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This year’s South by Southwest (SXSW) festival in Austin saw a noticeable dip in attendance compared to previous years, prompting questions about the event’s appeal and potential format changes for 2026. While the spirit of connection and discovery remained, the thinner crowds were hard to ignore. This decrease has some wondering if adjustments to the festival’s structure are needed to ensure strong public turnout in the future. For years, SXSW has been a major draw, bringing together professionals and enthusiasts from the music, film, and technology industries. However, the reduced number of attendees this year suggests a shift in priorities or perceptions. While those who did attend still valued the networking opportunities and diverse events, the lower numbers cannot be overlooked. Organizers have already announced changes to the SXSW format for 2026, partly due to the Austin Convention Center undergoing a four-year renovation. These changes include a shorter overall event, with the music festival being extended to seven days. The aim is to create a more concentrated experience that encourages attendees to stay for the entire duration. However, the question remains whether these format changes alone will be enough to bring back the usual crowds. Some industry observers speculate that broader economic factors, such as companies cutting travel and entertainment budgets, may be influencing attendance at large industry events. Others wonder if SXSW’s reputation as a significant industry gathering is being overshadowed by its party-like atmosphere. The decisions made by SXSW organizers for the 2026 event will be crucial in determining the festival’s future as a core destination for music industry professionals and the wider public. Whether the new format can reignite the enthusiasm and attendance of previous years remains to be seen. The upcoming year will be a telling one for the future of this influential event. [H/T] Digital Music News The post SXSW 2025 Struggles With Sharp Decline In Attendance appeared first on EDMTunes.

Here’s a new tune to get you pumped up during the weekend. World sensation, quite literally yellow-faced artist Mike Candys kicked off this weekend in style, by releasing his latest single, ‘Make Some Noise‘. The track is a nod to the recent past, bringing back the festival vibe many of us in the industry grew up with, with a more modern flavour, yet without leaving those landmarks behind. Well-known for his lively performances and music, which set the standard, Mike Candys gets over 1.7 million listeners a month on Spotify and hundreds of millions of listens across his tracks. With a career that’s gone on for years, Candys keeps turning out essential Electronic music based on catchy melodies and boosted by a modern festival vibe. Mike has wowed crowds with brilliant sets at places like Space Ibiza, Privilege Ibiza, Cologne’s Bootshaus, and XL Dubai. ‘Make Some Noise’ Powerful and catchy, this track takes us back to the 2013-2015 era of commercial EDM, at times when acts like VINAI and TJR captivated the entire world with their bouncy Electro House sound. This track grabs that concept and puts it back to work, with a slight variation on the way the kicks hit in a more Techno-ish way, yet still pairing phenomenally with the entire arrangement. This release is another big moment for a producer who has influenced the sound of modern Electro House with both his own tracks and top-selling remixes. Famous for his platinum-selling single ‘Insomnia’, the multi-gold award-winning ‘One Night in Ibiza’, and the massive hit ‘2012 (If The World Would End)’, Mike Candys has stayed a major figure in the Dance world. He’s also remixed tracks for people like Sean Paul, Snoop Dogg, Example, and Lil Jon. Talk about reaching summits. Listen to Mike Candys‘ ‘Make Some Noise’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Mike Candys Releases Electro House Nostalgia-Filled Tune, ‘Make Some Noise’ appeared first on EDMTunes.

Final Audio has unveiled the DX6000, the first entry in its all-new DX headphones series. Crafted “entirely from the ground up”, the brand’s latest open-back headphones employ proprietary driver technology to deliver a speaker-like listening experience that’s both highly transparent and emotionally expressive. READ MORE: Audeze’s LCD-S20 headphones are the most affordable in its LCD series – and pack in its ground-breaking SLAM technology To start, at the heart of the DX6000 is a newly developed large-diameter dynamic driver featuring an ultra-lightweight magnesium dome diaphragm. Magnesium, chosen for its rigidity and neutral acoustic properties, allows the DX6000 to achieve “remarkably low distortion and a fast transient response”, says Final. As for the diaphragm, it is housed within a monolithic injection-moulded structure using a proprietary adhesive-free silicone foam surround. This unique construction removes unnecessary weight and delivers perfect piston motion, resulting in a dynamic soundstage with natural spatial separation, rich lows, and detailed reproduction across the frequency range. To complement the diaphragm design, engineers developed a free-air wired aluminium coil, made with trace element doping for enhanced conductivity. By eliminating traditional bonding points and soldering connections, signal purity is maintained and reverse resonance is dramatically reduced. In addition, the DX6000’s internal acoustic networks features a crossover-less design, mimicking the linearity of a well-designed speaker, offering accurate high-frequency response without harshness. The headphones’ fully open housing structure, where the front and rear enclosures are seamlessly connected, meanwhile, results in a deep, uncoloured bass with remarkable presence. Each DX6000 is also manufactured and manually acoustically matched at Final’s dedicated production line in Japan, ensuring exceptional quality control. Despite its complex engineering, the headphones remain light on the head, weighing just 363g (excluding cable). The open-back architecture and thoughtful weight distribution also make them ideal for long sessions. Included is a 3-meter OFC balanced XLR cable, designed for high-resolution, low-noise signal delivery in reference listening setups. Priced at $1,999/£1,899/€1,999, the Final DX6000 will be available to purchase from 28 April 2025 at selected retailers. Learn more at Final Audio. The post Final debuts the DX6000 in all-new headphones series appeared first on MusicTech. View the full article

The Knocks & Dragonette are meticulously crafting their upcoming “Revelation” album project, while leaving nothing to chance. With the release of their latest single “Dreams,” the roll-out now boasts an impressive four tracks. In line with the already explosive offerings of “Foolish Pleasure,” “The Hero,” and “Revelation“. “Dreams” elevates the era with its captivating synth-hued dance-pop vibes, promising a standout hit. This powerful collaboration is above all shaping up to be a defining moment in their storied careers. As the captivating muse of Revelation Technologies, Aquaria the esteemed winner of RuPaul’s Drag Race Series 10 USA, has graced this campaign with her presence on several occasions. Presently, in the “Dreams” visualiser, we are treated to a more intimate glimpse of her charisma. The clip showcases her in a relaxed state, deeply engaged in an intriguing telephone conversation. Thus leaving us to merely speculate about the fascinating discussions unfolding. However, for those who would rather have some clear insight into the “Dreams” narrative, Dragonette adds: “I don’t know why but I’ve always wanted to write a song about a sex dream. Dreams in general can be such an upside down adventure and when you find yourself in a moment of intimacy with someone in a dream, it feels singularly personal and intimate because neither the subject nor your consciousness was present. It belongs to a different you, living in a different realm. There is no transgression. It is innocent. For me, that’s why a song about a sex dreams needs to feel mostly PG…. No matter what happened with whom in that realm, we’re both innocent.” Now that’s what I call a revelation! Given The Knocks’ vibrant presence in New York and Dragonette’s dynamic base in Canada, it’s only logical to anticipate an exciting lineup of North American tour dates set for April through September. Likewise, fans can look forward to electrifying performances at renowned festivals, including the “All Out Festival” and the “OUTLOUD Music Festival at WeHo Pride,” among others. Moreover, there is no need to fret if you can’t make it to any of these events, however, as the highly anticipated “Revelation” release is just around the corner. As meanwhile there’s plenty of time for another incredible track to be unveiled before the album drops, so stay tuned! The highly anticipated album, “Revelation,” arrives on June 6th via Neon Gold Records / Futures / Virgin. PRE-save HERE Connect with The Knocks Facebook: https://www.facebook.com/theknocksnyc X: https://x.com/theknocks Instagram: https://www.instagram.com/the_knocks/ Connect with Dragonette Facebook: https://www.facebook.com/dragonette X: https://x.com/dragonette Instagram: https://www.instagram.com/dragonette/ The post Listen to “Dreams” by The Knocks & Dragonette appeared first on EQ Music Blog. View the full article

Since its birth in 1987, SXSW has grown into one of the largest of its kind — attracting thousands of visitors each year. Attendance was noticeably down at SXSW 2025, but in 2026, SXSW attendees may have an entirely different experience in store. SXSW 2026 is planning to go big with format changes. For those trekking to SXSW this year, crowds were noticeably thinner. But that didn’t dilute the experience — in fact, many actually appreciated the extra elbow room. Starting with the tech expo that showcased the latest in music, audio, and visual technology, the panels were informative, as always. Topics ranged from AI, streaming fraud, artist revenue, and sync. During one interactive panel, producers got to play their music for a panel of sync experts. Participants received instant feedback on placing their songs in films, TV shows, and commercials. From off-site events at large venues like the main stage at the Texas Recording Academy party to modest ones like a backyard DJ set at the DISCO house event, the SXSW experience was as diverse as always. You can always catch a performance from an up-and-coming artist as you take in the scene. But it’s the chance to network and make new connections that draw people worldwide to SXSW every year. American Association of Independent Music (A2IM) President and CEO Richard James Burgess spoke to us outside their annual brunch event. “It is all about the networking at SXSW, although I know there’s much more than that.” The President of the Music Managers Forum (MMF-US), Neeta Ragoowansi, emphasized the importance of connecting with members during their annual SXSW gathering. “Everyone shows up to show support, be part of this community, and really engage with each other on a very important pillar of our organization — networking. They learn from each other. It’s such a beautiful time, and it makes my heart glow,” she said. As the Austin Convention Center closed down on April 1st for four years to undergo a massive renovation, SXSW organizers are using this as an opportunity to experiment with the usual SXSW format. For 2026, officials are working on changes to bring back the crowds. For years, tech and film weekends have attracted crowds in droves — but the town empties out right after. SXSW organizers insist that the event is committed to retaining a core music focus, but critics have had their doubts for a while. Some believe that SXSW has already aggressively diluted their value to the music industry by over-expanding into other areas such as film, TV, and tech. A SXSW spokesperson told Digital Music News, “With the Conference, Film & TV Festival, and Music Festival all taking place concurrently over seven days, everyone will have the chance to experience the whole of SXSW.” SXSW 2026 will be two days shorter — but the 6-night Music Fest will now be seven days long. According to SXSW, “A shorter SX gives attendees more of a chance to be here for the entire run.” This compressed format may spike attendee numbers and engagement — unless there are other factors keeping the usual crowds at bay. Are companies cutting down Travel and Entertainment (T&E) budgets under the industry wide bid to reduce operational costs? T&E is veritably the second largest operational cost for music companies after salaries, and a budget cut would significantly impact SXSW attendance. Or, maybe SXSW’s reputation as a ‘party’ vs. serious industry core event (that warrants the travel cost and related expenses) is simply no longer worth it for industry professionals. On the outset, SXSW does seem ready to make the necessary changes to bring back the music crowds. However, what organizers bring to the table for SXSW 2026 could make or break the future reputation of SXSW as a core music industry event. View the full article

This is your essential guide to 1001 Festival in Riyadh. A first of its kind in Saudi Arabia—it promises a dreamworld of sound carved from sand, lights, and centuries of imagination. Held in the vast desert expanse of Banban, Riyadh, this music festival blends ancient Arabian storytelling with imaginative stage design and a lineup of electronic legends. Whether you’re traveling for the first time to Saudi or you live in Riyadh, this guide is everything you need to know before you go to 1001 Festival. Where is 1001 Festival located in Riyadh? 1001 Festival takes place in Banban, the same desert location used by MDLBEAST Soundstorm. It’s a massive site equipped for high-volume music events. The venue features underground stages, wide access roads, and clear signage for every ticket tier. Use this Google Maps link to find exact directions to the gates. Organizers have separated entrances by ticket level to avoid congestion and confusion on arrival. What time does the festival start and who can attend? Gates open at 4:00 PM and close at 2:00 AM. Only guests aged 18 and above may enter the festival. You must bring a physical or digital copy of your ID for entry verification. No ID, no entry—no exceptions. Dress stylishly, but respect local customs. Security can deny entry to guests in inappropriate attire, so choose wisely. What are the stages at 1001 Festival? There are four immersive stages at the festival, each with a distinct story and vibe. Qafilah is a traveling caravan that sails across golden dunes, its rhythms shifting with the sands. Qasr reimagines a grand ballroom into a royal rave filled with elegance and thunderous basslines. Bustan is a surreal garden where birds sing, trees sway, and melodies bloom with every beat. Sahaab floats above reality like a cloud of light and sound, suspended in motion between fantasy and atmosphere. How do you get to 1001 Festival and where do you park? You can drive your own car and access complimentary parking, sorted by ticket tier for smooth arrival. If using Uber, Careem, or a taxi, drop-offs are coordinated by entrance tier. Festival organizers encourage carpooling with friends to enhance the ride and simplify entry. Make sure everyone in your group has the same ticket tier so you can park and enter together. What should you bring to 1001 festival? The event is completely cashless. Accepted payment methods include Visa, Mastercard, Mada, and Apple Pay. There will be no locker storage, so bring only what you need for the night. Professional recording equipment and cameras are not allowed inside. You can use your phone for photos and videos, but always be courteous and respect others’ privacy. This helps keep the vibe positive and the focus on the music. Are there free tickets or premium passes available? Yes, 1001 offers multiple ways to access the festival. Ladies can register for free General Admission tickets by signing up for NOFOMO and Saudi Rewards. These tickets are valid only for women, and men using them will be turned away at the gate. General admission tickets start from $48 USD (SAR 179) for one day. VIB tickets with enhanced viewing decks, premium parking, and more start at $149 USD (SAR 559). For the ultimate upgrade, VVIB tickets from $933 (SAR 3,499) include backstage access behind the DJ, elevated access, premium parking, and more. Explore all the ticket options here. What are the best hotels near the festival site? If you’re staying for the weekend, here are the best nearby hotel options. These hotels offer comfort, convenience, and easy rideshare access to and from the venue: InterContinental Durrat Al Riyadh – 10 mins away – $547 USD (SAR 2,050) Fairmont Ramla Residences – 20–25 mins – $480 USD (SAR 1,800) Radisson Residences – 20–25 mins – $160 USD (SAR 600) Novotel Riyadh Sahafa – 20–25 mins – $154 USD (SAR 580) Hilton Riyadh Hotel & Residences – 30–35 mins – $437 USD (SAR 1,640) What should you do before heading to the festival? Charge your phone and pack your digital wallet with an accepted payment method. Screenshot your entry gate location and artist set times. Double-check that your ID is ready and your outfit meets the guidelines. Coordinate with friends so everyone knows which entrance to use. Keep this guide handy whether you’re dancing in Bustan, floating through Sahaab, or watching from behind the decks with VVIB, 1001 Festival Riyadh is your passage into a world built on rhythm and wonder. Tickets are available here. The post Guide: All You Need to Know Before Going to 1001 Festival in Riyadh appeared first on EDMNOMAD. View the full article

$349 / £329, shure.com Shure’s MV family of USB microphones continues to expand with the addition of the MV7i, sharing much of the technology of the MV7+ but adding a second input with plenty of gain to essentially turn the mic into a standalone audio interface. The idea is that you can add a second microphone or source via the combination XLR and jack input with phantom power and use it as a single or dual channel interface down a single connection, removing the need for additional cabling. That potentially makes it the perfect mobile solution for podcast or other simpler audio tracking uses like a singer/guitarist. But how well does it work in practice? READ MORE: IK Multimedia’s iRig Stream Mic Pro is a hassle-free solution for all recording artists The mic is sturdy with a high-quality metal case and comes on a yoke mount with screws on either side to enable it to be angled or fixed securely. You don’t get a stand for it, but the mount has a thread that can be attached either to a desk or a boom stand, depending on how you plan to use it. A foam pop shield is included, as is a USB-C cable of reasonable length, which both powers the mic and carries audio signals. No drivers are required but you will need to download the MOTIV Mix app for macOS, PC or iOS, as this is the way you control the different settings inside the mic. There are no on-body controls except for the colour LED touch strip, which can be tapped to mute or unmute the signal. On the rear of the body are the USB-C port, the combo XLR/jack input and a 3.5 mm headphone output for monitoring. The first thing the MOTIV Mix app will ask you to do is set up the routing for recording, the way the mic outputs audio. The first option is Mixdown, where inputs 1 and 2 are summed as a mono stream, say for live streaming. Then there’s Multitrack, which separates inputs 1 and 2 as individual mono streams, and finally Stereo which keeps input 2 as stereo while sending input 1 to both left and right, perhaps for recording voiceover over stereo content. In terms of hardware, the mic has a directional, cardioid polar pattern and a dynamic transducer and a frequency response of 50 Hz to 16 kHz – not the widest range going, but sufficient for voice recording. Anyone wanting to capture every nuance of an acoustic guitar, for example, may want to connect a more sensitive mic to the other input – but we’ll get to that. The unit’s analogue-to-digital converter runs at up to 24-bit/48kHz and a slightly lower 16-bit/44.1kHz for iOS devices. The onboard digital signal processing (DSP) powers a bunch of useful recording effects and tools that help you to capture respectable recordings in the kinds of less-than-perfect environments you may find yourself working in while on the move. All of these are configurable in the app. First up is Auto Level Mode with SmartGate, which monitors signal and auto-adjusts gain based on distance, volume and room dynamics. It can also prevent overlapping dialogue when two inputs are in use. It’s effective in real-world use, and though you will set levels manually in the app, the auto features help to mitigate variations in volume and potential movement during recording. The company’s Voice Isolation Technology helps the system separate out voices from other noise. Denoiser is another process that can run in real-time, identifying and reducing persistent ambient noise like air conditioning, and a digital popper stopper can be activated in addition to the physical windshield. Then there are three types of variable digital reverb which tend towards sounding swampy so would need to be used sparingly, and an effects strip with tone, gain, EQ, compression and a limiter. All these are also available for the combo input channel and will be applied when a signal is detected from that input. There are broad presets for speech, singing or instruments, and global setups can be stored in the app too for easy switching between different uses. This is a lot of processing inside such a small unit and, until now, would usually have required a larger housing — even compact audio interfaces with this much DSP don’t manage to also incorporate a full microphone. The MV7i can also supply 48v phantom power and +60dB of gain to its physical input and doesn’t get noticeably warm while doing so. Monitoring is zero-latency with optional reverb applied both to the recording and foldback, and in tests, the recordings captured are excellent. The ability to add processing to the sound onboard – EQ, compression, limiting and a degree of gating – rather than in a DAW — cuts the chances of latency appearing. Plus, it means your sound is pre-processed by the time it hits the hard drive or is streamed online. Of course, you can omit these if you want to add effects post-recording, but there is an option to have a ‘comfort’ reverb in headphones, but not record it. Adding a second source via the combo input is simple, with the streams appearing to your DAW based on how you’ve set up the routing. The MOTIV Mix app is capable of recording a high-quality stereo file from several inputs, including your computer (though at a fixed setting), which is fine for podcasting or recording live material, though for more flexible mixing, you’d capture separate streams in a DAW or similar package. Shure suggests that this is a unique device, but it’s not dissimilar to IK’s iRig Stream Mic Pro (around £149) in some respects, which also has a high-quality USB-powered mic (with switchable polar pattern) and operates as a more limited audio interface than the MV7i. It lacks the DSP and internal effects as well as the powered combo input, so it’s more restricted, but it does have more on-body controls if that’s something you prefer. The MV7i is a dependable and well-built mic that performs to a high standard and will suit streamers, podcasters and those needing to record a couple of sources without carrying lots of gear. The DSP features like auto gain and denoiser are genuinely useful, while the directionality of the mic means it excels at the task of voice pickup. If your needs are more modest, the MV7+ at around £269 offers many of the same features just without the second input. The MV7i is arguably a little on the pricey side but there’s really nothing around that does what it does quite this well. Key features USB-C mic with up to 24-bit, 48 kHz recording Second combo mix/line/instrument input MOTIV Mix desktop and iOS software Onboard effects and DSP Zero-latency monitoring Auto gain, denoiser and pop stopper LED touch panel for muting and level feedback (with a Split option to reveal a meter for each input) 3.5 mm headphone output Phantom power to XLR Flexible routing modes The post Shure’s MV7i USB mic might be your go-to audio interface for mobile recording appeared first on MusicTech. View the full article

Photo Credit: Danny Howe Australia’s festival sector is suffering more than most, so the Australian Greens have announced a $20 million annual Festivals Support Package. Between rising insurance costs, climate impacts, and reduced consumer spending, Australia’s festival circuit is suffering even more than those worldwide. But the Australian Greens have announced a $20 million (12.8 million USD) annual Festival Support Package designed to strengthen and stabilize the country’s live events sector. Greens’ spokesperson Senator Sarah Hanson-Young officially launched the plan over the weekend at Bluesfest Byron Bay alongside local candidate Mandy Nolan and Bluesfest Director Peter Noble. The announcement went public late Friday night, ahead of the policy launch the following day at the festival. “Our festivals are in crisis,” said Senator Hanson-Young. “Over the past few years, we’ve seen the cancellation after cancellation of loved and iconic festivals. It’s clear that the government needs to step in to help the industry.” “A plan for the arts is nothing without the funding required to support the industry,” Senator Hanson-Young explained. “The Greens’ plan for supporting our festivals takes a holistic view of what the sector needs. That means direct support in the form of grants, a review of the market failure in insurance for live events, a federal strategy for sustainability, and tax offsets for both venues and artists.” She stressed that festivals play a critical role in the development of Australian talent and the live music ecosystem worldwide. “Festivals are an essential part of the music ecosystem and an important part of our culture,” she said. “It’s how Australian artists build new audiences that help set up their careers — and it’s how young people build a love for live music.” The announcement is well timed, as numerous high-profile live events have been cancelled in recent years, many of which take place in Australia, including Falls Festival and Splendour in the Grass. Smaller regional festivals face even more insurmountable issues with logistics and financial barriers. “Festivals matter,” said Hanson-Young. “They inject money and enthusiasm into our local communities from the cities to the regions. I’m excited to be making this announcement at Bluesfest, an iconic Australian festival and a great example of how investment in the arts drive local, regional economies.” View the full article

Fatal Fury: City of the Wolves, SNK’s highly anticipated 2.5D fighter game, drops April 24, 2025, but its soundtrack is already making noise by partnering with 11 global DJs. The game doesn’t just revive a beloved fighting series, it fuses it with modern electronic music culture to create something bigger: a fully immersive gaming experience. An In-Game OST Which Looks Like a Festival Lineup At the heart of this collaboration dubbed ‘REV IT UP’, is a simple idea: music shouldn’t just sit in the background— it should shape how one interacts in a virtual world setting. The Fatal Fury: City of the Wolves music collaboration is one of the biggest moves we have seen in recent times when it comes to background scores in gaming. Spearheaded by DJ Salvatore Ganacci—who also appears in-game as a playable character— Fatal Fury brings together 11 major EDM DJs to shape the music identity of the title. The result? A 19-track soundtrack that fuses the energy of fighting games with the rhythm and atmosphere of world-stage EDM. The full DJ roster includes: Afrojack Alan Walker Steve Aoki R3HAB Solomun Alok Artbat Butch Luciano Sidney Samson Salvatore Ganacci (also serving as music advisor) Each track is tailored to specific characters or arenas, functioning as in-game BGM during fights. Players can also engage with the music directly through Jukebox Mode. This mode allows full playlist customization and the ability to assign tracks to stages, menus, and intros. To mark the game’s launch, the tracks will roll out across major streaming platforms starting April 24—kicking off with Mind of a Warrior by Alan Walker. We shall also see subsequent releases with Steve Aoki‘s Legacy, Alok‘s Don’t Mess With The Fire and Salvatore Ganacci‘s Work Hard Not Smart coming out this May 2025. Additional tracks will continue releasing throughout 2025. Why Soundtracks in Games Matter? Great soundtracks don’t just fill silence—they’re emotional anchors, mood setters. A game’s soundtrack is its soul, shaping its world and immersing players in its emotional and atmospheric core. Gustavo Santaolalla’s sparse, aching compositions made The Last of Us feel desolate and real. That seems fit for an action-adventure lore based game set in post-apocalyptic environment. Now flip that energy: EDM’s driving beats are a natural fit for high-energy genres like fighting games and racers. And this collaboration—unprecedented in its scale—builds on a rich legacy. Look at Deadmau5 and Need for Speed: Most Wanted (2012), the iconic producer curated a pulse-pounding OST, with tracks like Strobe and Calvin Harris cuts fuelling EA’s street-racing chaos. The music’s relentless tempo mirrored the game’s high-speed pursuits, setting a high standard for EDM in gaming. Skrillex’s dubstep banger Make It Bun Dem (with Damian Marley) became Far Cry 3’s signature, its aggressive drops syncing with the game’s anarchic combat. It proved dubstep’s visceral power in action-packed settings. Zedd’s Ignite headlined the 2016 League of Legends World Championship, its euphoric melodies capturing the esports frenzy. His in-game skins deepened the crossover, showing EDM’s cultural pull. Fatal Fury: City of the Wolves now joins a storied tradition of electronic music powering gaming experiences. Where Combat meets Music Fatal Fury: City of the Wolves represents the evolution in this relationship between gaming and electronic music. For fighting game enthusiasts, the soundtrack adds a new dimension to gameplay. With each character and arena gaining a distinct musical personality. For EDM fans, it offers a curated collection from some of the genre’s biggest names, contextualised within an interactive experience that amplifies the music’s impact. As video games continue to evolve as cultural platforms rather than isolated entertainment products, Fatal Fury: City of the Wolves establishes a new benchmark for cross-media collaboration. When the game launches, players won’t just be downloading a fighting game—they’ll be immersing themselves in a combat experience powered by some of electronic music’s most influential voices. Fans can follow the complete release schedule at SNK’s official Fatal Fury music portal. The post 11 DJs Takeover FATAL FURY: City of the Wolves Soundtrack appeared first on EDMNOMAD. View the full article

Photo Credit: Kendrick Lamar by Kenny Sun / CC by 2.0 Certain Drake disses were omitted from Kendrick Lamar’s track “Euphoria,” Top Dawg President Terrence “Punch” Henderson reveals. In an in-depth, three-hour-plus interview with Curtiss King, Top Dawg Entertainment President Terrence “Punch” Henderson confirmed that Kendrick Lamar’s song “Euphoria” initially contained more jabs at his nemesis, Drake. The seemingly more damaging version of the song, which was released in response to Drake’s “Push Ups,” ended up more concise per Punch’s advice. The news comes on the heels of rumors that a nearly 20-minute version of the song exists. “I don’t know the length, but there was definitely a version that was longer than what the world got,” said Punch. “There was a lot of stuff that didn’t make it on there.” “There was just some things in there that I didn’t think would have been beneficial in the long run to put in there,” he added. “So I gave him my input on that and he took some of those things out.” Punch also provided some other insight into Ken’s ongoing feud with Drake, such as the former’s numerous Easter eggs throughout their battle. He also mentioned some areas where he thinks Drake went wrong. “I read [‘Taylor Made Freestyle’] as [Drake’s] first mistake,” said Punch. “To me, it felt like a mockery of the West Coast. So when you do that, you’re gonna unite it. If there was any type of division at that time, once you do that, you’re gonna get all the people together.” “My first response [to Drake’s ‘Push Ups’] was, ‘It’s not enough,’” he explained. “It was cool; it was cute. I see where you’re going, but those angles are not gonna be enough. It’s as simple as that.” He continued, “I had the same thought with ‘Family Matters’ that I did with ‘Push Ups,’ and that was: It’s not enough! I think another mistake that they made was giving the idea that they was finna push this red button. When you do that, you build the anticipation a bit too high, so now people have expectations.” “[The feud] had been bubbling for a while. We had been pretty close-mouthed about it,” Punch said of the lead up into Kendrick’s track “Like That.” “He played the record for Top [Dawg]. […] He told me a little bit about the record, so I hit [Lamar] like, ‘It’s going down?’ He said, ‘Yeah, we’ll see what’s up,’ laughing.” “People think that this [feud] is so serious, but it’s funny,” explained Punch. “This n—a is from Compton, California, bro. Where he grew up, it’s serious over there — you getting shot at, you getting home invasions, you getting gang wars. We’re talking about music, bruh, so it’s funny!” Drake recently amended his defamation lawsuit against Universal Music Group (UMG) related to Kendrick’s award-winning Drake diss track, “Not Like Us.” Previously, Drake was given until April 16 to respond to UMG’s motion for dismissal or file an amended lawsuit. The amended filing is 23 pages longer than the original. “The Recording was performed during the 2025 Super Bowl and broadcast to the largest audience for a Super Bowl halftime show ever, over 133 million people, including millions of children, and millions more who had never before heard the song or any of the songs that preceded it,” the amended filing reads. “On information and belief, Kendrick Lamar would not have been permitted to perform during the Super Bowl Performance unless the word ‘pedophile’ (in the phrase ‘certified pedophiles’) was omitted from the lyrics — that is because nearly everyone understands that it is defamatory to falsely brand someone a ‘certified pedophile.’” View the full article

Photo Credit: @alung1999 on YouTube Lady Gaga’s set at Coachella’s Weekend 2 hit some mic issues, but she powered through with style: “At least you know I sing live,” she told the crowd. Lady Gaga’s epic Coachella 2025 set was briefly hit with a snag when her mic began glitching during “Abracadabra,” her second song of the night, but the 14-time Grammy winner powered through with her choreography. Soon, the star re-emerged with a working mic. “I’m sorry my mic was broken for a second,” she told the crowd. “At least you know I sing live. I guess all we can do is our best, and I’m certainly giving you my best tonight.” The performance marks Lady Gaga’s first time performing at Coachella since 2017, when she replaced Beyoncé on the lineup. For the festival’s 2025 edition, she came equipped with tracks from her latest album, Mayhem, and some of her other biggest hits. “Since the last time I played Coachella, I’ve had some songs come out,” she said as she led into her hit “Shallow,” which won her an Oscar, Grammy, and Golden Globe when she originally sang it in 2018 with Bradley Cooper in their A Star Is Born remake. “But one of them, I think back to being here and remember how special it was that I got to perform here. And we filmed a movie, a movie that changed my life, helped me say something I hadn’t said before.” “I hope you sing it as loud as you can,” she continued. “There ain’t nothing like you. Come on — let’s get far from the shallow.” This year, in addition to Gaga, Coachella’s headliners included Green Day, and Post Malone, with a special performance from Travis Scott. Other notable performances included Charli XCX, Megan Thee Stallion, Missy Elliott, Shaboozey, Benson Boone, Ty Dolla $ign, The Original Misfits, Prodigy, Jimmy Eat World, Zedd, and many more. View the full article

Dirty has never sounded cleaner in M42's new single, "Gimme That Dirty," a sleek and snarling drum & bass track. The emerging duo's moniker nods to the Orion Nebula, Messier 42, an "enormous cloud of dust and gas where vast numbers of new stars are being forged," per NASA. In Mayan mythology, it was revered as the "fire of creation," believed to be the place where the gods kindled the first fire and initiated the creation of the world. Messier 42 held deep spiritual significance as a celestial birthplace tied to their origin stories and rituals. M42 have turned that celestial fire into blistering electronic music in their new single, a dark, kinetic blast of drum & bass. "Gimme That Dirty" is engineered for maximum impact and minimal mercy. Spacey synths slither atop a tight, propulsive drum groove and the bass rips through the mix like barbed wire. The track arrives in the midst of a strong year for M42. Hailing from Los Angeles and Austin, the duo recently shared the stage with DVBBS at The Concourse Project and performed at Spinnin' Records and Kanary Records' rooftop sessions at last year's SXSW festival. You can listen to "Gimme That Dirty" below. Follow M42:Instagram: instagram.com/m42ofc SoundCloud: soundcloud.com/m42-733895052 Spotify: tinyurl.com/yx28jxzy

Markus Schulz, Tim Clark and Linney have joined forces for a new collaboration, "You Belong," a radiant trance track. Warm and full of promise, "You Belong" finds the three artists at different yet complementary stages of their careers but converging to deliver a track that moves bodies and hearts on the dancefloor. Schulz’s time-honored trance instincts, Clark’s dynamism and Linney’s ethereal vocal prowess unite for a memorable dance record. The track's message, a poetic invitation to endure and emerge stronger, offers listeners a sense of shared struggle and renewal. It’s this same warmth that’s made Linney a beacon in dance music, a light that continues to shine even brighter as a newly minted member of the EDM.com Class of 2025. From a production standpoint, the track is embraces vibrant sound design with Schulz’s trance roots running deep. Melodies unfold in cascading waves while gated vocal chops set the spirited pace. It’s a sonic sanctuary, built by artists who understand that even in dance music's most euphoric moments, there’s power in vulnerability. You can listen to "You Belong" below and find the new single on streaming services here. Follow Markus Schulz:X: x.com/markusschulz Instagram: instagram.com/markusschulz TikTok: tiktok.com/@markusschulzofficial Facebook: facebook.com/markusschulz Spotify: tinyurl.com/46k3zfzv Follow Linney:X: x.com/linneyofficial Instagram: instagram.com/linney TikTok: tiktok.com/@linney Facebook: facebook.com/linneyofficial Spotify: spoti.fi/33ARzWg Follow Tim Clark:X: x.com/timclarklive Instagram: instagram.com/timclarklive TikTok: tiktok.com/@timclarklive Facebook: facebook.com/TimClarkLiveFB Spotify: tinyurl.com/4tzvj8ju

[UNVRS], Ibiza's new technologically advanced "superclub," has announced one of the most anticipated bookings of the island's 2025 season, an eight-show residency featuring Anyma. Running Tuesday nights from July 8th, the residency marks a significant pairing between one of electronic music's most innovative artists and the island's cutting-edge new venue. Coming off a remarkable year that saw Anyma become the first electronic artist to hold a residency at the record-breaking Las Vegas Sphere, the DJ will bring his distinct fusion of emotive techno and immersive visual storytelling to the White Isle. c/o Anyma [UNVRS], which is purpose-built for multi-sensory experiences, represents the perfect canvas for Anyma's ambitious creative vision. Each night promises to deliver a real-time, responsive experience "aligned with the visual language he’s developed over years of interdisciplinary work," according to a press release. "Perception fractures, the real blurs with the unreal, and a transformative universe begins to take shape," Anyma said in a statement. "A quantum odyssey at the intersection of music, art, and technology. This is Anyma at [UNVRS]." "It's an honor to welcome Anyma to [UNVRS]—a truly meaningful moment," added Yann Pissenem, owner, founder and CEO of The Night League and Ushuaïa Entertainment. "The impact of his work speaks for itself, and his artistic vision is perfectly in tune with the spirit of [UNVRS], which was conceived to host and showcase the most forward-thinking creators of our time. I'm looking forward to sharing his new universe with the world." The residency's lineup is massive, featuring Dom Dolla, John Summit, Amelie Lens, Solomun, Adriatique, Argy, Cassian, Kevin de Vries and Mind Against, among other influential techno and house music acts. Tickets for Anyma's residency at [UNVRS] are on sale here. c/o Press Follow [UNVRS]:X: x.com/unvrsibiza Instagram: instagram.com/unvrsibiza TikTok: tiktok.com/@unvrsibiza YouTube: youtube.com/@unvrsibiza Facebook: facebook.com/unvrsibiza

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene. You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here. EDM.com Fresh PicksElderbrook & Ahmed Spins - Waterfallmsft - GottakeepNOZU & MNTRA - PushGeorge Daniel - ChlorineCOIDO - Little SnitchAlowski - UNSPOKENDahliah - I wanna danceMalixe, Jade Sierra - HavenDanny Olson & Awakend - Follow Me Back Home (feat. Casey Cook)jabeau - hey i made thisAir - Ce matin-là (Vegyn Version)Owen Vonn - Fall In LineNIGHTJARS, .breezy & Zack B - FantasySetou & Senyo, Lil Eddie & DobleU - Chem Trail

As weekend 2 of the Coachella festivities hits Indio, one of the most anticipated performances of the weekend belonged to a unique B2B performance featuring deadmau5‘s alias ‘Testpilot‘ and ZHU atop the Quasar stage. However, the one of a kind performance did not exactly go as planned as producer behind the iconic mouse head mask, Joel Zimmerman, had a slightly bit too much to drink before he took the stage. The set would abruptly come to a close Friday night with Zimmerman being helped off the stage. Videos of the awkward performance began surfacing online showing some strange mixing throughout the set with Zimmerman slurring his words as he grabbed the mic. Following the aftermath of the evening, deadmau5 proceeded to post a photo of a water bottle to his social media with the caption “I dont remember a thing. But I don’t think I had a cig? So… that’s good I guess? Going back to bed. Wake me up around Thursday ish.” After a few hours, Zimmerman posted a follow up post featuring a photo of his cat captioned with a lighthearted apology along with a shoutout to ZHU for carrying the performance. To be fair, this happens to the best of us especially in the nightlife scene. deadmau5’s posts were flooded with unconcerned and supportive comments from his fans who saw the humor in the situation. Hopefully we get a second chance at seeing this duo take the stage at another event in the future so we can experience the full potential of their musical talents. The post deadmau5 Apologizes After Blacking Out on Stage During Blacklizt B2B Set at Coachella appeared first on EDMTunes.

Seven years ago, on April 20, 2018, the world lost Tim Bergling, known globally as Avicii. His passing left a void in the music world, but his influence endures through his groundbreaking tracks, the memories of his performances, and the emotional depth he brought to electronic dance music. A Personal Introduction to Avicii’s Music I first encountered Avicii’s music when Levels played at a friend’s gathering. I didn’t even know what EDM was at the time. I just knew that something about that loop made everything around me feel lighter. The way it kept building felt like an invitation into a new world, one that I didn’t fully understand but wanted to be part of. That song didn’t just stick in my head. It changed how I heard music. It was the beginning of everything for me. In 2016, I had the opportunity to see Avicii perform live at Road to Ultra Thailand. I still think about that night. The crowd didn’t need fireworks or distractions. When he played The Nights, people put their phones away and actually lived in the moment. There was a group of strangers hugging behind me. Some were shouting the lyrics. Others had tears in their eyes. “One day you’ll leave this world behind, so live a life you will remember.” It didn’t feel like a line from a dance song. It felt like a reminder to wake up and be present. Bridging Musical Worlds Avicii made electronic music feel personal. That was his gift. Wake Me Up was released in 2013 and reached number one in over twenty countries. It sold more than 267,000 copies in the UK during its first week and became the most streamed track in Spotify’s history at the time. The track featured Aloe Blacc on vocals and was co-written with Mike Einziger from Incubus. It was electronic, but it didn’t sound like anything else out at the time. “All this time I was finding myself, and I didn’t know I was lost.” That line found its way into Instagram captions, yearbook quotes, and people’s real lives. Hey Brother felt more like a country or folk song. It had a message about family and sacrifice that reached far beyond the dance floor. The Days and The Nights became twin tracks in a way. One was about the memories you make, and the other was about why those memories matter. “These are the nights that never die” became something people wrote on posters, festival banners, and graduation cards. His music didn’t just play in clubs. It followed people through growing pains, through breakups, through change. A Soundtrack for Every Emotion Avicii’s songs were tied to specific feelings in a way that a lot of EDM at the time was not. Levels felt like discovering something new and not being afraid of where it might take you. Waiting for Love sounded like someone trying to hold on to hope after losing it for a while. “Monday left me broken, Tuesday I was through with hoping” hit different when life was actually throwing you around. Fade Into Darkness gave space to people who were dealing with the quiet stuff. The moments when you feel unsure of who you are or where you’re headed. The Nights helped people remember that joy could still exist in the middle of everything else.Back then in our twenties, we danced to these songs without thinking too much about the lyrics. They were part of the background. But now in our thirties, the words feel more specific. They feel like they were written for moments that haven’t even happened yet. Enduring Legacy Avicii’s influence on music is still being felt today. Artists like Kygo, Alan Walker, Martin Garrix, and even pop acts like Zara Larsson and Billie Eilish have pointed to Avicii’s emotional honesty and musical structure as something that shaped how they make songs. He helped take EDM out of the underground and onto the radio without losing any heart. That shift changed the course of what pop and dance music could be. After his death, the Tim Bergling Foundation was launched by his family. The foundation focuses on mental health awareness, suicide prevention, and removing the stigma around seeking help. His story pushed the industry to talk more openly about burnout, touring pressure, and the need for balance. He left behind not just an archive of songs, but a conversation that needed to happen. In 2025, a compilation album titled Avicii Forever was announced. It features twenty of his most well-loved tracks and includes a previously unreleased song called Let’s Ride Away, which he co-wrote with Kacey Musgraves. That track is expected to come out later this year, and fans are already anticipating how it might feel to hear his voice and production again after all this time. Remembering Tim Bergling Avicii‘s music continues to inspire and connect people. He didn’t just produce songs that filled dance floors. He created tracks that made people feel seen. Tracks that sounded good when you were celebrating but also stayed with you when things got quiet. As we remember him today, we’re not just looking back at a discography. We’re remembering the way a song could hit you when you least expected it. How one line could stay in your head for years. How a beat could make you feel like yourself again. Tim Bergling may have left us in 2018, but his music still speaks for him, and a lot of us are still listening.

Sebastian Ingrosso is a Swedish EDM producer and DJ of Italian descent, best known as a member of Swedish House Mafia alongside Axwell and Steve Angello. After years as an underground tech-house artist, he launched Refune Music in 2003 and gained mainstream success in 2005 with Axwell on ‘Together’. More hits followed and in 2008 he co-founded Swedish House Mafia, releasing massive tracks like ‘One’ and albums ‘Until One’ and ‘Until Now’. In 2014, he and Axwell formed the duo Axwell /\ Ingrosso. The trio later reunited as Swedish House Mafia, releasing their debut album ‘Paradise Again’ in 2022. Today, we celebrate Sebastian Ingrosso’s 42nd birthday by looking at his top 10 tracks. 10. How Do I Make You Love Me? (Sebastian Ingrosso & Salvatore Ganacci Remix) – 14m Spotify streams 09. Can’t Hold Us Down (with Axwell) – 14m Spotify streams 08. Let You Do This (with Steve Angello & Salvatore Ganacci) – 14m Spotify streams 07. Dark River – 31m Spotify streams 06. Leave The World Behind (with Steve Angello, Axwell, Laidback Luke & Deborah Cox) – 79m Spotify streams 05. On My Way (with Axwell) – 79m Spotify streams 04. Something New (with Axwell) – 122m Spotify streams 03. Calling (Lose My Mind) [with Alesso & Ryan Tedder) – 212m Spotify streams 02. Reload (with Tommy Trash) – 263m Spotify streams 01. Sun Is Shining (with Axwell) – 399m Spotify streams

April 20th, 2025 marks seven years since the world lost Tim Bergling, better known as Avicii, a truly visionary producer, DJ, and artist who redefined the landscape of electronic music. His melodies transcended dance floors, reaching hearts across the globe with a rare blend of emotion, energy, and authenticity. Today, we honor his legacy by revisiting the tracks that not only defined his career but also shaped a generation of music lovers across the globe. From timeless festival anthems to introspective ballads, these top 10 songs capture the essence of Avicii‘s brilliance — and the everlasting impact he left on the world. 10. Addicted To You – 479m Spotify streams 09. I Could Be The One (with Nicky Romero) – 496m Spotify streams 08. Lonely Together (ft. Rita Ora) – 737m Spotify streams 07. SOS (ft. Aloe Blacc) – 816m Spotify streams 06. Levels – 1.1b Spotify streams 05. Hey Brother – 1.1b Spotify streams 04. Without You (ft. Sandro Cavazza) – 1.1b Spotify streams 03. Waiting For Love – 1.5b Spotify streams 02. The Nights – 2b Spotify streams 01. Wake Me Up – 2.6b Spotify streams

Jax Jones is responsible for some of the most iconic house hits of the past 10 years with amazing tracks like ‘I Got U’, ‘House Work’, and ‘Where Did You Go.’ But this year he’s broadening his horizons with the beginning of his new Y2J! project which sees him taking on a whole new style. The British DJs latest release ‘Bad Boys’ was the first introduction to this new style which he has now given more context to in a recent video on social media. He explained that “I’ve not been feeling inspired as an artist and a fan of music”, “For me what’s important is exploration.” Y2J! is the start of that exploration with a bunch of upcoming tracks being released under this project that are going to be harder and faster. He’s described the Y2J! musical direction as “Techno, but a bit more Polly Pocket” and a sort of 2025 version of Eurodance. The previews of his upcoming releases certainly live up to the hype with them definitely giving off that Vengaboys energy everyone loves. Along with this change in sound he’s stated that there’s also going to be collaborations with industry legends and people around the world. Though born and raised in England, Jax Jones is half Chinese, half Turkish and he’s said he wants to explore that identity with music. ‘Bad Boys’ is already a display of his promise of international collaborations with American singer Rebecca Black and Korean DJ sooyeon featuring on the track. For those that love Jax Jones’ usual style there’s no need to worry as he has said he will bring back that sound, but right now it’s Y2J! time. The enthusiasm he has for Y2J! is evident and having Jax Jones feeling inspired again is huge for the dance music scene.

Canada-born drum & bass visionary René LaVice has garnered global recognition for his profound influence on the genre, from his groundbreaking original productions and remix work to his expertly curated track selections. A prominent figure at BBC Radio 1 for nearly five years, LaVice’s impact has left an indelible mark on the international music landscape. As his label, DeVice, celebrates five years of chart-topping releases and the incredible milestone of over one million streams on Spotify, René’s momentum shows no signs of slowing down. In this conversation, René reflects on the journey that has brought him to this milestone, sharing the story behind The Calling and how it unexpectedly resonated with so many listeners. He also offers a glimpse into his latest projects, from major collaborations to the organic rise of Demons. With DeVice continuing to push boundaries, René reveals the exciting future of the label, from the launch of DeVice Radio to the highly anticipated five-year anniversary event. This interview provides a rare insight into his creative process, the evolution of DeVice, and what’s next in his ever-expanding musical journey. Hey, what’s up? Can you hear me? Hey, I can hear you now, so sorry. Typical music producer. It’s just, yeah, hilarious. Every time we’re on one of these things, it’s like trying to reroute everything and it’s hilarious. It’s a joke that never gets old. How are you doing? I can’t believe that your RAM release The Calling with Ivy Mairi is celebrating its 10-year anniversary this year! I had no idea you started writing music back in high school. So when I saw your post about the single and noticed the vocalist, I thought, “Wow, they must have been high school friends!” Yeah, we were high school friends, and we were both really into music. We had a lot of overlapping friends, and we’d hang out every now and then—at school and around town. We’d go to each other’s gigs, and she’d be performing folk music, which was really different from what I was doing or what I was involved in. I was in bands playing different genres, like rock, and I was all over the place. Since I was always in two or three bands, trying to figure out what would take off, I’d go to her gigs, which were quite different from mine. But we were both passionate about making music. Then, when I got really into electronic music, I was always working and looking for people to collaborate with, and I’d end up working with just about anyone. So you started pretty early on… I was doing hip-hop and other stuff, so I had different rappers and singers, R&B artists, that I was working with. She was just someone I knew who sang, and I thought, “Well, let’s just try something.” I’d try things with anyone, really. I figured it would just add something new to the mix. Being friends like we are… I don’t know. Ivy’s always been very well-spoken and opinionated, which makes her great to work with in the studio. You could say something, and she wouldn’t just say, “Yeah, okay.” She’d have her own opinion on it, or say, “No, I think you should do this.” And then you can bounce ideas back and forth, you know what I mean? Yeah, I totally get what you mean. That kind of back-and-forth is really important, especially when you’re creating something. It pushes you to think differently and try new things, which can lead to something even better in the end. I remember we wrote that track after high school, but I think we were probably experimenting with ideas during high school, too. I feel like it was at least a year or two later, though—maybe I was still in university at the time, I’m not exactly sure. But I wrote the intro, and I remember the reason it came out the way it did was because I was writing music for myself, just to feed my soul. Some of the stuff I make is word-oriented, specific drum and bass tracks, and it feels right because there’s a clear place for it. But sometimes, I’ll create things that don’t really have a purpose other than just making me feel good. It’s kind of therapy in a way. One night, I wrote that intro and left it at that, not thinking much of it—it was just a musical theme I felt like writing. A day or two later, I knew Ivy was coming over, and we were going to try making music together. So, I pulled together a few ideas, thinking it might be helpful to have some stuff ready to go. I added a drop to that intro once I realized it was at 174 BPM. When Ivy heard it, she thought it was really cool, and I told her, “Well, I’m going through this big transition right now. I’m about to leave Canada and move to the UK, and it’s such an emotional thing for me—leaving behind relationships, not so much friendships since I’ve kept those, but I was physically leaving people behind. I had to separate from my immediate family, and it was all so unknown. There were so many things I didn’t understand about it.” It was exciting, but also really scary, and I had all these emotions swirling. When I listen to that track, I imagine someone standing at the edge of the water, watching the waves, thinking about the future—feeling a mix of excitement and a bittersweet sense of leaving things behind. It’s this blend of positive and negative emotions happening all at once. It captures a snapshot of a moment in time… It’s not really happy or sad—it’s just this weird entanglement of emotions. Then she started coming up with these poetic, introverted lines, and it all really worked. I thought, “Right, this needs a chorus to really punch through.” So, I sort of sang it to her, and she sang it back. Grammatically, it didn’t even really make sense, but I was like, “It just makes sense to me.” Back then, I was never concerned with making things perfect, I just thought, “This is art, it’s poetic.” Andy C started testing it out at shows, and it just went off. They were like, “Wait, this actually is a single. We should go with this.” And it just took off, leading to a lot of other amazing things happening as well. For us, it’s such an emotional record, in the best way possible. We’d made a lot of music before—house tracks, pop songs, R&B, just experimenting with all kinds of styles. But when we made this one, we were like, “I don’t know what’s going to happen, but let’s just make it and express ourselves.” It felt really raw and real, a genuine expression of where we were at. There’s this sentiment in the industry sometimes that if you create something from the heart, it might not be successful because you’re not fitting the mold. You have to follow the trends, do what’s hot on TikTok, or whatever’s in the charts, and that’s what leads to success—this highly planned, money-driven process. But we didn’t do any of that. We just expressed how we were feeling at the time. What ended up happening was mind-blowing—it became an anthem for an entire generation of university students. What I didn’t realize was that what I was going through, and what I wrote about, was the exact same experience that every teenager going into adulthood faces when they leave home. It was incredible to see how it resonated with so many people. Even folks in their thirties and forties were like, “Holy shit.” The subject matter is relatable.. It just makes me reflect on all these things in my life, and it really resonates with me on so many levels. Everyone interprets it in their own way and attaches their own meaning to it. It truly became their song, you know? Fans felt like it was about their lives. I think every time it’s played, it really brings people together. And it’s incredibly special. We feel so lucky to have been a part of whatever magic happened in the universe when that record was made. It’s incredibly special because it resonates with so many people in such a meaningful way. You know? And it’s just amazing to celebrate it with everyone. We didn’t really know what to do, so we thought, “Let’s just post and get it out there, saying, ‘Hey, this was fun. Thanks, everyone.'” It’s incredible to see how far you’ve come—from a decade ago to now, with Demons featuring Genetics and Elle Exxe hitting a million plays. That’s a huge milestone, especially for a drum & bass track, and it happened pretty quickly! Yeah, that was great. The really funny thing about that—well, maybe “funny” isn’t the right word when written out—but the fun part of that whole experience was when we were finishing Demons. We were doing the final mixdown, and it took a lot of effort to get that record over the line. We kept toying with it, working on it, and then it would kind of go… Anyway, to cut to the chase, we finally finished it. Then we thought, “Alright, we need to get this out there.” I looked at Harry Genetics and said, “Let’s try to get this one over a million plays, man. It’s been a minute.” The funny part is, I hadn’t checked the numbers on anything for around four years or more. I literally just didn’t pay attention. I was so focused on the music itself. But then, I realized, shit, a lot of these records are just club tracks—like Are You Ready and others. When I looked at the stream count for Demons, I was like, “Fucking hell, it’s at 400,000.” I didn’t expect it to be that high, honestly, because usually, club music isn’t made to go viral on streams. It’ll sell well on Beatport, DJs will play it, and fans know it, but it’s not the kind of track you’d expect to hear in cafes or gyms. I don’t know, for whatever reason. But I was like, shit. Yeah, it had been a minute since something went over a million, especially a club record. I was kind of just thinking, you know, “Wouldn’t it be cool if we got this one over a million?” Then, a few months later—well, actually, back up—since the release, it went straight onto massive drum and bass platforms and all these big outlets. I was like, “This is great.” Then it just started taking off streaming-wise, and we were like, shit. This is really going! So we threw up a few more TikToks and things, but I don’t think any of them had that much impact. A lot of it was just people finding out about the record, saving it, and listening to it over and over. And yeah, suddenly we realized it was going to hit a million. Elle, Genetics, and I were all messaging each other, like, “This is great.” I can’t believe it’s happening because, not to get all airy-fairy with the whole self-manifestation thing, but it was a really quirky thing to happen. We had said, “What if we got this one over a million?” and then it happened. But, you know, I think it’s just people connecting with the record. It’s a really versatile track because it has elements you can vibe with on headphones and lyrically, and it also has things that really go down well in the club. We’re really proud of how it sounds sonically, and overall, I’m just really proud of that record. I think it’s really great. One thing we’ve noticed with a lot of releases on DeVice is that many labels have something that does well, but then it balloons quickly and drops off just as fast. Then they’re left wondering what to do next, and that’s pretty much it. But with DeVice, the retention doesn’t seem to drop off. The fans who find out about the tracks just keep listening over the course of years. It’s interesting because the stream counts just keep ticking over, and we’ve noticed that the fan base is really engaged with the music. It doesn’t feel like it’s here today, gone tomorrow. I’m really proud of that because it’s a club music label, and I love releasing bangers. Club bangers aren’t always the kind of tracks that stand the test of time, but for some reason, we’ve captured this sweet spot where they’re not only club bangers, but there’s that little bit extra in them that makes them retain interest. Speaking of it being a banger, can you tell us about how you linked the Gino Remix? That’s wicked. Yeah, that’s really cool. I think that was a really great result with that remix as well. The Gino remix was something special. I think we were basically on the same page. I saw a window in the schedule where I thought, “I’ve always really loved remixes.” If anyone’s noticed, I’ve done a ton of remixes over the years, and I’ve always really liked them. I don’t think it’s about making it better or worse; I think it’s fun to reinterpret them. I was talking with Liam Howllet about this about a year ago, and we were discussing fans’ expectations when it came to remixing—maybe it was “Mindfields” or something. We were talking about whether fans would think it was faithful enough to the original or not. We both agreed it should be really different. The way he put it was this: It’s not about saying that this remix version or the new version is better or the ultimate version, or that it takes it up a notch. It’s just a different version. And it sounds really oversimplified, but let it sink in—it’s a different version of the record. You’ve got these different versions, and it’s like flicking through different dimensions in the universe and saying, “This is a different take on it. This is a different way of looking at it.” It’s a remix. It’s like taking a painting, flipping it upside down, adding a bunch of new colors to it, or taking away colors, and just seeing what happens to the record. It’s part of the culture, really. It’s a big part of dance music because dance music is all about taking ideas and flipping them on their head, trying them a different way. I knew Gino would have a different spin on the record, and that’s what I wanted. I didn’t want someone who would basically make a very similar record with a few tweaks—that’s more of a VIP in my opinion. I’d love to ask about your track with Felix Samuel, “Count on You.” It’s such an incredible and emotive piece. Is there any interesting backstory behind it? Yeah, to be honest, that one is probably one of the fastest records I’ve ever made. Felix hit me up about writing a track together, and it just came together extremely quickly. It was really cool, and I’m really happy with the result. I mean, I know what you mean—many of the records have a lot of melody and lyrics. I guess I just can’t help gravitating toward that kind of stuff; I really like it. But a lot of my music is quite instrumental too. I like both, really. I kind of bounce back and forth depending on how I’m feeling. So, is there more in that style on the way? There’s more… there’s definitely more to come as well. The record that just dropped with Spor is primarily, I would say, instrumental. It was just in my original sketch of the tune, and I just thought it was kind of funny and a bit cheeky. It almost felt like, sometimes, the harder and more clubby sides of the scene can be a bit too self-serious. ‘Freak Out’ does have a fun vibe to it… It’s funny to put something in that’s just sort of like this… I don’t know, it just sounds like a Valley girl, kind of almost sarcastically saying, “Let the freaks come out and play,” and then having a really massively heavy drop right after that—it’s just kind of funny to me. It got me amped up! And then that sort of spurred on the whole thing. I mean, sometimes it’s just something really small that becomes the centerpiece for the whole track, or something to base the entire theme around. But I think as long as the track has a theme, that’s kind of what I’m after most. Do you typically prefer to record the vocals in-house? With “Vibe Check,” we actually worked remotely on that one, because sometimes it’s just about time constraints. I really like being in the studio with people. When I did “Fall From The Dark” with RAIGN, there were a lot of Zoom calls, and it was almost like going through every single bar, every phrase of that track—just churning through it and working through it. Whereas with “Vibe Check”… I mean, it’s so hard to be in the same spot sometimes because we all have so much going on, we have to travel, and there are all these different constraints. But RAIGN is in LA, and I’m in London. What about ‘Vibe Check” with Jasmine Knight? I know for a fact that I wanted to end with, “I think you need a vibe check” or “a vibe check” at the end, and then slam into the drop. Jasmine’s just so switched on that the first things she sent me back just knocked it out of the park. We did work back and forth on a few elements, but it’s funny how certain tracks can just come together so quickly. I would definitely put that in the category of things that happened extremely fast. So we did it remotely, didn’t actually meet up in person to do anything for the record until we linked up for some content but initially we were just talking over DMs on Instagram. To be honest, that’s a really great way of connecting with other artists. I mean, in Jasmine’s case we knew of each other for a while, and I wanted to work with her for a long time, then finally had this moment where I was like, yeah, this could be the one. It worked out great. I just had a really good gut feeling about it. It was almost like it was such a perfect fit that I couldn’t believe it. But you know, with a lot of people, I think it’s really fun trying to connect with people who don’t even have a clue who you are. Some people DM me when they’re vocalists, just kind of fishing for people to work with. And then sometimes it’s the other way around. I’ll think someone’s really cool, and I’ll be like, “Hey, I’m really into what you do. Do you want to chat about working on something or whatever?” I think that whole collaborative process is really great. I’m really into collaborating these days. I’ve spent so much of my career working completely isolated and alone. And I think, while I’m very hands-on, there’s something magical that happens when you’re sharing ideas and collaborating with other people. It can enhance the fun side of things too, because you have someone else to share the joy with. It’s just fun, you know? I totally get that. Collaborating with others can bring a whole new energy to the creative process, and it’s awesome when you find that perfect fit, like you did with Jasmine. It really makes the whole experience more enjoyable, and you get to share the excitement of creating something new together. I really like that team kind of element of things. I agree, there’s something really special about sharing your successes with others—it makes the achievement even more meaningful. Yeah, it’s great. I mean, it’s just a different perspective on things, you know? I’m really into it these days, so I want to do a lot more of it. And yeah, there’s a lot more to come as well. I’ve got another collaboration with Eskei83 & UCee, which will be coming up soon, and it’s going to be really interesting. Again, two artists with slightly different styles, but that’s what makes it exciting. UCee style is a bit different from mine, which already makes it pretty interesting. I guess you’d have to ask him how he’d describe his sound, but I’d put it more in the live music category. Last time I checked, anyway, it seemed more on the dancehall side. I was going to say dancehall and reggae, but I don’t want to get it wrong, as it might be a slightly different style of that kind of music. But yeah, it’s definitely a very different style. I think blending that kind of sound is really exciting to me. I’ve always loved that. Yeah, that’s definitely going to add some extra character to the record. Yeah, musically, just blend it all and just see what happens, you know? What is your ultimate goal for the DeVice Records? I think “open-ended” is a good way of putting it. DeVice, started out as just a really great way to release music and connect with the audience and fans. It’s grown into this incredible platform—it’s developed its own community and roster of artists, becoming a fantastic space for artists to release music and grow. And that’s why I have a really special announcement, which is a bit of a surprise. You’re actually the first person to hear about this: we’re starting a DeVice podcast, hosted by me, and it’s launching today. How exciting, it’s going to be a whole new chapter… Which is really exciting. It’s essentially another way to add to the label’s platform, giving us a chance to showcase the music and celebrate what everyone’s doing, as well as highlight other music from the scene. It’s a way of creating a little hub around everything happening in the world of DeVice, because there’s always so much going on, it can be tough to keep track. I think it’s a great way to encapsulate all of that. I really believe it’s going to be enjoyable and a great thing for people to follow. So, stay tuned and locked into the podcast—it’s called DeVice Radio. You won’t want to miss it; it’s going to be a wild ride. It’s good to hear you’re hosting again, back in your element.. Yeah, it’s going to be really fun. I’ve been quite quiet lately because I personally wanted a bit of a break from presenting things and doing it intensely. I’ve been a bit quiet in terms of that for a few months now, but then this concept came to me, and I suddenly got really excited about it. I thought, “Yeah, you know what? I think it’s time to bring something like this back and offer it to everyone.” It should be really enjoyable and a great opportunity to provide more of a platform to the artists around me and those affiliated with the label. It’s also a chance to celebrate other people in the scene. We want to give our own spin on things. It’s not there to represent the be-all and end-all of drum and bass; it’s just drum and bass through the DeVice perspective, in a fun way. We’ll mix things up and celebrate what’s currently going on at the label. Another thing going on with the record label is we’ve had quite a lot of interest surrounding live events, and I keep getting asked a lot about it. It’s something that, whenever I do it, I get really excited about and very obsessive. So, I knew that if I was going to do it, I wanted to do it right. We’re actually going to have our first DeVice Club event on the 23rd of May. We were asked to do a Rampage showcase at the Sports Palace in Belgium, which was incredible. There have been a few showcases here and there done by other promoters, but this is the first time it’s going to be a solo DeVice event. I’m not announcing the lineup yet, but basically, it’s celebrating five years of DeVice. The birthday of DeVice just passed on the 6th of March, and I can’t believe it. It feels like a blink of an eye. But yeah, so much has happened in five years, and we decided it was a good time to throw a celebration. So a DeVice Records event is on the horizon? Yes, a five-year celebration event. So this will be the big five-year anniversary bash. We’ve basically got this really incredible club in Soho, London, and yeah, the sound system’s going to be amazing. It’s going to be really clear, and I’m really happy with so many elements of this event. I truly feel like it’s going to be one that people will remember, and they’re really going to thoroughly enjoy. And it’s something that people have been asking for a long time, so it’s exciting to finally just do it—to rip the band-aid off and make it happen.

Sioux Falls, South Dakota. Photo Credit: Maxpower2727 TikTok could operate out of South Dakota if its U.S. sale closes – at least according to numerous reports coming from the Mount Rushmore State. Local outlets covered the interesting possibility on the heels of a related Facebook post from South Dakota Governor Larry Rhoden. While it probably goes without saying, the outcome hinges on (among other things – more on this in a moment) TikTok actually selling its stateside operations. At present, a divestment deal (though reportedly near wrapping for a time) appears far from guaranteed, we broke down in detail. But should TikTok U.S. find a particular buyer and finalize an agreement, its domestic headquarters may end up in South Dakota, population 925,000. “We are working with a potential buyer for TikTok to explore bringing the company to South Dakota,” Governor Rhoden indicated in the aforementioned Facebook post. “The Noem-Rhoden Administration led the movement to ban TikTok for state government, so we are the perfect spot for a new and improved TikTok,” he continued. The same message linked to a formal release from Rasner Media, which belongs to the namesake Wyoming entrepreneur Reid Rasner and made a $47.45 billion offer for TikTok’s U.S. operations in late February. In the corresponding release, Rasner touched on a “vision to base TikTok in Wyoming—powered by the state’s low-cost, clean energy like LNG, coal, and nuclear.” Evidently, things subsequently changed. On this front, Rasner (the businessman, that is) in the above-highlighted release elaborated that “South Dakota has stepped up as a strategic partner.” Running with the point, the entrepreneur’s bid has received endorsements from not just the governor, but the South Dakota Retailers Association and the South Dakota State Chamber of Commerce, Rasner Media noted. To state the obvious, Rasner Media isn’t alone in vying for TikTok U.S., which multiple investor groups are looking to purchase. Thus, the app’s setting up shop in South Dakota depends both on a deal going through and on Rasner Media’s having the winning bid. Nevertheless, South Dakota’s support for the Rasner Media bid is significant on several levels. Keeping the focus on the big picture in the interest of brevity, should TikTok sell in the U.S., the transaction will necessitate a largescale reorganization, to put it mildly. That includes not just establishing the revamped app’s headquarters (and replacing at least some departed execs), but opening different offices, striking fresh third-party deals, and a whole lot else. In other words, South Dakota could fit into the TikTok U.S. picture in some form regardless of the (possible) buyer. View the full article

The Baroeg, a Rotterdam venue and Stager client. Photo Credit: Emvee On the heels of a partnership announcement involving Amsterdam-headquartered Eventix (now Weeztix) and Spotify, Rotterdam’s Stager has scored an integration deal of its own. 13-year-old Stager, which bills itself as an “all-in-one tool for event organizers,” took to LinkedIn to disclose its Spotify tie-up. Besides dealing in ticketing, the former business develops event-planning software, marketing tools, and more, according to its website. Under the pact, “all” Stager’s venue and festival clients – most of which look to operate in the Netherlands – will have the option of plugging passes directly on Spotify artist pages, the events company emphasized. “Last year,” Mike van Gaasbeek-founded Stager disclosed, “over 21,000 artists played a show at a venue, club or festival using Stager. This integration now unlocks huge potential for event organisers to reach engaged audiences on Spotify and sell more tickets through Stager.” At the time of writing, Spotify didn’t appear to have put out a formal release regarding its newest integration. But aside from unveiling the aforementioned Weeztix/Eventix union, the service in February hosted an exclusive Pantera presale. March then brought the rollout of a personalized “Concerts Near You” playlist. In other words, 2025’s initial four months have seen Spotify, currently organizing branded concert events to boot, expand aggressively on the live side. Normally, this wouldn’t be too noteworthy; Spotify has been testing the live/ticketing waters for a while and certainly isn’t a stranger to music-streaming-adjacent buildouts. However, the moves are particularly interesting in light of the forthcoming Super-Premium tier. Aside from a heightened monthly cost, we don’t know exactly what the superfan-geared plan will bring to the table. That said, reports have identified remixing features, a long-awaited audio-quality upgrade, and exclusive concert presales (and/or access to desirable seats) as possible Super-Premium perks. Late February saw Live Nation head Michael Rapino confirm Super-Premium ticketing talks with Spotify – on top of similar discussions with different DSPs yet. Simultaneously, the exec indicated in more words that exclusive presales wouldn’t come cheap for Spotify or its competitors. Following all these points to their logical conclusion, it might not be too long before some tickets are available exclusively through Spotify. Running with this point, superfans would then be compelled to cough up extra cash in order to secure passes. Of course, we can’t tell for sure how consumers would respond to the development – though in general, fans seem far from attached to today’s leading ticket platforms. Similarly, many acts (especially Europe-based professionals who are mostly or entirely playing non-Live Nation venues) might not be too concerned about shifting a portion of their ticketing to Spotify. View the full article

Instagram has started testing a new feature dubbed as “Lockable Posts.” Not just a gimmick, this feature will allow creators to hide a post behind a secret code, which could become a real tool for creators, brands, and marketers. Imagine teasing a product launch, hiding bonus content behind a puzzle, or sharing something only select followers will see. Check out how it works on a sample post from the company below: This post shared by Instagram requires you to enter a secret code in order to unlock the post and view its contents. This secret code can be guessed using hints, which the company has provided on the lock screen and the caption of the post. In this case, the secret code is “threads.” Entering this code on the post’s lock screen unlocks a reel that says “coming soon.” The post on Instagram’s official Design account indicates that the company is planning to roll out this feature in the near future. However, the exact timeline remains a mystery. There is also no clarity on whether the company will opt for a phased roll out or a large global launch. It is also worth mentioning that the test post features a reel and it remains unclear if the company would enable users to hide other posts, such as long videos and image posts. The post Instagram Teases New Feature: “Lockable Posts” appeared first on EDMTunes.

In an exciting collaboration, Grammy-nominated producer Dom Dolla has teamed up with music legend Kid Cudi for the release of their track ‘Forever‘. Evoking feelings of youthful romance and nostalgia, ‘Forever’ blends Dom’s signature house with Kid Cudi’s iconic vocals, that speak to the heart. In summary, ‘Forever’ captures the essence of young love and unforgettable memories. A Young Love Anthem with a Kid Cudi Nostalgic Twist Opening with a dreamy melody and Kid Cudi’s soothing audibles, ‘Forever’ immediately brings a relaxed vibe, setting the tone for a nostalgic journey. Cudi’s vocals enter with a heartfelt verse before transitioning into the catchy chorus: “I want to stay forever.” This leads up to a playful, fun drop that presents a new side of Dom Dolla’s sound. Surprisingly, Dom moves away from his usual groovy style. In ‘Forever’, Dom keeps the mood mellow, ensuring the track embodies the vibe of a young love emotion. The second drop heightens the energy, before a phone call interlude with Kid Cudi ties it all together, adding depth to this nostalgic love story. "When I'm in my dreams, you know? I go from one thing to the other, you know? Just thinkin' about my future Where I wanna be What I wanna do with my life, you know what I'm sayin'? I'm guided by God And I follow my heart, no matter what You know, even Even when it may seem that, you know, people don't understand Fuck 'em Ain't no time to think, I wanna stay forever (I wanna stay forever)" The Premiere at Ultra Miami 2025 ‘Forever’ was first heard live during Dom Dolla’s b2b set with John Summit at Ultra Miami 2025 in front of some of Dom’s biggest fans. The live performance captured the magic of the track, adding to the excitement as fans experienced the nostalgia-filled vibes firsthand. For those who couldn’t make it, the full set was available for streaming on YouTube, offering fans around the world a glimpse into the unforgettable moment and showcasing the emotional depth of Forever. Dom Dolla Dom Dolla’s journey to fame is nothing short of inspiring. His rise as a globally recognized producer began when his mother handed him a copy of Basement Jaxx’s Rooty. This permanently sparked his love for house music. From his early days to his hit ‘Miracle Maker in 2022, Dom has earned world fame and a Grammy nomination. His discography has over 1 billion streams and features collaborations with major artists like Nelly Furtado, Tove Lo, and Daya. Together, Dom is leading the industry alongside heavyweights, John Summit, Skrillex, Solomun, and more. Kid Cudi Kid Cudi, one of the most influential voices in hip-hop, brings his signature style to ‘Forever.’ Known for his introspective lyrics and genre-blending sound, Cudi has been an integral part of the music landscape for over a decade. From his hit ‘Day ‘N’ Nite‘ to his iconic albums “Man on the Moon” and “Passion, Pain & Demon Slayin’.” Cudi’s ability to connect with listeners on an emotional level has made him a beloved figure in music. His collaboration with Dom Dolla adds another layer to his diverse musical portfolio. It bridges the worlds of house music and hip-hop in a way only he can. Dom Dolla’s Upcoming 2025 Tour Dates and Future Plans As summer 2025 unfolds, Dom Dolla’s ‘Forever’ track is only the beginning. Fans can look forward to more live shows and new releases from the Australian producer. Dom’s upcoming performances will include headlining major events across the globe, including EDC, Breakaway, and more. One of his biggest highlights this year is his residency at the world-famous Las Vegas club, LIV, and premier club, Hi’Ibiza. (That’s insane!) His 2025 tour will feature ‘Forever’ ensuring that the nostalgia and youthful romance embodied in the track will be felt live on stages worldwide. Dom Dolla Tour & Tickets The post Dom Dolla – Forever (with Kid Cudi) appeared first on EDMTunes.