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Aloe Blacc is once again hosting a poignant tribute to honor Avicii, inviting fans around the world to take part in a special livestream to celebrate the life and legacy of the late EDM legend on the seventh anniversary of his passing. The stream is scheduled for place Sunday, April 20th at 12pm ET (9am PT) via Instagram Live. The event will feature special guests, reflections on Avicii's enduring impact on electronic music and candid conversations about mental health. Blacc has encouraged fans to submit their own stories and memories about what Avicii's music meant to them, which he will read and respond to live. "Tell me what Avicii meant to you," he wrote in an announcement on Instagram. The renowned singer-songwriter has long been dedicated to celebrating Avicii's legacy. The two famously joined forced on the global dance hit "Wake Me Up," a generational dance anthem released back in 2013. Blacc's vocals also featured on 2019's "SOS," the first posthumous single to release after Avicii’s tragic death by suicide at the age of 28. Blacc has led annual tributes through livestreams and global fan gatherings. He performed at the massive Avicii Tribute Concert in the DJ's home of Stockholm in 2019, which brought together over 50,000 fans. On the fourth anniversary of the DJ's death in 2022, he recorded his vocals from "Wake Me Up" in Mandarin and Spanish as a tribute to Avicii’s global impact. Fans can tune into the livestream on April 20th, 2025 via Instagram and submit their Avicii memories ahead of time here. View the original article to see embedded media. Follow Aloe Blacc:Instagram: instagram.com/aloeblacc X: x.com/aloeblacc TikTok: tiktok.com/@aloeblaccofficial Facebook: facebook.com/aloeblacc Spotify: spoti.fi/37DmFMz

Photo Credit: Yo-Yo Ma by Joi Ito / CC by 2.0 Amid continued cost-cutting at major labels, whispers emerge of Sony Classical enacting mass layoffs. As major labels continue their onslaught of cost-cutting endeavors, classical music news site Slipped Disc reports whispers of mass layoffs at Sony Classical. “People we’ve tried to contact are no longer there,” writes Norman Lebrecht. “Among them is the boxed-set reissue specialist Robert Russ at the company’s headquarters in Berlin.” “Our mole says, ‘Just heard this: a huge shake up at Sony Classical. Everyone has been fired. A lot of the masters being stored at Iron Mountain in New Jersey are going to just do nothing because all the people who knew what is there have been fired,’” the post continues. Digital Music News reached out to Sony Classical directly, but did not receive a response in time for press. Sony Classical was launched in 1924 as Columbia Masterworks Records, a subsidiary of Columbia Records. The label was renamed in 1980 to CBS Masterworks Records, and renamed again in 1990 after its acquisition by Sony in 1988. Sony Classical has represented the likes of Leonard Bernstein, Yo-Yo Ma, and Hans Zimmer. Despite rumors of job cuts, the label announced just last week the signing of 23-year-old Russian pianist Alexander Malofeev to an exclusive agreement. Malofeev has performed with orchestras like the Philadelphia Orchestra, the Boston Symphony Orchestra, the Orchestra of the National Academy of Santa Cecilia, the Lucerne Festival Orchestra, and Orchestra Filarmonica della Scala. “Alexander Malofeev is undoubtedly one of the most exciting pianists of his generation,” said Per Hauber, President of Sony Classical. “Despite his young age, he can already look back on an impressive career on stage.” At age 13, Malofeev won the International Tchaikovsky Competition for Young Musicians in 2014, and garnered the Grand Prix at the First International Competition for Young Pianists Grand Piano in Moscow. In 2017, he was announced as the first Yamaha Young Artist, and he has been a guest at numerous festivals, including Tanglewood Music Festival, Aspen Music Festival, and Verbier Festival. “In Sony Classical, I have found the right place to bring my personal recording vision to life — with genuine trust, openness, and a shared sense of artistic curiosity,” said Malofeev. “Recording for me is about capturing a moment that feels magical and honest. It’s an exciting beginning.” Malofeev’s debut album with Sony Classical is set for release this fall. View the full article

Photo Credit: Lil Nas X / Instagram Lil Nas X has shared a health update with fans after he was hospitalized with a mysterious illness that paralyzed the right side of his face. Sharing a picture of himself, the rapper writes, “This is me doing a full smile right now by the way. It’s like, what the f**k? Bro, I can’t even laugh right now. Oh my god!” A few hours later, the rapper shared another video zooming in on his face showcasing the difference between the two sides. “We normal over here, and we crazy over here!” He asked his fans not to worry about him, stating “stop being sad for me. Shake your ass for me instead!” The “Old Town Road” rapper isn’t the only high-profile celebrity to deal with facial paralysis—usually diagnosed as Bell’s Palsy. In June 2022, Justin Bieber shared an update with his fans stating he was diagnosed with Ramsay Hunt syndrome, a rare neurological disorder caused by the same virus that causes chickenpox and shingles. That condition led to the singer’s face being paralyzed and leaving him unable to blink, smile, or move his nostril. Bieber documented his journey publicly by sharing photo and video updates on social media with his fans. He showcased the symptoms and showed the side effects of facial paralysis while describing how the virus resulted in loss of facial movement. He also emphasized why he was taking time off to prioritize his health, which led to the cancellation of several of his upcoming tour dates. While Lil Nas X has not disclosed any official diagnosis, he is taking the same path by updating his fans on his progress. Continued photos and videos showcase improved movement with Lil Nas X stating that his smile is “getting a little better.” He says he can now voluntarily close both of his eyes, though he continued to struggle to wink with his right eye. He shared another video of himself rollerblading and stated, “it’s getting better y’all I promise. It’s gonna take a lot more than that to keep a bad b*tch down.” View the full article

A live performance from Sheila E., who, along with Shaboozey and others, is featured in a new NBA playoffs spot. Photo Credit: Justin Higuchi Monster sync alert: The NBA has licensed Aerosmith’s “I Don’t Want to Miss a Thing” for a new playoffs advert campaign featuring Shaboozey, Sheila E., and others. The NBA officially launched this campaign, aptly called “Don’t Miss a Thing,” today. Though the league’s playoffs are scheduled for the coming weekend, a “play-in tournament” is beginning tonight to round out the postseason match-ups, the NBA explained on X. Consequently, then, the spot and the involved professionals are poised to receive plenty of additional views during the approaching weeks. In the advert’s 92-second YouTube upload, Shaboozey, Sheila E., actor Rob Lowe, and several others can be seen making time to tune in for the playoffs. For Shaboozey, that refers to watching from the studio. By contrast, a more laid-back Lowe is situated in a comfortable-looking chair while taking in the on-court action. In any event, both are working not “to miss a thing.” Of course, it’s unclear how much the two (as well as NFL vet Jerry Rice, TikToker Khaby Lame, and YouTuber Fede Vigevani, to name some) pocketed for their appearances. But at least on the music front, the spot’s benefits might extend beyond straight paychecks. Bearing in mind sync’s well-documented potential to fuel streaming boosts, Shaboozey (perhaps not coincidentally) dropped a single entitled “Blink Twice” last Friday. (Technically, Shaboozey’s work wasn’t synced here; nevertheless, logic suggests that there’s some sort of commercial upside for artists featured in big ads.) Meanwhile, Aerosmith certainly scored a nice payday for lending “I Don’t Want to Miss a Thing” to the campaign. However, as pointed out by some disappointed fans – “How can you have Aerosmith’s song and not the band itself in this ad?!” reads one YouTube comment – Aerosmith’s members didn’t find their way into the promo. Regarding the size of the advert’s reach and paychecks, it’s worth highlighting the NBA’s reported audience-size falloff. According to SportsEpreneur, the league’s overall viewership plummeted 48% between 2012 and last year. Even so, 2024 saw the NBA secure a reported $76 billion in media-rights deals spanning 11 years. Separately, despite the NBA’s music-focused playoffs advert, various teams have yet to move past their copyright-litigation woes. Music publishers sued over a dozen teams for alleged social-media infringement last year. While some of the defendants have settled or are attempting to do so, the still-active cases remain entangled in a multifaceted discovery dispute, legal documents show. View the full article

ASCAP and BMI have officially responded to the Copyright Office’s performing rights inquiry, which was set in motion after lawmakers raised transparency concerns last year. We covered those concerns – extending to the accuracy of public performance payments, the “increased costs and burdens imposed on licensees,” and more – back in September 2024. Then, the Copyright Office in February 2025 kicked off the mentioned inquiry and set an April 11th deadline for comments. Unsurprisingly, ASCAP and BMI (besides others yet) provided responses as part of this initial feedback window. And in the follow-ups – BMI’s comments span 30 pages, compared to 40 for ASCAP’s – the PROs touched on a number of overlapping points. Most notably here, both consent-decree-bound entities made clear their opposition to bolstered public performance regulations in the States. “In sum,” Broadcast Music, Inc. wrote, “BMI strongly believes the U.S. market for the licensing of the public performance right benefits from free and fair competition.” “ASCAP firmly believes that legislative action or regulatory action with respect to these issues is unnecessary and would ultimately disserve music creators,” echoed the American Society of Composers, Authors and Publishers. “We believe the free market and open competition benefits music creators and users alike.” Similarly, the respondents addressed lawmakers’ concerns that small businesses are grappling with heightened licensing costs and burdens due to the growing collection of stateside PROs. In a stance that’s unlikely to resonate with the congressmembers who requested the inquiry, ASCAP and BMI in more words urged public establishments to “program around” licenses. “All venue owners have the right to choose whether or not they play any music and can similarly choose the music they play,” ASCAP added. “If a music user wishes to limit or reduce its PRO licensing fees, the music user can do so by programming around the need to take a given PRO’s license.” “[M]ost other music users—including the vast majority of small businesses—do not need the ability to perform all musical works available in the United States and, therefore, need not secure licenses from all four domestic PROs,” BMI weighed in. “Businesses that perform a limited amount of music can elect, for example, to secure only a BMI license and limit their playlists to musical works in BMI’s repertoire.” As for the fractional-licensing considerations at hand, ASCAP and BMI emphasized their jointly developed Songview database. The same PROs “are currently exploring the inclusion of GMR and SESAC data” in Songview, per the text. With all that said, ASCAP and BMI each covered unique angles as well. The latter, for instance, dedicated several pages to pinning some of the possible licensing-confusion blame on “new entrants” Pro Music Rights and AllTrack. “Based on a review of the publicly available information regarding two new entrants—AllTrack and Pro Music—and their respective repertoires,” the for-profit PRO communicated, “BMI appreciates these concerns and the difficulties faced by music users in determining whether to obtain a license from these entities and at what cost.” And on the usage- and payments-accuracy side, ASCAP defended its practices and called out concert promoters’ approach to reporting. “Where logging music usage is not a traditional process by music users or technology is not efficiently available,” ASCAP relayed, “we may see more data omissions and ASCAP will be required to exert more resources to fill those gaps. For example, as is most relevant to this NOI, live concert promoters have generally placed the burden on ASCAP to obtain that information.” When it comes to monitoring establishments’ music usages with new devices in real time, ASCAP rattled off considerations pertaining to “tracking reliability,” “guardrails to prevent fraud,” “the cost of acquisition and implementation,” and a whole lot else. View the full article

Tomorrowland, the globally celebrated music festival company, is boldly going beyond its ephemeral EDM roots with the launch of MORPHO. The groundbreaking collection which debuts at Milan’s prestigious Salone Del Mobile fair, is a fusion of art, architecture, and functionality. It aims to bring the Tomorrowland experience to new leisure projects and revolutionize the design industry, sparking intrigue and excitement among design enthusiasts. Moreover, the MORPHO collection is the brainchild of Great Library Design Studio under the visionary guidance of Antwerp-based architect Dieter Vander Velpen. The brand will collaborate with three acclaimed Belgian companies for the first installment in MORPHO. First is Ethnicraft, a brand that brings furniture designs from abstract ideas to concrete reality. Second is Atelier Vierkant, which specializes in handcrafted ceramics. And third is RVB, a Brussels-based manufacturer of high-end faucets. Leveraging their expertise and experience from successful projects such as the Tomorrowland headquarters, the Lab of Tomorrow in Boom, and the Mesa restaurant, MORPHO aims to extend the Tomorrowland philosophy into everyday living spaces and leisure venues. Additionally, MORPHO showcases an impressive array of home and garden furniture alongside stylish planters, kitchen elements, and bathroom fixtures. Each piece celebrates the festival’s vibrant spirit, providing users with unique, high-quality items that enhance their living environments. As Tomorrowland innovates and expands, MORPHO marks a significant step in creating an enduring connection to the festival’s ethos. Visitors to the Salone Del Mobile can look forward to experiencing Tomorrowland’s new direction; get more info here. The post Tomorrowland Debuts Innovative Furniture Brand: MORPHO appeared first on EDMTunes.

Photo: Joshua Sortino As someone who has spent years navigating the complexities of digital music, I’ve seen firsthand how crucial it is for rightsholders to take control of their content and data. The ability to manage your assets independently isn’t just a matter of convenience – it’s a strategic advantage that unlocks new opportunities, reduces operational headaches and gives you the flexibility to work with the best partners for your needs. In an increasingly complex digital landscape, direct control over your intellectual property, data and assets is the key to maximizing your income, minimizing costs and simplifying your business. In this partner op-ed Digital Music News, Edward Ginis, CEO and co-founder of OpenPlay, explores why music rightsholders must take direct control of their content, data and assets to maximize revenue, reduce costs and stay agile in a changing digital landscape. Too often, I’ve seen rightsholders struggle because their content is tied up in systems they don’t control, making it difficult to switch vendors, optimize distribution or even access their own metadata. As consolidation in music distribution continues, there are fewer and fewer truly independent options to manage deliveries. Now more than ever, maintaining independence is critical. If we want to future-proof our businesses, we need to prioritize control. Here’s how you can do it: Own your Content Management System One of the most common mistakes rightsholders make is relying on distributors to manage their content within their own proprietary systems. While these platforms may be convenient, they ultimately limit flexibility. If you ever need to change partners, retrieve your data or adapt to new industry standards, you could find yourself stuck. Instead, invest in a content management system (CMS) that you own and control – one that allows you to manage your metadata and assets independently. By having a CMS separate from service providers – one that can generate market-ready digital data exchange (DDEX) files for digital service providers (DSPs) – you give yourself maximum flexibility to use whatever delivery mechanism best suits your needs. With an independent CMS, such as OpenPlay, you’re not locked into a single vendor and you can deliver your music wherever you choose, ensuring seamless collaboration with any distributor, DSP or marketing partner. This was one of the drivers behind our recently announced OpenPlay Reach, a new service that allows labels and publishers of all sizes to select the distribution option that best fits their objectives. Establish a single source of truth Metadata inconsistencies can be a nightmare, leading to missed royalties, incorrect credits, and operational inefficiencies. The best way to avoid this is by maintaining a centralized, authoritative repository – a “single source of truth” for all your assets and data. This ensures that your entire team is working with accurate, up-to-date information, reducing errors and making collaboration more efficient. Everyone knows where to find approved masters, metadata and assets, eliminating confusion and improving workflow. By keeping data and assets in sync, updates happen in one place and are reflected everywhere they need to be. Storing only the highest resolution, approved assets – while allowing ancillary systems to generate necessary variations – ensures the best quality control. Additionally, logging every update or change simplifies troubleshooting, making it easier to maintain accuracy across your entire catalog. When your data is consistent across all platforms and partners, you gain confidence in your reporting, royalties and overall business decisions. Deliver your content on your terms The way you distribute your content should be intentional. Rather than sending everything to everyone, focus on delivering only what’s needed, when it’s needed and in the correct format. This allows you to work with different distributors for different markets, negotiate better deals and explore new revenue opportunities without any unnecessary restrictions. Maintaining control over your delivery process ensures that you can switch vendors seamlessly, scale efficiently and stay in command of your own content strategy. It also means you avoid being forced into vendor-specific formatting that can create long-term dependencies. By ensuring your content is always accessible in industry-standard formats, you can quickly adapt to new opportunities and partnerships without additional hurdles. Build a future-proof infrastructure As your business grows, so does the complexity of your operations. Royalties, licensing, analytics and finance systems all rely on a core set of metadata, and if that data isn’t properly managed, inefficiencies start to creep in. By integrating systems through automation and APIs, you can ensure data consistency, minimize manual work and reduce errors. A well-organized infrastructure allows you to scale your business without being bogged down by data management challenges. When your systems work together seamlessly, you’re free to focus on what really matters – building and monetizing your catalog. Stay agile in a changing industry The music industry is evolving faster than ever. New platforms, revenue streams and business models are emerging all the time. To stay competitive, rightsholders need the ability to pivot quickly, experiment with different partnerships and optimize their distribution strategies without unnecessary barriers. When you control your content and data, you gain the agility needed to respond to industry shifts with confidence. Whether it’s exploring new licensing opportunities, entering new markets or leveraging emerging technologies, maintaining independence gives you the flexibility to adapt and thrive. Owning and controlling your content gives you ultimate independence and allows you to position yourself for long-term success in a changing digital landscape. By taking control of your CMS, centralizing your data, refining your distribution strategy and future-proofing your infrastructure, you create a business that’s not only more efficient but also more resilient. I’ve spent my career helping rightsholders navigate these challenges, and one thing remains clear: control is power. When you own your data and content, you open the door to new opportunities, better partnerships and a more sustainable future in music. View the full article

Photo Credit: Morgan Wallen and Blodin Ukella Blodin Ukella and Morgan Wallen’s Ryl Company receives $15 million in Series B funding, marking $30 million in growth equity in total. Created in 2022, Morgan Wallen and Blodin Ukella’s Ryl Company held a Series A funding round in 2024, netting $7.5 million. The new funds will help fast track the tea company’s expansion, marketing campaigns, and product creation. The funding will also get Ryl Tea into over 40,000 stores by the end of the year, including major chains like Walmart, Kroger, Albertsons, Costco, Publix, HEB, Meijer, 7-Eleven, and more. Further, these investments will help Ryl expand its team to over 100 employees by year’s end; the company started with just nine employees when it launched in 2023. “The Ryl Company is surging into an exciting phase of hyper-growth, and this capital raise will assist us in scaling to new heights, especially as we expand our retail presence and national distribution,” said Leigh Feuerstein, Chairman of the Ryl Company. “Under the direction of Founder and CEO Blodin Ukella, the team’s deep connection with consumers has set the stage for great success. Blodin is a remarkable leader with a clear vision and indefatigable energy, and we’re backing him with unbridled confidence in his ability to fuel Ryl’s expansion.” The Series B funding round included investments from Morgan Wallen, Get Engaged Media’s Cam Fordham, Alex Dermer, Ben Hiott, Austin Neal of Sticks Management, and Seth England of Big Loud Records. “I’ve been a believer in Ryl Tea from the beginning and keep them stocked at home and while touring out on the road,” said Wallen. “It’s exciting to see the brand continue to expand and grow, and I’m proud to be a part of it.” Ryl Tea’s leadership team has extensive experience in building and scaling beverage brands. Ukella, former Chief Strategy Officer at OWYN, which was acquired by The Simply Good Foods Company, is a former Data Scientist at Bai. He is joined by President Ken Kurtz, known for his leadership as former President of Bai, which was acquired by Dr Pepper Snapple Group, and is a former SVP of Fiji Water. Chief Operating Officer Ruben Rafaeli previously served as COO at Crook & Marker, and SVP of Operations at Bai. “This round isn’t just a financial milestone — it’s a signal of confidence in our mission, our momentum, and our belief that Ryl Tea is on track to redefine what a modern beverage brand can be,” says Ukella. “We are in the ‘leap’ phase of our business journey — scaling rapidly with new distribution channels, exciting marketing initiatives and product development. This investment will help us expand our offerings and expand our distribution by 4x, all while maintaining the same level of quality and commitment to our customers’ health and well-being.” View the full article

Photo Credit: Jake Gear and Robert Knotts by Matt Paskert Interscope Geffen A&M partners with the iconic Nashville-based Lost Highway Records for a bold new era. Country label Lost Highway Records is making a return, thanks to Interscope Records, as Interscope CEO John Janick calls on Nashville veterans Robert Knotts and Jake Gear to man the helm. Both will serve as executive vice presidents and co-heads of Lost Highway. Founded 25 years ago by former UMG Nashville CEO Luke Lewis, Lost Highway famously worked with artists like Willie Nelson, Kacey Musgraves, Ryan Adams, Elvis Costello, and Lucinda Williams. Lost Highway also released the fan favorite O Brother, Where Art Thou soundtrack, which went 8x platinum and remains as one of only four movie soundtracks to win the Grammy for Album of the Year. After Lewis stepped down in 2012, Lost Highway was absorbed into Mercury Nashville. “Lost Highway carved out a special place in the remarkable musical legacy of Nashville,” said Janick. “It was a left of center label with one-of-a-kind artists who, at their core, were great songwriters and moved culture. Similarly, Interscope has always been a beacon to artists who don’t fit into a box yet are destined to inspire what comes next. With this new chapter in Lost Highway’s history, we are devoted to empowering the next generation of trailblazers, both artists and executives.” The new Lost Highway will be based out of Nashville, but will operate under the Interscope umbrella — the latest in the trend of coastal label presence in Nashville. Former UMG Nashville CEO Cindy Mabe announced a Lost Highway revival back in January alongside T-Bone Burnett, before the label released Ringo Starr’s country album, Looking Up. Burnett will work with the label on several projects, Interscope said, including a 25th anniversary edition of the O Brother, Where Art Thou soundtrack. Robert Knotts is coming to Lost Highway from indie Nashville music company 30 Tigers, and most recently served as senior vice president of artist and label services at the label. Jake Gear is coming to Lost Highway from sister company UMG Nashville, where he served as vice president of A&R. “Over the course of my career, my goal has always been to operate in service to the artist’s vision while understanding the emotional connection to their art,” said Knotts. “It is with this same spirit that Lost Highway left a lasting impact on the Nashville community — providing a home for artists who aren’t defined by genre and recognizing that the artist’s vision ultimately shapes culture itself. I am honored to carry that approach forward alongside one of my closest friends, Jake Gear.” “Lost Highway has a rich history,” added Gear. “Many of these releases and artists were formative in developing my own appreciation of the craft of songwriting. The label was a pioneer in taste, representing an ethos of artistry first, an openness to taking creative risks and shining a light on artists who drifted on the fringes of the major label defined ‘mainstream.’ Together with my friend Robert, and with the backing of John Janick and Interscope, I look forward to curating the roster.” View the full article

Her previous acting experience has included appearing in episodes of the hit AppleTV+ football comedy Ted Lasso.View the full article

Photo Credit: Aftershock Aftershock has announced a new live concert event with Shaquille O’Neal aka DJ Diesel. Shaq is bringing his Bass All-Stars show to the Rawhide Event Center in Chandler, Arizona. The event kicks off on August 16, with Shaq’s Bass All-Stars delivering an anticipated onslaught of dubstep, house, trap, and hip-hop across the line-up. The line-up so far includes DJ Diesel, Ghastly presents GHENGAR, Jykl & Hyde, RZRKT B2B CELO, and a special guest still to be announced. A DJ competition will be held for those bass DJs with the fortitude to share the stage with DJ Diesel for an opening slot on the main stage. That competition kicks off on May 9 at Sunbar in Tempe, Arizona. DJs can upload their SoundCloud or MixCloud demo set and find out how to enter here. A portion of proceeds from the competition will benefit Childhelp, a national organization dedicated to eradicating child abuse and neglect. Tickets for the event went on sale April 11. General Admission 2-pack tickets are available starting at $37.50 per ticket before fees. Single GA tickets are available starting at $59 before fees. VIP tickets are also available starting at $169 a ticket before fees. All details, ticket types, table requests, and extras are available online at the Relentless Beats website. Shaq’s Bass All-Stars is an 18+ event. Shaq has taken his DJ Diesel persona on the road with the Bass All-Stars brand across the United States. Some of his recent performances include a festival in Dallas at the Panther Island Pavilion in November 2024 featuring NGHTMRE, Eptic, and others. He also appeared at The Midway in San Francisco in December 2024, with a line-up that featured TroyBoi, LAYZ, and Vastive. Shaq also played the Red Rocks Amphitheatre in Colorado in October 2024 with a line-up featuring Riot Ten, Habstrakt, and others. View the full article

1001 Festival just raised the stakes with free tickets for ladies and backstage perks for the elevated raver. This time, it’s beyond world-class music—it’s about access. Real, rare access on April 24-25. Whether you’re dancing in the crowd or standing behind the DJ, 1001 festival in Riyadh is giving fans two very different ways to get in. Free Tickets for 1001 Festival Riyadh For the first time this year, 1001 Festival is offering free General Admission tickets to women. No catch—just complete the quick sign-up process. Register for both NOFOMO and Saudi Rewards, then wait for MDLBEAST to validate your entry. Once confirmed, your ticket will arrive closer to the event. But read this carefully: men who try to use a free ladies’ ticket will be denied entry at the door. This free offer applies to GA only—not for VIB or VVIB passes. Still, for fans who want to experience 1001 Festival without paying a riyal, this offer hits the sweet spot. 1001 VVIB: Two Days, Backstage Access On the other end of the spectrum, there’s VVIB—the most exclusive experience at the festival. For SAR 5,249, you gain full backstage access behind the DJ booth, becoming part of the energy that fuels the night. This is the highest tier pass for fans who want to live the festival, not just attend it. The VVIB ticket includes elevated walkways, VIB viewing platforms, and access to all stages. You’ll also receive complimentary parking, and SAR 300 wallet credit to spend on food, drinks, or official 1001 merchandise. A Lineup Built for Dancefloor Devotion This year’s 1001 Festival lineup delivers a potent mix of global icons and genre trailblazers. DJ Snake leads the bill, joined by Artbat, Eric Prydz, R3HAB, and Mochakk, each bringing their distinct sonic identities. Techno fans can dive into deep sets by Dixon, Seth Troxler, Marco Carola, and Innellae. If you lean toward deep house, expect hypnotic grooves from Francis Mercier, Hot Since 82, and MoBlack. There are 60+ artists on the lineup, across multiple stages. Whether you’re in General Admission or behind the booth, every tier offers a front-row seat to electronic excellence. Don’t wait too long. Register for your free ticket or lock in your VVIB pass now for 1001 Festival. The journey begins in Riyadh this April 24-25. The post How To Get Free Tickets and Exclusive Backstage Access at 1001 Festival Riyadh appeared first on EDMNOMAD. View the full article

Photo Credit: Live Nation Judas Priest and Alice Cooper are uniting for a co-headlining tour across North America. The 22-city run of the legendary heavy metal acts starts in Mississippi with stops in Toronto, Phoenix, Los Angeles, and more. Produced by Live Nation, the tour kicks off on September 16 in Biloxi before wrapping on October 26 in Texas. Coming off the second leg of their Invisible Shield Tour and the release of their 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his ‘Too Close for Comfort’ tour this summer, promoting his recent Road album. Corrosion of Conformity will join as a supporting act on select dates. Alice Cooper is widely recognized as the godfather of shock rock, combining horror theatrics with classic hard rock anthems. Meanwhile, Judas Priest, hailing from Birmingham, England, have been at the forefront of the heavy metal scene for over 50 years. Tickets for the upcoming tour will be available starting Wednesday, April 16 at 10 am local time through artist pre-sales. Additional pre-sales will run throughout the week ahead of the general on-sale date beginning April 18th at 10 am on LiveNation.com. Judas Priest & Alice Cooper — Co-Headlining Tour Dates September 16 | Mississippi Coast Coliseum — Biloxi, MS 18 | Ameris Bank Amphitheatre* — Alpharetta, GA 20 | PNC Music Pavilion — Charlotte, NC 21 | FirstBank Amphitheater — Franklin, TN 24 | Veterans United Home Loans Amphitheater — Virginia Beach, VA 26 | PNC Bank Arts Center — Holmdel, NJ 27 | Broadview Stage at SPAC — Saratoga Springs, NY 29 | Budweiser Stage — Toronto, ON October 01 | The Pavilion at Star Lake — Burgettstown, PA 02 | Pine Knob Music Theatre — Clarkston, MI 04 | Riverbend Music Center — Cincinnati, OH 05 | Credit Union 1 Amphitheatre — Tinley Park, IL 10 | Broadmoor World Arena — Colorado Springs, CO 12 | Utah First Credit Union Amphitheatre — Salt Lake City, UT 14 | Shoreline Amphitheatre — Mountain View, CA 15 | Toyota Amphitheatre — Wheatland, CA 18 | North Island Credit Union Amphitheatre — Chula Vista, CA 19 | Kia Forum — Los Angeles, CA 22 | Talking Stick Resort Amphitheatre — Phoenix, AZ 23 | Isleta Amphitheater — Albuquerque, NM 25 | Germania Insurance Amphitheater — Austin, TX 26 | The Cynthia Woods Mitchell Pavilion — Houston, TX View the full article

These days pretty much everybody has a portable Bluetooth speaker of some kind, so the party is never too far away. However, there’s a huge variety in the speakers available. In recent years, we’ve seen the growth of these speakers to also accommodate DJ equipment, while also being loud and punchy enough to make a real party anywhere you go. One well-known brand that has expanded into this category is JBL with its Partybox line of speakers. However, it has seen strong competition from a newer name in the market. We were lucky enough to get a Soundboks 4 speaker to test out, and we absolutely loved it. The company also has a smaller and more portable Soundboks Go, which is about half the size of the full-sized model. Soundboks is a Danish audio company renowned for its high-performance, portable Bluetooth speakers built for extreme loudness and durability. Founded around 2015 by three young friends in Denmark (Jesper Thiel Thomsen, Christofer Nyvold, and Hjalte Emilio Wieth), the company originated from their desire to create a speaker powerful and rugged enough for the Roskilde Festival. After a successful Kickstarter campaign for their initial model, Soundboks officially launched, focusing on battery-powered speakers that deliver concert-level volume. Their main products include the flagship SOUNDBOKS speaker (currently in its 4th generation) and the smaller, more compact SOUNDBOKS Go, both emphasizing powerful sound, long battery life, and robust design ideal for parties and outdoor events. Right before Miami Music Week, we were sent a Soundboks 4 to test out, which is the latest version of the large party speaker. We put it through its paces during pregames and then we also purchased the must-have Backpack accessory to take the speaker into the wild for some portable partying. Here are our impressions! What We Like When the speaker arrives, you can discern the quality right away from the packaging alone. The packaging is smartly designed and very secure. It’s not too heavy and the speaker itself is absolutely gorgeous. It is simply looking but serious, so you know it’s designed to get the job done without extra gimmicks. The Sound is incredible! It’s loud and punchy, with plenty of rumble to rock whatever space you happen to be in. This speaker is not only solid for indoor pregames and parties, but we also brought it to South Beach and plopped it in the sand for an impromptu beach party, and the speaker worked like a charm. This speaker quite literally allows you to bring a concert-like party experience anywhere you go. The setup requires you to use the speaker’s app, but is relatively straightforward. From there everything is pretty smooth, and the speaker has cool options to link up with other speakers using the Team Up feature. The battery is quite interesting. It’s a small, removable battery that packs a lot of juice. The speaker is rated for 40 hours of use, blowing away the JBL Partybox 310 I have. The nice thing is that the speaker is charged with a USB-C cable, so you don’t need to lug around a proprietary plug to use this one. The only weird thing is that the way the battery is set up, you can only use the speaker while charging if you use the official Soundboks charger (sold separately) or a USB-C PD compliant charger capable of supplying 65W (that’s like a laptop charger). So there’s a good chance that your out of the box setup would not allow you to charge and play at the same time. Don’t let the battery get too low before heading out. The speaker is truly portable, so that means it’s also splashproof. You don’t want to submerge it, but it can withstand splashes, rain, etc. The speaker can be transported using an extra cost Backpack. It costs approx $150, but for a $1000 speaker that’s a drop in the bucket. With this accessory you can take it anywhere and bring the party with you. Other speakers use wheels, but those wheels won’t work well in sand. This speaker is a great beach toy that will instantly make you the king of the beach. Of course, this is a serious speaker in addition to a Bluetooth one. It can plug and play with your DJ peripherals and can be manually connected to another speaker using a cable. What We Don’t Love As discussed above, the battery situation is partly good but partly confusing. You will have to think ahead and make another purchase (of either a spare battery or a particular charger) in order to play the speaker when the juice has run out. If you don’t plan ahead you might be stuck letting the battery charge before you can play again. However, this gives you the opportunity for hot-swapping of batteries if you buy a second one. Then you’d pretty much never run out during a party session. While the backpack makes the speaker very portable, it does not come this way out of the box. Unless you buy a backpack accessory, the speaker is not very portable and is not the easiest to move long distances without help. There is no top handle so you need to hold it from the side handles. The app is pretty nifty, but this speaker relies on it more heavily than you might be used to. You’ll basically want to use the app for your initial pairing and setup, and also during use. The initial setup required me to read the instructions as there is no obvious bluetooth pairing button on the speaker itself. Once you get setup and registered through the app, things are a breeze. This speaker is expensive at $999 plus tax. While it may be pretty amazing at what it does, even compared to other speakers, the price is definitely steep and maybe prohibitive for some. The comparable JBL Partybox 1000 is larger, more powerful, and has a subwoofer, however that speaker is not designed to be portable. Even the cheaper Partybox 710 is going to be a bit more powerful but is not portable. Compared to JBL’s portable Partybox, the Soundboks is superior in terms of sound and power. Conclusion In conclusion, the Soundboks 4 establishes itself as a truly solid portable party speaker, delivering the impressive volume, long battery life, and rugged build quality the brand is known for. Its performance is tailored for energetic gatherings and outdoor use where maximum sound is key. While its capabilities are undeniable, the significant price tag means it represents a great buy specifically for those who prioritize this level of powerful, portable audio and have the budget to accommodate its premium cost. The post SOUNDBOKS 4 Is the Modern Day Boombox appeared first on EDMTunes.

The British hitmaker announced in 2023 that she had amicably parted ways from her record label, Republica Records after 17 years View the full article

The Korea Fair Trade Commission headquarters in Sejong, South Korea. Photo Credit: Minseong Kim YouTube is reportedly set to unbundle Music from Premium in South Korea, where it’s facing a Korea Fair Trade Commission (KFTC) competition investigation. Regional outlets just recently pointed to the possible move, after the mentioned government agency revealed a YouTube Premium and Music probe about one year ago. This bundling-focused inquiry, the KFTC relayed at the time, had already been underway for a while and was shifting into the “sanctions” phase. (YouTube is specifically facing claims of leveraging its video-sharing dominance into anti-competitive results on the streaming side, where it’s reportedly topped homegrown music platforms including Melon in overall subscribers.) Enter the rumored separation of YouTube Music (which costs ₩11,990/$8.40 monthly) from Premium (₩14,900/$10.50 per month) in South Korea. At the time of writing, neither YouTube nor the KFTC looked to have publicly confirmed the split. However, the two are reportedly finalizing an agreement to put the years-running probe to rest. And as part of the potential resolution, YouTube has reportedly volunteered the rollout of Premium Lite in South Korea. In effect, releasing the subscription option (which costs less than Premium but provides ad-free access solely to YouTube proper, excluding Music and most music videos) would separate Music from Premium. Technically, the Google-owned platform resurrected Lite, which lacks support for downloads and background viewing, last year. And the tier’s expansion has reached several countries to this point in 2025. As laid out by some local reports, South Korea’s Premium subscribers may opt for the cheaper plan while then shifting to different services for music streaming. Nevertheless, others acknowledged that YouTube might actually entrench its position in the country thanks to the lower-cost plan. In the bigger picture, as competition scrutiny motivated the unbundling, it’s unclear whether the maneuver will ripple across different markets. Even so, the development is significant from the perspective of South Korea’s regulatory climate. The KFTC, which fined Kakao Entertainment ₩390 million/$273,350 last month “for deceptively advertising music,” is also cracking down on streaming services’ subscription-cancellation practices. This probe, we reported in August 2024, is impacting Netflix, Spotify, and others yet. A late entrant into South Korea’s physical-heavy market, Spotify only embraced ad-supported listening in the country about six months ago. But the platform charges a bit less for Individual than YouTube Music does (₩10,900 per month at present) and is offering three-month free trials to new subscribers. View the full article

ALLEYCVT is officially entering her next era, one where she's not only performing on stages, but building worlds on them. The surging singer, songwriter and bass music producer today announced her first-ever curated event series, "Planet Supersonic." Kicking off December 6th, 2025 with a headline of Denver's famed Mission Ballroom, the series promises custom visuals, stage design and surprises tailored to her evolving sonic identity. Known for her fusion of emotive alt-pop hooks and wobbly dubstep drops, ALLEYCVT is part of a new wave of hybrid producers redefining what it means to be a "DJ" in 2025. With "Planet Supersonic," she’s staking her claim as a performer, curator and storyteller. "The only reason I drive myself a little crazy is because I care so much about it," ALLEYCVT told EDM.com in an intimate February interview. "I care so much about the people who listen to my music and try to get better as an artist. I care a lot." The announcement comes amid a breakout for the genre-bending artist, who was recently named to the EDM.com Class of 2025 before making her debut at Miami's legendary Ultra Music Festival. Now, she's turning her attention toward an ambitious debut in Denver designed to mirror the magnetic energy of her sound and aesthetic. You can watch ALLEYCVT's announcement below and purchase tickets to her "Supersonic Ballroom" show in Denver here. A pre-sale will begin April 16 at 12pm MT before the show's general on-sale April 18th at 10am MT. View the original article to see embedded media. Follow ALLEYCVT:X: x.com/itsalleycvt TikTok: tiktok.com/@alleycvt Instagram: instagram.com/alleycvt Facebook: facebook.com/alleycat Spotify: tinyurl.com/mr3fz8b3

Patrick Schwarzenegger checked into Coachella at the perfect time. Following last weekend’s Season 3 finale of The White Lotus, the actor supported his co-star Lisa (aka Lalisa Manobal) on Friday during her opening night set at Coachella Valley music festival. He took to social media to share a video from the audience of himself singing and dancing along to her single ‘Money’ (which might be the perfect song given that season 3 took place in Thailand). “Excuse my dancing I had a cocktail,” wrote Schwarzenegger on his Instagram Story with the clip, adding that Blackpink star “crushed it.” The pair didn’t have many scenes together during the recent season. Schwarzenegger starred as privileged southern boy Saxon Ratliff, and Lisa played resort employee Thidapon ‘Mook’ Sornsin. Schwarzenegger appeared to be accompanied at the performance by their co-star Tayme Thapthimthong, who played Mook’s kindhearted security guard love interest Gaitok. Coachella will be back for weekend #2, featuring many dance artists, including a complete takeover at Quasar with Testpilot X Zhu, Kaskade X Idris, and Alesso X Gorgon City. The rest of the festival will feature Zedd, Mau P, Sara Landry, Above & Beyond, Eli Brown, Chase & Status, and many more. Patrick Schwarzenegger supports ‘The White Lotus’ co-star Lisa during her #Coachella2025 performance of "Money" pic.twitter.com/H7ewNuTFt1 — Deadline (@DEADLINE) April 13, 2025 The post Patrick Schwarzenegger Supports ‘The White Lotus’ Co-Star Lisa At Coachella appeared first on EDMTunes.

We Belong Here, known for curating unforgettable experiences in breathtaking locations, is bringing a brand-new boutique music festival to Tampa Bay. The event will take place on St. Pete Pier from December 13-14, 2025. This expansion follows the resounding success of We Belong Here’s flagship festivals. They take place in Miami’s Historic Virginia Key Beach Park, and New York’s Central Park. We Belong Here’s iconic 360-stage will be set against the stunning backdrop of Tampa Bay and the St. Petersburg Skyline. This debut Tampa Bay event will deliver the refined production and world-class talent. It will be inclusive atmosphere that We Belong Here is celebrated for. Attendees will spend two days enjoying musical performances and shopping local vendors. They will also be eating delicious food curated by Smorgasburg and relaxing by the water. “We’re incredibly excited to bring We Belong Here to Tampa Bay,” said Justin Dauman, Co-Founder of We Belong Here. “This move allows us to bring a festival experience closer to home for our fans in Central Florida, who have been so vocal about us doing so, while also providing another beach escape for the rest of the country and people around the world to enjoy during the wintertime. St. Pete Pier felt like the perfect location that embodies the beauty of Tampa Bay and aligns with our vision of blending music, nature, and community.” JUSTIN DAUMAN – CO-FOUNDER : WE BELONG HERE We Belong Here 2025 wasn’t just a festival; it was a sanctuary. It was a place where the boundaries between music, nature, and community blurred, creating an unforgettable experience. The festival was bigger than ever this year, but the heart of the festival remained its dedication to a curated melodic journey. A celebration of music that speaks to the soul. It was a reminder that sometimes, all you need is good music, good people, and a beautiful beach to feel truly at home. And in 2025, We Belong Here delivered that feeling in spades. Sign up for updates here to receive lineup announcements, hotel partner details, and ticket release information. The post We Belong Here Festival Coming to Tampa Bay in December appeared first on EDMTunes.

We Belong Here continues to grow their footprint with the announcement of their expansion into Tampa Bay. The house and techno festival will make its Tampa debut in 2025 on December 13 & 14 at St. Pete Pier. The upstart festival has roots in Miami and New York City, with Tampa Bay becoming the third city to play host to We Belong Here. Past lineups have delivered some of the country’s best in house and techno with headliners like Eric Prydz, Kaskade, Fisher, Lane 8, Steve Angello and more gracing their immersive 360-degree stage. Sign up here to get the latest updates on We Belong Here Tampa Bay including when tickets go on sale and when the lineup drops. Featured image: We Belong Here Festival The post We Belong Here festival announces new Tampa Bay edition at St. Pete Pier appeared first on Dancing Astronaut.

Zodiac makes a powerful comeback with his first release since 2023 — a collaborative single titled “In The Sunrise” alongside rising artist Alex Gresham. Over the past year and a half, Zodiac has been focused on infusing more human elements into his music, and that evolution is fully realized in this new offering. According to Zodiac, “In The Sunrise” represents a fresh chapter for the project and marks his official return to the electronic music scene. “It’s the rebirth of Zodiac and a reflection of my commitment to creating authentic experiences for my fans,” he explains. The collaboration came about organically. Gresham, who first discovered Zodiac while studying at the renowned Icon Collective music school in Los Angeles, happened to share a Discord production server with him. When Zodiac sent over the production file for what eventually became “In The Sunrise,” Gresham was instantly inspired. He grabbed a microphone and began recording, laying down melodic vocals to perfectly compliment the track’s dark techno and house production. Gresham’s mindset heading into the studio was “don’t overthink it,” something he had recently taught while lecturing at Icon Collective. The result is a perfect marriage of the two artists’ styles. Listen to “In The Sunrise” below. Featured image: Zodiac The post Zodiac signals new beginning with Alex Gresham collaboration, ‘In The Sunrise’ appeared first on Dancing Astronaut.

Electronic music at its most profound creates worlds rather than just sounds, and there's no universe that expands with each listen quite like BICEP's. The Northern Irish duo today revived their DOVE project for a haunting new single, "CHROMA 009 KR3," a crystalline collaboration with Kehina. The alias has always been BICEP's sandbox for abstraction, and this release suggests they're drawing from deeper emotional reservoirs. Typically known for turning warehouse euphoria into a kind of spiritual journey, BICEP trade the grand crescendos of Isles for a darker, more hypnotic sound in "CHROMA 009 KR36." Like a long-lost reel of VHS footage, the track is grainy, intimate and eerily soothing. Kehina's lilting vocal swells glide atop BICEP's textured synthscapes in the track, the second DOVE single to drop as part of the duo's ongoing CHROMA project. There's a melancholic glamor to it, like stumbling out of a festival at 4am and finding the world still turning in soft hues. Listen to "CHROMA 009 KR36" below and find the new single on streaming platforms here. Follow Bicep:Instagram: instagram.com/feelmybicep X: x.com/feelmybicep Facebook: facebook.com/feelmybicep Spotify: tinyurl.com/3bkt4n39

KAAZE: The Evolution of “Hot Tekno” – A Journey from Underground to Mainstream Success In this exclusive interview with Swedish DJ and producer KAAZE, he discusses his musical evolution from underground techno to pioneering what he calls “Hot Tekno.” Currently ranked #48 in DJ Mag’s Top 100, KAAZE shares insights about his upcoming North American tour, his Swedish musical heritage, and exciting new projects on the horizon. The interview reveals how his return to techno roots has reinvigorated his creativity and expanded his fanbase dramatically over the past two years. Throughout your career, you’ve dabbled in all different kinds of genres, from groovy electro house, underground techno, and now you’ve been pioneering a concept, what you call “Hot Tekno”, and that’s with a K. What is hot techno? It’s a funny story. Me and my agent Dennis, who were sitting one day exploring this new sound that I had, and it was like, it’s not really typical techno, it’s not hard techno. Like, what? What is it? Because what I’m doing is implementing sounds from the previous genres I’ve done and, finding a more rhythm base, and it’s not that static. So I was like, a lot of girls like it. I see on my social media. It’s kind of sexy sometimes, but I think sexy is kind of cliche to say. And then we just said “Hot Tekno”. It was a funny thing, and I was posting a little bit here and there, and my fans caught up on it. So they liked it, “Hot Tekno”. Last year, you ranked number 48 in DJ Mag Top 100, congratulations! How did this achievement influence what you’re doing now? The thing that people don’t really know about “Hot Tekno” is that 20 years ago, when I started making music, like way before I created KAAZE, I was making techno music. I come from the underground scene back home in Sweden, so I was making really underground industrial techno. And at one point, I just wanted to find myself and have fun again in the studio because I was a little bit uninspired and bored with my previous progressive house, or whatever I was doing, and that’s kind of where it started. So I started pushing that sound, and had a lot of fun making it, and then I started receiving really good feedback and reactions on social media, like two years ago, and I just saw another rise of fans exploding over two years. I think I went from like 200,000 followers to like almost 800,000 followers. So, like, I got a massive amount of new fans that only know me right now for “Hot Tekno”, which is really fun for me because it’s a new world for me too. So, like, obviously, becoming number 48 was kind of like a big part of that. You have a debut tour coming up in North America. Can you tell us a little bit about the tour, what your plans are for “Hot Tekno”, what are you going to show us over in the States? I’m really excited to go to North America, I used to be based in America when I started KAAZE, I was in America together with my American wife, so for me, America is very special. I never did a tour back then, so it’s been so many years, and because I started there, all my fans are Americans, still till this day. So, it’s been eight plus years. They’ve been asking me when I’m coming, and I never knew how to answer them. For me that’s super special to finally go to America for these fans that have been waiting for so long. I’m going to go over there and do my thing, my European style. So far, I’ve heard a lot of great things from the from the shows. Something else I’ve been dying to ask you, so you’re from Sweden. I’ve never been there before, but a lot of my favorite artists are from Sweden. Avicii, may he rest in peace, was from there, obviously, Swedish House, Mafia, Alesso, etc. So what is in the water in Sweden that pumps out all these amazing DJs? What is it about Sweden that just produces such amazing talent? Sweden has always been a big part of the music industry. In terms of pop music, you know, we have Max Martin. So Swedish people have always been super involved. And if we go all the way back to about time, we have this big pop culture, and I think in terms of DJs, what we do is like we implement a lot of those sounds, and the way of making pop music in Sweden into our productions. That just gives to that type of different sound. I don’t know really why Sweden is so good on music itself, but I do think it comes from back in the days where these individuals got the opportunities to explode, Max Martin is a great example. So I think those people have had a huge impact on the Swedish artists in general. So what’s next for you, what can we expect from KAAZE this summer? My schedule is getting pretty packed. Couple remixes in the in the works. I got some David Guetta remixes that I’ve been wanting to release for quite some time. We got some really dope solo releases coming up, couple collabs in the process. Just blast on! There’s gonna be a lot of OGs this year, and a lot of OG music, like I did for the last six months. A couple covers, couple of sample based. So, I’m kind of excited to go back to some original music again. So, yeah, it’s gonna be all over the place, fully packed! This interview is also available in an audio format on the 10 Days in Dance podcast. Spotify: https://open.spotify.com/episode/4FzG7IXBqW7WUceqEYjqCU?si=442fb52c03224c79

Clubbing has been a vital and vibrant part of UK youth culture for decades, ever evolving and giving rise to some of electronic music’s biggest names. These big-name DJs now mostly perform at large-scale events or headline massive festival stages, overshadowing the club experience. Rarely do they play in small, grassroots venues, which many of them miss for its intimate, raw club feeling. This shift has put many of these venues at risk as they find it hard to compete. Now, dance music news portal, The Night Bazaar, and Hastings Nightclub Blackbox are stepping up to raise awareness of this issue and offer a solution by bringing renowned DJs to small spaces without the hefty ticket price. The Night Bazaar presents… BLACKBOX is a new monthly party launching on Saturday, May 3rd, 2025. The concept is straightforward: special guest DJs join the resident DJs to perform an extended set in the intimate confines of BLACKBOX. With a superb sound system and minimal lighting, the venue’s 250-capacity audience gets the rare chance to experience some of the industry’s best established and emerging DJs. Simultaneously helping to nurture future talent alongside bigger names. The opening night will feature special guest Audiojack, who will join resident DJs Jim Rivers, MarkGwinnett, and Mark Dickson. With many big name DJs already in the pipeline for future events. With a no-phone policy, The Night Bazaar and BLACKBOX aim to reclaim club culture and bring it back to basics, focusing on the music and a shared, intimate dance floor experience. At the same time and shining a spotlight on the plight of small venues in the UK. The Night Bazaar presents… BLACKBOX are supported by the Night Time Industries Association(NTIA), the organisation at the forefront of supporting and highlighting the challenges faced by small clubs in the UK. Launching on Saturday, May 3rd, 2025 Tickets The post Raising Awareness of UK Grass Roots Venues… The Night Bazaar presents… BLACKBOX appeared first on Electric Mode.

Brixton has always had a bustling music scene and now it’s got a new addition coming its way with Brixton Storeys set to launch on April 18th 2025. In a time where it’s hard to not be struck with early curfews, Brixton Storeys boasts a 24-hour alcohol and music license which is a huge win. Set on the former Prince of Wales site, this reinvented venue has a litany of amazing features that are set to make it one of the best music venues in London. With a 750-person capacity, world-class sound, high-tech production, and wide range of DJs and live acts set to hit the stage the future is already looking bright for this venue. “We wanted to bring a fresh narrative to Brixton nightlife but stay connected to the area’s heritage. This iconic venue is perfect for that and has been fully renovated with a new perspective that brings it right up to date. Along with transforming the main club into the Red Room which will bring all sorts of exciting headline artists, there will also be a real focus on events with emerging artists and LGBTQIA+ communities who will be given a platform to party in their own unique way.” Stevie Thomas, Brixton Storeys. The venue features 3 unique indoor spaces including The Red Room which has been fully redesigned. Amidst this reinvention of the venue there’s been a big focus on audio/visual improvements with the expertise of Bigabox Productions, Turbo Sound and Funktion-One technology being brought in. Brixton Storeys not only features some top-of-the-line indoor spaces but come June there will be the unveiling of the state-of-the-art SKY Terraces. Two rooftop terraces with full sound systems and a DJ booth will offer the opportunity to dance in the glowing sunlight. If the usual English rain decides to appear they are prepared for that as the terraces have retractable roofs making them ready for any weather all year round. They have partnered with Ticketmaster to enhance the ticketing experience and have set up events and residencies with the likes of Mas Que Nada, The Connection Party, and Summerized Sessions.All of this is incredibly promising for the venue’s future as well as the future of the UK’s nightlife. Brixton Storeys redefines what a music venue can be and is sure to bring countless unmissable events. You can find out more about upcoming events below: BRIXTON STOREYS WEBSITEYou can follow Brixton Storeys on Instagram below: BRIXTON STOREYS INSTAGRAM