s digital stream Don’t miss this annual tradition — a celebration of the music that shaped Tomorrowland and inspired generations of dance music lovers. The post Tomorrowland One World Radio Launches the 2025 Top 1000 appeared first on EDMTunes.

Riot Ten, a recognized force in bass music, has teamed up with Versa for their latest collaboration, ‘Threats‘. This powerful track marks the fourth single from Riot Ten’s upcoming album. It blends sharp synths, intense basslines, and high energy to create a dynamic riddim experience. ‘Threats’ ‘Threats’ opens with a heavy bass drone that quickly evolves into an anticipating bass, setting the tone for a high-energy track. A fakeout and vocal sample drops listeners into the first massive drop. The thunderous drop delivers mosh-pit energy, carrying you into a second build-up, leading to another explosive riddim drop. The combination of electronic mayhem and a heavy drum pattern makes this track a must-have in Riot Ten’s live sets. After the break, the track builds up again, creating an ultimate transition spot for DJs to incorporate the final drop into any classic riddim set. Riot Ten and Versa Born in El Paso, Texas, Riot Ten made his mark with hits like ‘Rail Breaker’. His music has been supported by industry heavyweights like Excision and Zeds Dead. Riot Ten has performed at top festivals like EDC Las Vegas, Coachella, and Lost Lands. His debut albums, “Hype Or Die: The Dead” and “Nightmares”, both saw chart-topping success. Versa, known for his bold sound design, has rapidly gained recognition in the bass scene. He’s been featured at festivals like Forbidden Kingdom and Delirium Festival. Versa’s ability to create crowd-opening tracks has made him a standout in the underground bass community. Riot Ten Tour Dates: 05.30.2025 – The Orlando Amphitheater at Central Florida Fairgrounds, Orlando, FL 06.07.2025 – HYPE OR DIE – El Paso, TX 06.13.2025 – ARORA NOLA, New Orleans, LA 07.31.2025 – Ember Music Hall, Richmond, VA 08.01.2025 – Dancefestopia 2025, Lacygne, KS Versa Tour Dates: 05.16.2025 — The Stache — Grand Rapids, MI 05.17.2025 — Red Rocks Amphitheatre (w/ ATLiens) — Denver, CO 05.31.2025 — Forbidden Kingdom Festival — Orlando, CO 06.13.2025 — Delirium Festival — Quebec, CA 06.21.2025 — Hostile Presents Construction Warehouse Rave — Los Angeles, CA The post Riot Ten and Versa Drop ‘Threats’ – A New Riddim Banger appeared first on EDMTunes.

Porter Robinson is set to return to Miami’s legendary Club Space for a rare sunrise DJ set on June 20th. This marks his first performance at the iconic venue since 2023, where he performed as his progressive house alter ego, Air2Earth. The highly anticipated set promises an unforgettable experience of Porter vibes and a lovely South Beach sunrise. Porter at Club Space: Set Details Robinson has hinted that the performance will showcase a mix of genres, featuring his favorite club music. Fans can expect a blend of house music, disco, and progressive house sounds, combined with the signature Air2Earth vibes. Along with his usual setlist, Robinson promises a taste of his classic tracks. “Expect a lot of house music, disco, prog house, Air2Earth vibes mixed with some of my Porter classics and all the club music I’m interested in…. Def not a pop show 🙂 come if you love repetitive dance music.” Porter Robinson via Instagram Story About Club Space and Upcoming Shows For more than 25 years, Miami’s Club Space has been a cornerstone for electronic music enthusiasts seeking unforgettable raves. Popular for its extended after-hours parties, the club attracts top DJs and selectors from around the world. Space’s legendary Terrace, with its clear ceiling, offers a unique experience where revelers can watch the starlit sky transform into sunrise, creating a magical atmosphere for fans to immerse themselves in the music. The club has earned a reputation as one of Miami’s premier destinations for electronic music, constantly pushing the boundaries of nightlife. Overall, Club Space will provide the perfect backdrop for Porter Robinson’s sunrise set. The post Porter Robinson Announces Rare Sunrise DJ Set at Miami’s Club Space appeared first on EDMTunes.

An interior shot of Deezer’s Paris headquarters. Photo Credit: Deezer Deezer has reported a modest revenue improvement – and a subscriber dip – for 2025’s opening quarter. Nevertheless, execs are still banking on “reaching profitability this year.” The publicly traded streaming company (DEEZR on the Euronext Paris) today published its Q1 2025 financials as well as its close to 300-page 2024 annual report. Keeping the focus on the former, Deezer disclosed Q1 2025 revenue of €134 million (currently $151.71 million), up 1.1% YoY. Behind the sum, the Paris-headquartered business pointed to $90.04 million/€79.5 million (up 4.5% YoY) in first-quarter revenue from France, where “the contribution of a new deal signed at the end of 2024” fueled growth. The remaining $61.73 million/€54.5 million (down 3.4% YoY), on the other hand, resulted from operations in all nations except France. Unsurprisingly, given those details, Deezer’s France-based direct subscribers increased 6.3% YoY to 3.5 million during Q1, against a 2.1% YoY slip to 1.8 million for Rest of World. Letting Deezer take the wheel for a moment, the business updated its Q1 2024 figures for the report. “Q1-2024 data has been restated to offset the effect of the 50 thousand inactive Family account removal, on a like for like(LFL) basis,” the Access Industries subsidiary acknowledged in a footnote. Meanwhile, non-direct “partnership” subscriptions, like with Mercado Libre and more, fell 14.6% YoY to 4.1 million for Deezer in the first quarter, the report shows. Even so, partnerships ARPU grew 2.6% YoY to $3.51/€3.10 as direct subs slipped 1.2% YoY in the same category to $6.23/€5.50. As initially mentioned, Deezer doubled down on its longstanding objective of achieving profitability. “As previously announced,” CEO Alexis Lanternier said in part, “we are fully focused on executing our new strategic direction, introducing bold and innovative music experiences designed to create long lasting value for fans, artists and our partners. “New features are already live, with intuitive personalization and universal sharing, setting the tone for what we continue to build – a next level music experience based on the expectations of music fans of today and tomorrow. “With confidence, we confirm our 2025 guidance and our objective of reaching profitability this year,” concluded Lanternier, who came aboard in 2024. Deezer unveiled those new features – bolstered user control over algorithm recommendations, enhanced interface customizability, monthly consumption stats, and “a universal sharing link” that works across all streaming platforms – earlier in April. During today’s trading, Deezer shares parted with about 1% of their value, finishing at $1.61/€1.42 apiece when the market closed. View the full article

While we all see the impressive production and performances from our favorite artists at Coachella each year, Zedd has provided an in-depth look into the immense preparation for that single hour onstage. When fans secure their tickets to festivals or tune into livestreams, it's easy to assume that the performer simply shows up a few minutes before their set, performs and then goes home. But the job begins way before they even step foot on the festival grounds. To share this often-unseen reality with his fans, Zedd developed a behind-the-scenes documentary about his performances in Indio earlier in the month and uploaded it to YouTube. In the video's 15-minute runtime, fans are given exclusive looks at his rehearsals with collaborators Julia Michaels and Bea Miller as well as his production team. The film also features footage of backstage encounters with fellow artists like Becky G, LL Cool J, Lisa, Jaden Smith and Gryffin before closing out with backstage views of Zedd's Outdoor Theatre stage performance. You can watch Zedd's full behind-the-scenes documentary from both weekends of Coachella 2025 below. Follow Zedd:Instagram: instagram.com/zedd TikTok: tiktok.com/@zedd X: x.com/zedd Facebook: facebook.com/zedd Spotify: spoti.fi/2CoYpk2

Fat Joe, who’s filed a defamation lawsuit against one of his former employees. Photo Credit: Mika-photography Drake isn’t the only rapper suing over allegedly false pedophilia claims. Now, Fat Joe says his former hype man defamed him with untrue allegations “of vile sexual misconduct, pedophilia, statutory rape, violence and stealing.” 54-year-old Fat Joe (real name Joseph Cartagena) just recently submitted the complaint to a federal court in his native New York. Aside from the mentioned hype man, Terrance Dixon (known professionally as TA), the complaint names as defendants attorney Tyrone Blackburn and his law firm. For a bit of background, Fat Joe brought on TA as his hype man in or around 2006, according to the suit. Over the course of the professional relationship, which is said to have “ended amicably in 2019,” Fat Joe purportedly afforded TA “generous compensation.” Fast forward to 2023, when TA allegedly “initiated a campaign of public harassment against” Fat Joe on social media. “In an obvious money grab, all these years later, Dixon claims that he should have been paid more. He claims (falsely) that Cartagena recently blocked him from getting outside funding for a record label, which was the ‘last straw,'” the suit reads. Furthermore, some of those not-so-subtle posts, which were still live on Instagram at the time of writing, accused the five-time Grammy nominee of sexual assault. The accusations pertain in part to 2010 “inappropriate touching” allegations against Fat Joe, who denied the claims at the time and was cleared “of any involvement shortly” thereafter, per the text. “Dixon knew that these statements were false: Cartagena never sexually assaulted anyone,” the suit maintains. “Authorities never charged or detained Cartagena…and cleared him of any involvement shortly after speaking with him. Rather, Dixon attempted to resurrect a decade plus-old false accusation and headline to support his campaign of harassment and extortion.” Unsurprisingly, given the complaint, this alleged campaign was accompanied by demands for Fat Joe to cough up cash, per the suit. Also unsurprisingly in light of the action, the rapper didn’t cave to the payment demands then or later in 2023, when the remarks “escalated” and “accused him [Fat Joe] of being a pedophile.” Fast forward once more, past 2024 (when the alleged defamation continued) and into the current year. To this point in 2025, TA has allegedly levied false accusations at Fat Joe for cheating “him out of money and credit” on songs, besides penning “countless other posts attempting to belittle and humiliate” the plaintiff. “Frustrated by his inability to overcome Cartagena’s resolve,” the complaint continues, “Dixon upped the ante by hiring” the aforementioned “Blackburn to continue his extortionate scheme.” That attorney’s name will be familiar to some in the industry – though as Fat Joe and his counsel see things, Blackburn is only “an extortionist masquerading as a lawyer in a cynical ruse to use the court system as both a sword and a shield for his unethical conduct.” Long story short, Fat Joe and his team are accusing Blackburn of engaging in “a pattern of unprofessional and erratic behavior that raises significant concerns.” Said behavior includes allegedly threatening letters, an alleged threat to report Fat Joe to Homeland Security, and a whole lot else, the suit explains in more words. And it’s against this backdrop that the defendants allegedly made massive settlement demands – one for a staggering $20 million – to prevent related litigation, according to the action. All told, Fat Joe is suing TA for defamation and seeking relief from both TA and Blackburn for intentional infliction of emotional distress. DMN reached out to Blackburn for comment but didn’t immediately receive a response. View the full article

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University. Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months. The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather. “The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.” She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.” Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others. Read the complete report here. Featured image courtesy: Pitch Music & Arts. The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac. View the full article

A new report investigating the impacts of climate change on the Australian festival scene finds that increasing extreme weather events in the country are an immediate threat to its live music sector. Released today by Green Music Australia, the report, titled “Rain, Heat, Repeat: How Music Fans Are Experiencing Extreme Weather,” compiled survey responses from Australian festivalgoers and analysis from academics at the Royal Melbourne Institute of Technology (RMIT) and La Trobe University. Researchers have found that more than 50 Australian festivals have been fully or partially canceled due to extreme weather events, including floods, bushfires, heatwaves, and storms, since 2015. Last month, 26 live music events were canceled in just one week due to the impending arrival of Severe Tropical Cyclone Alfred. Beyond canceled events, the report found that just over one-third of the 1,155 people surveyed said increased extreme weather events have made them cautious about purchasing tickets, with that total rising to nearly 45 percent among weekly showgoers. One in three surveyed said they would skip a festival entirely if temperatures exceeded 35 degrees Celsius (95°F). When they did attend, 85 percent of respondents reported experiencing what they considered “extreme weather” at a festival in the last 12 months. The report’s co-author, RMIT sociologist Catherine Strong, contends that these shifting consumer habits as a result of extreme weather pose an additional obstacle for festival promoters facing rising costs and safety challenges due to hot or stormy weather. “The normal way the festival industry does business relies on a certain number of tickets to be sold early and often,” Strong told The Guardian. “People are now getting cautious enough about the weather that they’re starting to leave their ticket buying to the point where they can meaningfully look at a weather forecast.” She continued: “This in turn affects how festivals can assess whether or not they are viable, and for a lot of them, that’s just not practical.” Green Music Australia’s recommendations for addressing the issue include government action on climate science, consumer protection for ticket holders, and climate-resilient festival infrastructure such as shaded areas, heat shelters, water refill stations, and flood-resistant staging, among others. Read the complete report here. Featured image courtesy: Pitch Music & Arts. The post New Report Says Extreme Weather Poses “Existential Threat” To Australian Festival Scene appeared first on EDM Maniac. View the full article

Last year MANLY dropped the speaker shredding ‘REVENGE’ EP which took the bass scene by storm with it’s insanely powerful and aggressive sound. He’s been quickly making a name for himself with his crazy productions and ‘BLOOD BATH’ further solidifies MANLY’s growing reputation. Crashing the genres of tearout and riddim together, ‘BLOOD BATH’ is a high intensity, high impact, beast that thrills throughout. The breakdowns carefully build tension for the drop through foreboding atmospherics and restrained synths that are let loose in the chorus’. The Sydney based DJ pulls no punches here with a track that pushes the limits of aggression while remaining controlled when it needs to. MANLY’s work has gained support and recognition from the scene’s top DJs including MARAUDA, SVDDEN DEATH, and MIDNIGHT T. His music has appeared on renowned labels like MALIGNANT, MENTIS, and SOUNDS OF MAYHEM where he has continued to grab people’s attention with his raw and brutal sound. ‘BLOOD BATH’ is in your face, full throttle, bass music at its finest. MANLY’s talent for creating controlled chaos is unmatched making him a must watch artist who is becoming an unstoppable force. You can follow MANLY on his socials below:

EDC Thailand 2026 is leveling up with four major updates after a successful debut this year: a brand-new venue, the first-ever Hotel EDC in Thailand, official confirmed dates, and ticket prices. From January 16–18, 2026, fans will dance across expanded grounds at Rhythm Park, can stay beachfront at the five-star Angsana Laguna Phuket by Accor, and enjoy a fully curated festival-meets-resort experience. Organized by Insomniac and destination partner Vibee, this year’s edition delivers a fully immersive rave journey anchored in luxury, music, and community. Ticket and package sales from $195 for 3 days, begin with Future Owl presales on May 2, so early birds can lock in discounted access. EDC Thailand 2026 isn’t just another festival weekend—it’s a complete destination experience for traveling ravers worldwide. A New Home at Rhythm Park EDC Thailand 2026 moves to Rhythm Park, a brand-new venue located in Laguna Phuket, just meters from the former site. The park is close to Boat Avenue, offering easy access for returning fans and international visitors flying into Phuket. This purpose-built space is larger and wider than before, giving fans more room to explore and dance freely. Designed for music festivals and cultural events, Rhythm Park enhances both crowd flow and production capacity across multiple stages. Surrounded by beaches, resorts, and tropical landscapes, the venue introduces a more immersive environment for the EDC experience. Rhythm Park is now positioning itself as Phuket’s new cultural hub, with EDC leading its international rollout. Hotel EDC Thailand 2026: A Five-Star Festival Retreat Hotel EDC Thailand will take place from January 15–19, 2026, marking its first international edition and setting a new festival standard. Guests will stay at the five-star Angsana Laguna Phuket by Accor, a beachfront luxury resort just minutes from Rhythm Park. Each Hotel EDC package includes a 4-night stay, 3-Day GA or VIP festival pass, and a Headliner Party Pack. The rooms host up to four people, designed with official EDC-themed gear for added excitement. Guests receive limited-edition merch, along with daily complimentary breakfast and food and beverage credits for select locations. A dedicated Vibee concierge will assist guests throughout the weekend with smooth check-ins and hotel support. Hotel EDC guests will unlock exclusive access to the EDC Thailand Beach Party and daily hotel pool parties with live DJ sets. The experience includes wellness sessions, like sunrise yoga, meditation, and immersive water activities in the Andaman Sea. Guests can snorkel, relax by the beach, or attend interactive installations with pop-up DJ booths and performers. The resort features fine dining, white sand beaches, and photo-worthy backdrops designed to match EDC’s visual aesthetic. Each moment extends beyond the music, creating a fully programmed rave journey within the property. Those choosing the VIP Hotel EDC experience receive expedited festival entry, private viewing decks, and premium air-conditioned restroom trailers. A beauty bar on-property allows guests to get rave-ready before heading to the festival each day. All VIP areas are 20+ only, and require valid photo ID for access across all EDC zones. “It’s not just a place to sleep—it’s a fully programmed journey where every moment is connected to the festival energy,” said Vibee and Insomniac. Hotel EDC Thailand presale opens May 1, 2025, with general on-sale May 2, 2025 at HotelEDCThailand.com. EDC Thailand 2026 Ticket Prices The Future Owl presale starts May 2 at 09:00 ICT (May 1 at 7PM PT) for fans eager to plan early. A 3-Day GA pass costs $195, giving access to all stages, performances, and EDC art experiences across the weekend. The 3-Day VIP pass starts at $315, and includes exclusive perks like fast-lane entry, VIP restrooms, and private viewing areas. VIP ticket holders must be 20+ with valid photo ID, and must present proof for all restricted areas. Buying early guarantees lower prices, and protects against scammers selling fake or overpriced tickets. Fans should buy only from official ticketing platforms listed on thailand.electricdaisycarnival.com. Image Credit: Skyler Greene The post EDC Thailand 2026: New Venue, First Hotel EDC, Tickets, and More appeared first on EDMNOMAD. View the full article

Photo Credit: Hugh Forrest for Penske Media Former South by Southwest President Hugh Forrest says parent company Penske Media forced him out during an executive shakeup. According to former South by Southwest (SXSW) President Hugh Forrest, leaving his role was not his choice. Instead, it was the decision of parent company, Penske Media, which now owns a 51% stake in SXSW. “Leaving SXSW was definitely not my decision,” said Forrest in a statement. “I put my heart and soul into this event for more than 35 years—and I was looking forward to leading several more editions. To this end, I will be rooting big time for the Austin team going forward. The city, the country, the world needs the positive energy SXSW has traditionally provided, needs it now more than ever.” Notably, his statement pushes back against Penske’s own about his exit. According to the publishing and events giant, its board elected Jenny Connelly to lead the Austin festival as its “director in charge.” This decision, they said, upset Forrest enough that he left the company. “When Hugh was told he was not going to get the CEO role at SXSW, and would be reporting to her, Hugh made the decision to leave SXSW,” reads a statement from Penske. Forrest is one of 11 former employees who either left or have been fired by SXSW recently, including its veteran head of communications and its chief technology officer. Both their exits and the broader changes to SXSW were announced by Connelly on a video call last Friday. According to The New York Times, SXSW did not meet Penske’s “ambitious” goals for the year—or in 2024. But the company has downplayed that assertion, focusing on this year marking “the highest ever sponsorship revenue in the history of the company.” Penske Media acquired a 50% stake in SXSW in 2021, and it increased that stake by 1% two years later to take a controlling interest. Penske is the owner of Hollywood trade outlets such as Variety and The Hollywood Reporter. View the full article

I’ve been going to Siam Songkran since its first edition in 2019. Each year had its own highlights, but something about 2025 felt like coming home. The return to Bravo Arena brought back memories of the early days, when the setup was simpler but everything felt connected. This year managed to take that original feeling and build on it without overdoing anything. There were proper seating zones and shaded areas that helped when you needed a breather between sets. The food and chill zone was packed with options. I stopped by stalls serving grilled meats, som tam, and crispy pork with rice. That pork stall had a full queue by the time people started arriving in real numbers. Amazon Coffee was set up inside the same area. I went more than once for an iced americano, and every time the booth was already busy. One part of the festival that stood out was the Muay Thai area. Trainers were holding sessions where people could try simple moves or just watch. It was set along one of the main walkways so you couldn’t miss it. A small crowd was gathered every time I passed. Nearby was a smaller stage focused on Thai DJs. It was a tight space, but the crowd stayed and the sets kept building. I didn’t plan to spend that much time there, but I ended up staying longer than expected because the music pulled me in. Sets That Stood Out Dillon Francis had one of the most ridiculous and fun sets of the weekend. He pulled out a giant Thai inhaler mid-set and sniffed it on stage like it was nothing. The crowd around me started laughing, but he didn’t make it a big deal. He just kept going. The music jumped around like his sets always do. Nothing was predictable. There were no awkward pauses, no dragged-out sections. Just him doing what he does best without taking it too seriously. Yellow Claw and Flosstradamus went back-to-back and it turned into one of those sets where you didn’t want to move. I was front row with friends and we didn’t stop dancing the whole time. Every drop hit the way it should. There were moments when the crowd shouted before anything even happened. The trap sections brought everyone together. It felt exactly like the kind of set we needed. Hardwell brought out all the bigroom tracks people were hoping for. He gave space for the older stuff but didn’t turn it into a throwback set. The last fifteen minutes were the part that stuck with me most. He dropped his new collab with Sub Zero Project and it hit straight away. Right before ending, he thanked his tour manager who was stepping down after years on the road. It was a quiet moment but it meant something. Then he closed out strong without dragging it out. Dimitri Vegas and Steve Aoki playing together felt personal. I’ve grown up listening to both of them so seeing them share a set was something I didn’t think I’d get to experience. They didn’t overdo anything. They just played everything they knew would work. It was track after track and every one of them landed. For someone like me, that set was the kind you walk away from smiling without needing to explain why. Transitions That Deserved Attention Siam Songkran 2025 took its transitions seriously. Between the big sets, the festival didn’t just rely on background visuals or sponsor reels. Instead, there were short performances that brought Thai culture to the front. Traditional instruments were played live on stage alongside Thai dance routines. The performers came out in full costume and moved across the platform while the crowd watched quietly. It wasn’t something people ignored. Most stayed in place and watched the entire thing. There was no talking or explanation. It didn’t need any. The performances spoke for themselves. It was clear that Siam Songkran had made a choice to build these parts into the experience rather than treat them as something optional. At one point, there was a drone show that caught everyone’s attention. The drones moved in unison and created visual shapes that tied back to the Songkran theme. After that, a fireworks sequence lit up the sky. It didn’t feel rushed or thrown in for effect. People actually stopped what they were doing and looked up. For a few minutes, nobody was filming or talking. They just watched. Siam Songkran didn’t treat these transition moments as background. They gave them space. They gave them meaning. Without forcing anything, it reminded everyone that the festival is still rooted in where it started and why it exists. Final Thoughts Siam Songkran 2025 didn’t feel like it was trying to outdo itself. It brought things back to where they worked best. The return to Bravo Arena gave the festival its footing again. The setup was clear. The experience didn’t feel scattered. Everything had a purpose. The Muay Thai zone made sense where it was. The food and chill area had the right balance. The smaller stage for Thai DJs got real attention. The traditional dance and instrument performances between sets gave people something to stop and watch. The drone show and fireworks were done properly and added something that stuck with people afterward. None of it felt like filler. I’ve gone every year since 2019. This edition reminded me why. It wasn’t just about the names on the lineup or how loud the production could go. It was about how it all came together. Siam Songkran didn’t try to be something new. It brought back what people liked in the first place and kept it real. If next year follows the same approach, I’ll be there again. No question.

Udio is set to begin fingerprinting its outputs under a deal with Audible Magic. Photo Credit: Possessed Photography With AI tracks pouring onto streaming services in droves, Udio is now set to begin fingerprinting its users’ outputs under an Audible Magic tie-up. The involved parties reached out with word of the audio-ID system. Revolving around a “content control pipeline,” the approach will see Udio register tracks at the source via Audible Magic so DSPs can then “reliably recognize” the works, according to the companies. From there, Udio and Audible Magic drove home in their formal announcement, said DSPs (and, before that, distributors) can “apply the appropriate business rules around” the labeled recordings. Time will tell exactly what the “business rules” entail; Udio intends to begin rolling out the fingerprinting feature during “the coming months.” And in the bigger picture, Udio certainly isn’t the only music-generation player in town. To be sure, plenty of other AI music platforms are pumping out audio like no tomorrow and appear unlikely to stop doing so anytime soon. But Audible Magic didn’t hesitate to tout Udio’s “proactive rights management solution…as a model for how AI platforms and rights holders can work together” moving forward. “This partnership demonstrates Udio’s substantial commitment to rights holder transparency and content provenance,” indicated Audible Magic CEO Kuni Takahashi. “Registering files directly from the first-party source is a clean and robust way to identify the use of AI-generated music in the supply chain.” Regarding the scope of AI music’s streaming-service explosion, Deezer earlier in April said north of 20,000 machine-made tracks were hitting its platform daily. That’s up from 10,000 daily AI uploads closer to 2025’s beginning, according once again to Deezer, which has for years been striving to identify the relevant works. Furthermore, evidence has already pointed to both largescale AI royalty scams and more measured approaches to absconding with compensation that would have otherwise reached proper artists (or at least their labels). In a nutshell, the situation is one component of an increasingly raw streaming deal for non-major-label talent. It’s harder than ever for these artists to stand out in the badly overcrowded streaming arena, and many are being denied would-be royalty payments to boot. But this adjacent consideration is a different discussion. At least in theory – and assuming on-demand platforms, not solely rightsholders, actually utilize the information – labeling AI-generated uploads accordingly could be a means of counteracting the intensifying audio tidal wave. However, doing so won’t settle the ongoing debate about generative AI training authorization – a topic front and center in multiple industry lawsuits. One of those high-stakes suits involves the major labels and Udio, another involves Amazon-partnered Suno (which itself inked an Audible Magic deal in October 2024). The plodding cases are still wading through the discovery waters; in the Suno showdown, the presiding judge today granted a joint request to extend a written-discovery deadline until May 30th. View the full article

Photo Credit: Downtown / Audius Audius, the largest decentralized music community, discovery platform, and marketplace for artists and fans, signs a global deal with Downtown Music. The deal encompasses both the recording and publishing side of Downtown’s business, and paves the way for millions of licensed recordings from Downtown’s extensive catalog to be added to Audius. It also unlocks a new way for Downtown’s artists and labels to directly connect with their fans and control how their music is monetized beyond the typical streaming model. Artists on Audius can set their own terms and control the pricing of their music, and fans can support their favorite artists with direct payments. Music fans can seamlessly use their credit card to pay artists in USDC, which can be converted by artists and rights holders to any currency of their choice. “Downtown’s rich client base is one of the most respected in the industry, and we’re thrilled to bring it to the Audius community,” said Roneil Rumburg, co-founder and CEO of Audius. “When artists and labels can maintain full control over how their work is shared and monetized, and fans can directly support the music they love, everyone wins.” “At Downtown, our mission is to empower creativity, and we strive to provide our artists, songwriters, and the businesses that work alongside them with innovative opportunities to connect directly with fans and earn more from their music,” said Harmen Hemminga, VP of Product & Services Strategy, Downtown. “Audius opens new doors for creative fan engagement and monetization, putting control into the hands of artists and rights holders. We are excited to see how our clients’ catalogs thrive in this unique ecosystem.” Having built a global ecosystem across four core service divisions—Artist & Label Services, Distribution, Music Publishing, and Royalty & Financial Services—Downtown currently supports over 4 million artists and 5,000 business clients in 150 countries. Downtown works with artists, songwriters, and rights holders at every stage—from newcomers to hitmakers and icons—while managing the estates of some of the most beloved artists in the history of popular music. These include Meat Loaf, Miles Davis, and John Lennon & Yoko Ono. Recently, Downtown has signed deals with Neton Vega (Downtown Artist & Label Services), Jason Mraz (Downtown Neighboring Rights), Pamungkas (FUGA), and Cameron Montgomery (Downtown Music Publishing). View the full article

Photo Credit: Jessi Vaughn Stevenson (WCM), Jared Mullins, Morgan Wallen, and Phil May (WCM) by David Lehr Warner Chappell Music Nashville and Morgan Wallen’s publishing company, Wilder Music, have signed a global publishing deal with Jared Mullins. Known for his dynamic songwriting, singer-songwriter Jared Mullins has co-written several No. 1 hits, including “Thank God” by Kane Brown featuring Katelyn Brown, and Jake Owen’s “Homemade.” Both tracks topped the Billboard Country Airplay chart, while the latter also headed the Country Aircheck/Mediabase charts. Mullins’ growing list of collaborators include Wallen, Little Big Town, and Mitchell Tenpenny, among others. “I’ve been lucky enough to know Morgan for over a decade,” shared Jared Mullins. “As an artist, he’s obviously one of the greatest of all time, but he’s also one of the best writers in the world. I’m extremely grateful and incredibly humbled that he believes in me enough to make me the first signing of Wilder Music.” “Warner Chappell is known for championing great songs and for signing and re-signing some of the best writer ever to put words and melodies together. Working with Jessi and getting to know the rest of the WCM crew has been amazing. I’m so thankful for this opportunity and I can’t wait to see what the Lord has in store for me,” Mullins continued. “I’ve seen firsthand the amount of talent Jared has as a writer. He brings passion, authenticity, and fresh ideas in every write he’s in. It’s undeniable,” says Wallen. “I’m humbled to be launching this new venture with Warner Chappell, and even more excited that Jared is the first signing at Wilder Music.” “It is incredibly exciting to be working with Jared. His talent is vast and varied, and to be partnering with Morgan is the cherry on top,” adds Jessi Vaughn Stevenson, VP, A&R and Digital, WCM Nashville. Growing up between Westminster, Maryland, and Romney, West Virginia, Jared Mullins spent the majority of his childhood along the East Coast. In 2013, he moved to Nashville, eager to make his mark on the country music scene. He quickly began making a name for himself on Music Row by building connections, developing his brand, and focusing on crafting exceptional music. Throughout his career, Mullins has contributed to various recordings for a range of country music artists such as Cole Swindell, Justin Moore, Granger Smith, Runaway June, and Parmalee, among many others. In 2022, he co-wrote LOCASH’s single, “Beach Boys,” featuring The Beach Boys’ co-founder Mike Love and longtime bandmate Bruce Johnston. View the full article