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Photo Credit: Brad Paisley for Walmart Soundcheck / Lunchbox LP / CC by 2.0 The NFL announces country superstar Brad Paisley as headliner of the Draft Concert Series on Saturday, April 26. As the grand finale to the Draft weekend in Green Bay, Brad Paisley will take the stage at the Draft Theater near Lambeau Field for a free concert following the conclusion of Round 7 of the Draft. The NFL Draft Concert Series is presented by Bud Light, and kicks off Saturday, April 26, closing out three days at the 2025 NFL Draft in Green Bay. A decorated country music icon, Paisley has enjoyed a career spanning over two decades, with multiple Grammy Awards, and nearly 5 billion career streams worldwide. He launches his “Truck Still Works World Tour” on May 21. “There’s nothing like football to bring people together, and the NFL Draft is where it all begins,” said Paisley. “As a lifelong fan, I can’t wait to help close out an unforgettable weekend with a little music and one heck of a party.” The NFL Draft Concert Series also features a spectacular drone show on Friday, April 25, following Rounds 2-3 of the Draft. As part of the weekend’s entertainment lineup, the nighttime show will light up the Green Bay skyline with a display of over 500 drones flying in choreographed formations above Lambeau Field. “We’re excited to welcome one of country music’s biggest stars to the Draft,” said Tim Tubito, NFL Senior Director of Global Event Presentation & Entertainment. “Brad understands how football brings people together. His performance is our way of saying thank you to the fans, the prospects, and the city of Green Bay — and the perfect way to close out an unforgettable weekend.” Paisley joins an elite list of performers who have helped bring the Draft to life through music over the years, including Tim McGraw, Dierks Bentley, Weezer, Mötley Crüe, Ice Cube, Marshmello, Kings of Leon, Fall Out Boy, Big Sean, and more. The NFL also recently announced that Milwaukee-based choir members from the James Weldon Johnson Foundation’s National Hymn Choir will sing “Lift Every Voice,” directed by Ben Bedroske. Singer-songwriter Stephen Wilson Jr. will sing the national anthem from the Draft Theater stage on the first day. All performances as part of the NFL Draft Concert Series will take place at the Draft Theater, adjacent to the iconic Lambeau Field. General fan viewing for the Draft Concert Series is free and fans are encouraged to arrive early, as standing room will be on a first-come first-served basis. View the full article

Photo Credit: Michael Beckerman / LinkedIn TikTok’s U.S. Public Policy Chief Michael Beckerman is stepping down from his role to transition to a global advisory position. The departure comes amid the second extension of the U.S. deadline for ByteDance to divest from TikTok. The Information reported the departure on Wednesday, citing a staff memo sent to TikTok employees. ByteDance has not publicly commented on the departure, but it comes amid a trade war between the United States and China. Competition to acquire the U.S.-based business of TikTok has heated up, with AppLovin Corp confirming a preliminary bid in an exchange filing. Meanwhile, Amazon and a group led by OnlyFans Founder Tim Stokely are also exploring making a potential bid. So far, Beijing has stonewalled any talks of selling U.S. operations, unwilling to force ByteDance to sell-off the app when 170 million Americans use TikTok. Vice President JD Vance was put in charge of negotiations, with his previous position being that terms of the deal would be finalized by April 5. That deadline has come and passed, with the Trump administration extending the deadline seemingly with no deal in place. Michael Beckerman has played a central role in TikTok’s efforts to resist a U.S. government ban. Beckerman’s departure comes at a critical moment as TikTok faces ongoing political and legal pressure in the United States over ownership. The U.S. government requires ByteDance to divest U.S. operations or face a total ban. It appears Beckerman’s exit is part of a broader wave of management changes and restructuring at TikTok. That includes layoffs that have impacted TikTok’s U.S. e-commerce division and a shift in operational oversight to global leaders from China and Singapore. The company’s U.S. e-commerce team has faced increased scrutiny amid the ongoing trade war between the United States and China—particularly because the platform has underperformed for ByteDance. As of now, TikTok remains available in the United States, but it’s unclear how long that will last. The new deadline for divestment is June 19—and Beijing is still as unwilling as ever to allow ByteDance to continue with any sale negotiations. ByteDance has signaled before that it would rather see the U.S. operations shuttered entirely than to divest and sell them off to an American buyer. View the full article

Drake has officially filed an amended ‘Not Like Us’ defamation lawsuit against Universal Music Group. Photo Credit: musicisentropy Right on cue, Drake and his legal team have fired off an amended “Not Like Us” defamation lawsuit against Universal Music Group (UMG). The “Nokia” act and his counsel submitted the bolstered complaint yesterday, just a couple weeks removed from a major discovery win. As we noted closer to April’s beginning, the presiding judge had given Drake until the 16th to either respond to UMG’s firmly worded dismissal motion or file an amended lawsuit. The rapper and his attorneys promptly committed to the latter approach, and the updated action runs 23 pages longer than the original. In keeping with the increased length, the 104-page amended suit covers a bit of new ground while reiterating the initial defamation claims. First, the amended suit elaborates on the aggressive promotional push that UMG allegedly gave “Not Like Us” despite knowing of the “harm” it’d allegedly caused Drake. This push refers in large part to Kendrick Lamar’s Super Bowl halftime show. “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,” reads one section of the suit. “On information and belief,” the legal text proceeds, “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.’” From there, the expanded action explores in greater detail UMG execs’ alleged coordinated effort to promote “Not Like Us” (and the purportedly unprecedented commercial prominence thereof) on social media. On this front, the suit now mentions a February LinkedIn post from Interscope exec Jessica Staats. Plus, by the plaintiff’s count, the number of “Not Like Us” articles published by Complex (in which UMG has a stake) swelled from 50 to 70 or so between mid-January and mid-April. Similarly, Drake and his counsel have doubled down on their claims that UMG arranged for (or at least took steps to encourage) the Grammys success of “Not Like Us.” “On information and belief,” one new line claims, “UMG conferred benefits and leveraged existing business relationships to secure Grammy nominations (and eventually wins) for the [‘Not Like Us’] Recording and Video.” Lastly, in terms of the suit’s fresh components, Drake has dialed back some streaming-fraud claims; the original suit’s “UMG Caused Third Parties to Fake Streams” looks to be absent from its amended counterpart. Nevertheless, Drake remains adamant that UMG engaged in a number of non-organic promo efforts for “Not Like Us,” including but not limited to a multifaceted arrangement with Spotify. As laid out by the plaintiff, this alleged arrangement went well beyond paid promotion and affected users’ search results and more. Unsurprisingly, the defamation dispute is still spilling out of the courtroom and into the media. In a statement provided to DMN, Drake lead attorney Michael Gottlieb emphasized an ongoing objective of holding UMG “accountable.” “Drake’s amended complaint makes an already strong case stronger,” the Willkie Farr & Gallagher partner Gottlieb said. “UMG’s PR ‘spin’ and failed efforts to avoid discovery cannot suppress the facts and the truth. With discovery now moving forward, Drake will expose the evidence of UMG’s misconduct, and UMG will be held accountable for the consequences of its ill-conceived decisions.” And in a response of its own, UMG expressed, among other things, the belief that Drake is being “misled by his legal representatives” when it comes to the “absurd” complaint. View the full article

The flames of Fyre Festival have flared up once again—this time with another round of confusion, vanishing updates, and a whole lot of uncertainty. Fyre Festival 2, the infamous sequel to the 2017 disaster, appears to be in jeopardy after a sudden postponement notice was quietly deleted from the festival’s website, leaving fans and critics alike wondering: is the fire officially out? On Wednesday, ticketholders were sent into a frenzy when the official website posted a message stating that the event was postponed: “Fyre 2 Festival is postponed and will be rescheduled for a later date in the future,” the now-deleted statement read. It also noted that ticket buyers—who shelled out anywhere from $1,400 to a jaw-dropping $1.1 million—would be contacted once a new date was confirmed. But just as quickly as the update appeared, it was gone. Shortly after the announcement, the site was quietly edited to erase any trace of the postponement. Organizers provided a statement that just added confusion to the affair. “FYRE Festival 2 is still on,” reads the statement, adding that organizers were “vetting new locations and will announce our host destination soon.” No mention of a revised date. No concrete plans. Just more ambiguity. A Familiar Pattern This mess arrives just over a month before the festival was originally set to take place from May 30 to June 2 in Playa del Carmen, Mexico. But even that date now seems like a fantasy, especially after local Mexican officials revealed back in February that no permits were ever requested by Billy McFarland or the Fyre Festival team. The General Directorate of Tourism of Isla Mujeres made it crystal clear: “No person or company has requested permits from this office or any other Municipal Government department for said event.” Sound familiar? The original Fyre Festival in 2017 followed a similar path. Promising luxurious accommodations, gourmet food, and A-list performances from acts like Blink-182 and Migos, the event famously collapsed into a viral disaster of empty tents, cold cheese sandwiches, and total disarray. The fallout sent McFarland to prison for four years on fraud charges. Still Burning? McFarland, now 33, first announced Fyre Festival 2 in September, branding it as a comeback story and a chance for redemption. He promised an unforgettable experience, big artists, and proper execution this time around. But with no permits, no performers, no clear destination, and now a disappearing postponement announcement, the sequel is looking like another spectacular misfire. “Our priorities remain unchanged,” the festival’s most recent update reads, “delivering an unforgettable, safe, and transparent experience.” For many, that statement feels less like a promise and more like déjà vu. Until official plans are confirmed—and some serious transparency follows—Fyre Festival 2 is shaping up to be less of a redemption arc and more of a rerun. The post Fyre Festival 2 Chaos As Postponement Announcement Is Retracted appeared first on EDMTunes.

[UNVRS] continues to unveil its monumental 2025 season with one of the most anticipated announcements of the summer: Anyma will take over Tuesdays at [UNVRS] with an exclusive eight-show residency, starting July 8th. Known for pushing the boundaries of live electronic performance, Anyma’s presence at [UNVRS] is set to redefine the Ibiza clubbing experience in 2025. As the solo project of Matteo Milleri, co-founder of Tale Of Us and Afterlife Records, Anyma has rapidly become one of the most innovative forces in electronic music. Fusing emotive techno, immersive visuals, and AI-generated storytelling, Anyma’s 2025 Ibiza residency is poised to be a landmark moment in club culture. [UNVRS] x Anyma: A Visionary Synergy Purpose-built for high-level, multisensory experiences, [UNVRS] offers the ideal stage for Anyma’s groundbreaking performances. Following his historic residency at Sphere in Las Vegas with “The End of Genesys,” Anyma now brings his world to Ibiza, transforming each Tuesday night into a quantum journey through music, technology, and art. “Perception fractures, the real blurs with the unreal, and a transformative universe begins to take shape. A quantum odyssey at the intersection of music, art, and technology. This is Anyma at [UNVRS],” says Anyma. Full Lineup of Global Talent The residency will feature an elite roster of guests across the summer, including: Adriatique, Amelie Lens, Argy, Cassian, Colyn, Dom Dolla, Innellea, John Summit, Kevin de Vries, Layla Benitez, Mind Against, Notre Dame, Paul Kalkbrenner (Live), Rebūke, Recondite (Live), Script, Solomun, Son of Son, and more. These artists represent the cutting edge of techno, melodic house, and immersive electronic music—cementing this residency as a must-attend experience for Ibiza 2025. Yann Pissenem on the Residency Yann Pissenem, Founder and CEO of The Night League and Ushuaïa Entertainment, shared his excitement: “It’s an honour to welcome Anyma to [UNVRS] — a truly meaningful moment. His artistic vision aligns perfectly with the mission of [UNVRS]: to showcase the most forward-thinking creators of our time. We can’t wait to share his new universe with the world.” The post ANYMA Announces Ibiza Residency at [UNVRS] with Full Line-up appeared first on EDMNOMAD. View the full article

Last weekend, American producer and DJ Mustard showcased his limited-edition Native Instruments Maschine MK3 and Kontrol S49 on the Coachella stage. Native Instruments created the gear exclusively for Mustard – but one other set exists, and it’s up for grabs. An exclusive giveaway could see you winning your very own NI x Mustard limited-edition gear. All you have to do is enter on Native Instruments’ website, and the ultra-rare Maschine MK3 and Kontrol S49 instruments could be yours. READ MORE: Best free plugins: free synths that you didn’t know you needed The Maschine MK3 is a top-tier sampler and drum machine, boasting two high-res RGB colour displays for precision sample slicing, sound tweaking and more. It also comes with 25 pro-quality effects, including filter, EQ, delay, reverb and compressor. There’s also 16 pads sensitive pads for precise two-handed drumming, as well as touch-sensitive knobs to toy with parameter. In terms of the Kontrol S49, we awarded it 9/10 in 2023. The keyboard is particularly impressive in terms of how tactile customisable it is; the Kontrol S49 is the “ultimate controller” for instruments, effects, controlling your DAW or doing entirely computer-free when in MIDI mode. DJ Mustard (or, as Kendrick Lamar would refer to him, MUSTAAAAAAAARD!) had an incredibly successful 2024. It saw him picking up multiple awards for his production work, including five Grammys for the pivotal Not Like Us. Performing at Coachella with some fresh Native Instruments custom gear is surely a sign that 2025 will be equally as fulfilling. Speaking on the collaboration, Mustard says: “It’s an honour to team up with Native Instruments on this. Maschine and the Kontrol S49 are powerful tools I’ve always respected – they make it easy to get ideas down fast and add real musicality.” While Mustard has since “broken in” his gear for Coachella crowds, he’s set to knock it out yet again on the second weekend of Coachella. But he’s already grateful for how weekend one went down. “This Coachella was bigger than the set – it was a full-circle moment,” Mustard told VIBE in the aftermath of his Coachella set. “I brought the studio to the stage, tapped in with some of my favourite collaborators, and took fans through my catalogue, hit by hit.” “The energy was crazy from start to finish,” he added. “Big love to the team and everyone who helped bring the vision to life.” Mustard’s second performance will take place during the second weekend of Coachella on 18th April. The set will kick off late, continuing on into the early hours of the following day. Native Instruments’ giveaway will run until 25th April. Enter now. The post Native Instruments has partnered with DJ Mustard on some ultra-limited gear – here’s how you can enter to win it appeared first on MusicTech. View the full article

Spotify has successfully resolved a recent widespread outage that prompted some users to speculate about a potential hacking incident. The company quickly clarified that these claims are “completely inaccurate”. On Wednesday, tens of thousands of users faced challenges while using the music streaming service, but Spotify restored functionality within a few hours. They communicated their progress effectively on social media, stating on a post they published on X, “All clear — thanks for your patience,” around noon ET. Then, Spotify provided users with guidance to contact their support account for any further assistance, “Get in touch with @SpotifyCares if you still need help”. The problems that lead to the widespread outage of Spotify During the outage, many users struggled to load the app and desktop site, play songs, and utilize the platform’s search function. Some also encountered difficulties accessing Spotify’s support site. While the situation understandably frustrated many, it provided an opportunity for Spotify to engage with their user base and address concerns. Despite this, many users remained hopeful and continued to check for updates regarding the service. According to an article from CBS News regarding the outage, it began around 6:20 AM ET, with the number of outage reports peaking after 9:30 AM ET, reaching about 48,000. By 11:45 AM ET, Spotify was able to confirm that it was “back up and functioning normally,” and by early afternoon, only around 1,500 outages remained. The affected users were primarily from the US and parts of Europe. Swift communication from the media streaming gift While Spotify did not pinpoint the exact cause of the outage, the prompt communication helped dispel rumors regarding a security breach. The company’s swift response underlines their commitment to transparency and customer satisfaction. Today, Spotify serves music and podcasts to over 675 million users worldwide, including 263 million subscribers across more than 180 markets. This robust user base highlights the importance of maintaining reliable service, and it’s encouraging to see Spotify’s resolution efforts in action. @TrendingNowCHCH The post Spotify Denies Hack After Yesterday’s Widespread Outage appeared first on EDMTunes.

Miami's Club Space is gearing up for another marathon session over the 2025 Memorial Day holiday, tapping some of today's best techno and house music artists to soundtrack a huge weekender. With each show beginning at 11pm each night, the weekend kicks off Friday, May 23rd with a headlining performance from EDM.com Class of 2024 star Sara Landry. Natalia Roth, Dara Del Castillo and a b2b set from Hiroko Yamamura and Cole Knight round out the first night’s lineup. Saturday brings a shift in energy with a headline from Mau P, who is fresh off a massive performance at Coachella. He'll DJ after OMRI. and Club Space residents Malóne and Thunderpony. The weekender closes out on Sunday with a stacked showcase that reads like a love letter to after-hours. Dennis Cruz and Seth Troxler lead the charge, followed by Chaos In The CBD and a pair of b2b sets: Ryan Crosson with Shaun Reeves and Ms. Mada with Danyelino. You can check out the full billing below and purchase tickets here. Follow Club Space:X: x.com/clubspacemiami Instagram: instagram.com/spacemiami TikTok: tiktok.com/@clubspace_miami Facebook: facebook.com/clubspace

This Sunday, April 20th, Aloe Blacc, the renowned singer featured on Avicii’s iconic global hit ‘Wake Me Up,‘ will host a special online memorial event. The purpose of this live tribute is to honor the life and celebrate the significant legacy of the late Swedish DJ and producer, Tim Bergling, widely known as Avicii. Aloe Blacc’s Live Stream Memorial Scheduled to take place on Instagram Live, the gathering serves as a point of remembrance as the date marks the seventh anniversary of Tim’s untimely passing, an event that deeply impacted the electronic music world. Aloe Blacc invites friends, devoted fans, and fellow artists from around the globe to join this commemoration. It’s an opportunity to reflect on Avicii’s groundbreaking contributions and his profound, lasting influence on the direction of modern dance music, with tracks that continue to garner billions of streams. During the live broadcast, Aloe Blacc intends to share personal recollections and will actively interact with the audience by reading aloud their shared thoughts and memories of Avicii. Furthermore, the online event will thoughtfully incorporate important discussions surrounding mental health awareness. The memorial is set to begin at 9:00 AM Pacific Time (Los Angeles), 5:00 PM British Summer Time (UK), and 7:00 PM Central European Time (Sweden, Germany, Italy). Avicci Radio Memorial Fans can find more ways to commemorate Avicii’s seventh anniversary beyond Aloe Blacc’s stream. Avicii Radio on SiriusXM will delve into its archives to broadcast exclusive content. The show will include an EDM Town Hall feauring a rare 2013 Avicii interview, an electrifying ‘LEVELS’ mix show takeover, and special airings of his exclusive live sets. See the full broadcast schedule below and tune into the SiriusXM app on April 19th and 20th to experience the memorial show. Saturday, April 19 9am ET Avicii Town Hall 12pm ET Avicii Town Hall 3pm ET Avicii Town Hall 5pm–12am ET LEVELS Mix Takeover Sunday, April 2 9am–3pm ET LEVELS Mix Takeover 5pm ET Avicii Town Hall 8–11pm ET Live Sets from the Archives About Avicii Tim Bergling (1989-2018), known as Avicii, was a groundbreaking Swedish DJ, electronic musician, and songwriter. He rose to global fame in the early 2010s and became a key figure in popularizing EDM. Avicii was famous for his melodic and uplifting progressive house sound. He gained international recognition with his 2011 hit ‘LEVELS’ and produced massive songs like ‘Wake Me Up’ and ‘Hey Brother.’ He headlined major festivals around the world and was known for his innovative production style, blending various genres. However, Avicii faced serious health issues due to stress and alcohol abuse, which led to his retirement from touring in 2016. Tragically, he died by suicide in April 2018 at the age of 28. He left behind a powerful musical legacy and raised awareness about mental health challenges in the music industry. This prompted the establishment of the Tim Bergling Foundation by his family to honor his memory. The post Aloe Blacc & SiriusXM’s Avicii Radio To Hold Separate Avicii Memorials This Weekend appeared first on EDMTunes.

Festival season doesn't start at the gates. It starts with a sweat. So Barry's, the beloved boutique fitness brand, has teamed up with Breakaway Music Festival and CELSIUS for a special DJ-led workout. Blending high-intensity training with electronic music, "Barry's to Breakaway" is scheduled for Thursday, April 24th at 4:20pm ET. The class will feature a live DJ set by Rich DietZ, whose adrenaline-pumping house music will offer a dose of festival energy and a taste of what's to come at Breakaway's ensuing return to Raymond James Stadium. Attendees will have the chance to win free tickets to Breakaway Tampa, which begins the following day before concluding April 26th. This year's festival lineup includes Rich DietZ as well as FISHER, Knock2, ISOxo and Louis The Child, among others. Whether you're already heading to Breakaway or just want to get moving to a live DJ set, "Barry’s to Breakaway" offers a unique way to start the weekend early. Spots for the class are limited and can be reserved here. Breakaway Music Festival/Instagram Follow Breakaway Music Festival:X: x.com/breakawayfest Instagram: instagram.com/breakaway TikTok: tiktok.com/@breakawayfest Facebook: facebook.com/breakawayfestival

Imagine you're in a crowd at a festival, concert museum or even a public square, and suddenly, you hear a message meant only for you. No headphones, just sound. That’s the promise of "audible enclaves," the byproduct of new technology developed by scientists and researchers at Penn State that could redefine how sound is experienced in public spaces. Led by Jiaxin Zhong, a postdoctoral scholar in acoustics, and Yun Jing, a professor of acoustics at Penn State, the research team has figured out how to use ultrasonic waves to beam sound through the air to a single person without anyone nearby hearing a thing. They published their findings in the multidisciplinary scientific journal Proceedings of the National Academy of Sciences. The tech works by overlapping two high-frequency beams that are silent to human ears on their own. But when they meet at a specific point in space, they generate a new frequency—the difference between the two—that falls within the audible range. That exact spot becomes a so-called "audio enclave," essentially a pocket of sound, and if you step outside of it, everything goes quiet. The sound can also curve around objects to reach its destination. This is made possible by engineered "acoustic metasurfaces," which act like lenses for sound by bending the beams in precise directions. That means even if the listener isn’t directly in the line of sight, the message can still find its way to them. "The self-bending ultrasonic beams created by acoustic metasurfaces, though inaudible, can bypass obstacles such as human heads," according to the study. "At their intersection behind obstacles, highly localized audible enclaves are formed due to the local nonlinear interactions." To test the system, the team used a dummy with microphones inside its ears. Only when the figure's head was placed at the intersection point could the audio be detected, confirming that the sound was completely contained to that tiny zone. The tech can create an audible enclave up to about three feet away, at a volume similar to everyday conversation. It’s still in the experimental phase, but the potential applications span everything from immersive art installations and museum exhibits to individualized experiences at live events. Even everyday environments like airports or libraries could benefit, offering directional audio without adding to the noise pollution. You can read the team's findings here.

The sky turned gold as Covebeach Dubai unveiled ICONIC, its next Dubai chapter by the beach with a launch party on April 11. While the official opening to the public was set the day after, invited guests got a first look at the reimagined space. Located at La Vie, JBR, the venue now stretches across multiple levels, each designed for a different pace of play. Getting there wasn’t easy—traffic through Jumeirah Beach Road and the Marina area demanded patience. Upon arrival, we were welcomed but not given a tour. That left us figuring things out on our own, a noticeable gap compared to the guided experiences other guests received prior and after us. Despite this, the energy of the night encouraged curiosity and exploration. Mapping the Experience The layout slowly revealed itself through observation. After the reception area, we arrived at what seemed to be a transitional space—likely designed as a welcome zone, though its full purpose remained unclear. One level down, we entered a more activated area featuring two bars, a central pool, and open space for mingling. The beach level came alive later when ICONIC Dubai opened at 9pm. Set directly on the sand, this beachfront venue featured jacuzzi pools and full views of Ain Dubai. Vibe Check and Crowd Energy The atmosphere leaned sophisticated without losing warmth. Guests dressed for the occasion, but the crowd didn’t feel overly curated. There was a steady energy throughout the night—never too wild, never too stiff. Roaming entertainers elevated the visual experience, from LED-lit dancers to illusionists weaving between conversations. One moment stood out as Ain Dubai lit up with the COVEBEACH logo, followed by a prominent Dubai Holding display, reminding us of the venue’s bold backing. Music That Moved the Night… Slowly At the pool level, the music never surged above a slow simmer. Afrohouse and amapiano played throughout the night, never exceeding 120 BPM. Whether intentional or not, it leaned more toward background ambiance than main-stage energy. It felt like the music was designed to enhance conversation rather than disrupt it. That changed slightly at ICONIC, where beach beats picked up the Dubai crowd a few notches. While the tempo climbed closer to 130 BPM, the drive and punch took its time to hit home. The sound system held up well, and the energy subtly shifted from sunset lounging to beachside revelry, without bleeding between spaces. The Lounge Experience ICONIC made a strong impression once open. With its temperature-controlled structure and open-air flow, it felt made for Dubai’s climate. Though the height of summer stands as the true test. A DJs booth anchored the space, surrounded by guests who seemed happy to transition into the night’s final chapter. Service remained smooth throughout, with staff greeting each interaction with energy and ease. The cocktails were well-balanced, and the overall pace allowed for both movement and pause. Design That Speaks Without Shouting Each level felt distinct without feeling disconnected. The mid-tier pool area encouraged gathering, while the beach level brought a fresh kind of nightlife. ICONIC’s placement directly on the sand offered something unique—not just visually, but experientially. The layout worked, but it could benefit from better orientation or signage to help first-timers navigate without guesswork. Signature Moments and What’s Next COVEBEACH’s relaunch didn’t aim for extravagance. It focused on comfort, flow, and a promise of consistent luxury. The night didn’t crescendo wildly, but it introduced something new with quiet confidence. For a brand that has already made its mark in Dubai, this next phase feels both familiar and ambitious. Would we return? Yes. But with hope that music curation will evolve and future events push the energy further. ICONIC has a foundation—now it’s time to build the story. The post First Look: Covebeach Opens New ICONIC Beach In Dubai appeared first on EDMNOMAD. View the full article

The old adage "drunk words are sober thoughts" is taking on new meaning through a wild performance this weekend by Alison Wonderland. While enjoying a drunken night at a Renaissance Faire last year, the Australian electronic music virtuoso came up with an idea for a unique tribute to her breakout debut album, Run. This Saturday, she'll explore a reality where she wrote the record in 1515 instead of 2015. Wonderland has announced a pop-up DJ set on the Maybower Stage at Southern California's Renaissance Pleasure Faire. She's remade Run in medieval form and will be playing "ye olde versions" on phonographs, her management tells EDM.com. Wonderland herself said the performance will take place on a "strange contraption." It’s a delicious irony that Run, a spellbinding album conjured from laptops and synths, would've branded her a witch in the 1500s but is now being reimagined as medieval magic. Wonderland's Renaissance Faire pop-up is scheduled for Saturday, April 19th. You can purchase tickets here. Follow Alison Wonderland:X: x.com/awonderland Instagram: instagram.com/alisonwonderland TikTok: tiktok.com/@alisonwonderland Facebook: facebook.com/awonderdj Spotify: spoti.fi/3clhKRg

Romania’s UNTOLD Festival is offering upcoming DJs the chance to play on the mainstage at this year’s edition. Part of the ‘Untold Creators by Visa‘ programme, one lucky winner will have the experience of a lifetime, joining a line-up that features names such as Martin Garrix, Armin Van Buuren, Fisher and many other stars of the worldwide music scene. The contest is free for everyone and individuals who wish to participate can sign up via this link. 20 applicants will be chosen, and will go through the five stages of the competition. Between 3rd and 5th June, participants will take part in intensive workshops at DJSUPERSTORE in Bucharest. On 9th June, people will take on an individual challenge of crafting their mixes and sharing them on social media. The voting phase will happen between 10th and 15th June, with general public and judges selecting five DJs that go through to the next stage, which is another individual challenge. The lucky winner will be chosen on 15th July and one month later, he will step on the main stage of UNTOLD for a life-changing experience. What if I am not a DJ?The ‘Untold Creators by Visa‘ programme is not limited to DJs, and also offers similar opportunities for individuals who seek a career in music production, digital media and event planning. All contests follow the same structure, and will offer winners a spot in the UNTOLD Festival team during the 2025 edition. For more information, visit the ‘Untold Creators by Visa‘ website. Step up, and take your chance of being part of UNTOLD Festival’s 10th edition.

It goes without saying that a considerable amount of new music submitted for my review falls under the umbrella of heartbreak-themed songs. These lyrical narratives tend to resonate with many listeners, as they capture universal feelings of loss and longing. However, it becomes far more intriguing when a pop artist approaches this theme from a fresh angle. Danish pop singer Theresa Rex seems to have had the same realisation when she entered the studio to record her latest tracks. Her new offering stands out as a different type of breakup song altogether. However, she is exploring new emotional dimensions and providing a unique take on the familiar narrative. The title “Breaking Up the Band” hints at a familiar narrative, yet this track intriguingly veers into untapped emotional territory. While it may initially evoke images of a pop band disbanding, the lyrics delve much deeper, capturing the poignant and often painful dynamics of unrequited love between two band members. This nuanced perspective transforms the song into a powerful exploration of personal connections, merging the complexity of relationships amidst the backdrop of musical group dynamics. “’Breaking Up The Band’ is the feeling of being a sort of Yoko Ono to those around you – like being trapped in an unnecessary, unfair situation where you find yourself apologizing for things beyond your control. ‘Breaking Up The Band’ is an empowerment anthem, so get ready for a scandipop scolding!” promises Theresa Rex. Circling back to her signature brand of melodic, uplifting pop. “Breaking Up the Band” delivers sugar-coated beats and pulsating rhythmic bursts, a hallmark of many Scandipop artists. However, it is Theresa’s emotively assertive vocals that truly set her apart and mark her as an artist to watch. The combination of catchy melodies with heartfelt delivery creates an infectious energy. Moreover inviting listeners into her unique perspective on love and loss. This track exemplifies her ability to blend familiar pop elements with a fresh emotional depth. Therefore, making “Breaking Up the Band” an exciting addition to the breakup song genre. Connect with Theresa Rex Facebook: https://www.facebook.com/TheresaRexMusic Instagram: https://www.instagram.com/TheresaRexMusic/ The post Listen to “Breaking Up the Band” by Theresa Rex appeared first on EQ Music Blog. View the full article

Dubai is no stranger to spectacle, but few events this 2025 match the sheer madness, color, and controlled chaos of an elrow rave. On Saturday, May 17, 2025, the world’s most immersive party brand returns for its third Dubai edition, bringing with it the Rowlympic Games—a carnival of music, performance, and larger-than-life energy set to unfold at Expo City Dubai, Jubilee Park. Elrow Dubai is more than a rave; it’s a theatrical experience, a fever dream of sound and movement where reality bends, confetti rains down in never-ending waves, and the dancefloor becomes a playground of unfiltered joy that remains a core memory to partygoers through to 2025. With its unique fusion of electronic music, interactive performances, and mind-bending visual storytelling, it has cemented itself as one of the most exhilarating events on the global nightlife circuit. Marking its third edition on May 17, 2025, Dubai gets another dose of the elrow rave madness. And this time, it’s going bigger than ever. Tickets are now on sale from AED 250 via Platinumlist. What to Expect at the Elrow Rowlympic Games in Dubai Elrow doesn’t just throw a party—it builds an entire universe, like the one it’s curating at [UNVRS] Ibiza. This year’s Rowlympic Games theme is a playful, tongue-in-cheek take on the spirit of competition, but with the elrow twist: expect a surreal mash-up of sporting legends, absurd mascots, and dancefloor warriors all competing for one thing—pure, unfiltered fun. At Expo City Dubai, Jubilee Park, the night will come alive with: Mind-blowing production—a signature blend of larger-than-life inflatables, immersive stage designs, and psychedelic visuals that turn the venue into an alternate reality. Non-stop theatrical performances—costumed dancers, wild characters, and an endless stream of unexpected surprises weaving through the crowd. The ultimate confetti explosion—because no elrow party is complete without it. Elrow has redefined dance music culture by making every event an interactive playground, and the Rowlympic Games will push those boundaries even further. Whether you’re stepping onto the dancefloor as a spectator or competitor, there’s only one rule: go all in. Who’s Playing: Elrow Dubai 2025 Lineup Revealed Get ready to rave—the official lineup for Elrow Dubai 2025 has finally been unveiled. True to elrow form, it’s stacked with genre-defining talent, unmissable B2Bs, and high-energy selectors guaranteed to bring the Rowlympic Games to life. Set to dominate the decks at Expo City Dubai, Jubilee Park are: Bora Uzer Ilario Alicante Franky Rizardo B2B Kasia Stasi Sanlin B2B Patrick Topping Tini Gessler Quilliam + more to be announced These artists represent a cross-section of global electronic sounds, from deep house to pumping techno. With back-to-back sets designed to elevate the madness, this lineup strikes the perfect balance of elrow’s signature theatrical energy and serious underground credibility. Fans can expect each artist to bring their A-game to a dancefloor where competition means creativity, and every drop is a win. Cue the Confetti: A Forward Push for Dubai’s Rave Scene Dubai’s dance music scene has evolved rapidly, and elrow has played a major role in shaping its transformation. With unmatched production and theatrical performances, it has redefined festival experiences in the UAE. “We are very excited to bring elrow back to Dubai for a third year!” shares Juan Arnau Jr., CEO, elrow. “Dubai has become a very special place for us. The crowd in the UAE embraces everything that makes elrow special.” Elrow’s expansion in Dubai has been fueled by enthusiastic fans and strong partnerships. “Our passion, creativity, and desire to bring the biggest, most colorful parties thrive here,” Arnau adds. The support from partners has also pushed elrow to new heights. “This, and our fantastic partners, have allowed us to grow and create experiences never seen before in the Middle East!” Arnau promises a bigger, wilder show this year. “We look forward to May 17th and putting on our biggest show yet!” The UAE’s electronic music scene has exploded, bringing massive festivals and legendary artists to the region. This shift is reshaping Dubai’s nightlife. “When we started this journey two years ago, we never realized how much of an impact elrow would have,” says Shiraz Baziko of Dubai Dance District. “This festival has become a tentpole event in Dubai’s dance music calendar. It has changed the landscape of dance music here.” Baziko sees this year’s event as a game-changer. “This is year three, and we are going bigger—more acts, a brand-new venue, and even more confetti!” Elrow Tickets Are Now Live—Don’t Get Left Behind One thing is certain—elrow Dubai 2025 will be an epic rave. If the past two years have proven anything, it’s that Dubai’s electronic music crowd knows exactly what elrow brings to the table. And once the doors open to Expo City Dubai, Jubilee Park, every inch of space will be filled with wild costumes, pulsating beats, and pure, unrelenting energy. For those who’ve never experienced elrow before—this is your moment. And for those returning—you already know what’s about to go down. Dubai, are you ready for the Rowlympic Games? Tickets start at $68 (AED 250) and are available now via Platinumlist. The post Elrow is Bringing A Massive Olympic Themed Rave to Dubai appeared first on EDMNOMAD. View the full article

Settle Down EP by Mister Joshooa Planet E looks to the heart of Detroit’s club culture for the debut appearance on the label from Motor City mainstay, Mister Joshooa. A DJ and sound engineer closely intertwined with the city’s music scene, regularly found behind the decks at clubs like TV Lounge and Lincoln Factory and having previously appeared on Carl Craig’s celebrated Detroit Love compilation, ‘Settle Down’ introduces four tracks that cement Mister Joshooa’s lucid, far-out take on house. Lead track ‘Settle Down’ distills the energies and influence of the scene into a rubber-jointed, rolling introduction that vibrates with energy and anticipation, nailing a bassline that could run for hours and injecting trippy effects, live percussion and out-there vocals drawing in dancers. ‘Snake Oil’ meanwhile strips things way back, squeezing plenty of juice for the floor from a tunnelling, lightly psychedelic arrangement, offering bang-for-buck deepness that’s no scam. ‘Stop Me’ continues to drive Mister Joshooa’s productions in even wonkier, even mysterious directions, its oscillating crawl and hypnotic melody primed to create a heady atmosphere, giving surreal or even sinister, depending on each dancer’s perspective. Finally, ‘Step Up’ offers the roughest, readiest ride to close, where classic drum machine programming reverberates against throbbing sonics and all manner of analogue weirdness, transforming into an outsider techno stepper from the darker side. The post Mister Joshooa lands on Detroit’s Planet E appeared first on Decoded Magazine.

With The Guardian calling 2024 the year of the “precipitous decline of UK nightclubs”, it’s evident that the clubbing industry has been struggling. A Capital On Tap report even suggests 57% of London’s clubs will close by 2030 – but 2025 could change that. According to the report, London lost nearly 18% of its clubs and pubs between 2022 and 2025. Based on these figures alone, the UK capital is on chart for a steep decline. However, a string of new London clubs have already opened this month alone. READ MORE: Two dance venues open in East London in quick succession – is the UK’s nightlife scene looking up? One of the latest clubs to open its doors is Peckham’s 120-capacity HONOR. Nestled underneath a Peckham Rye station archway, the venue is kitted out with a TW AUDiO PA-SYS-ONE soundsystem and has already hosted some events since opening on 4th April. The venue is being run with the help of DJ Oneman. “HONOR was initially born out of the want to honour DJs and scenes that I appreciate,” he told Resident Advisor . “That’s what built the idea of HONO. It’s thinking about the whole aspect of what clubland and nightlife is all about, and everyone who encompasses it. Sound, light, atmosphere.” “I like to describe HONOR as being in the end of a lit cigarette. It’s dark, orange and smokey,” he added. “I’m very lucky to be given this opportunity. An opportunity to create a space where the DJ and live culture I love can thrive in the heart of London’s most vibrant community.” While HONOR is an intimate clubbing haven, other clubs are offering bigger nightlife experiences. No90 Hideout is a newly renovated 450 capacity space in Hackney Wick’s No90, while an abandoned Shoreditch warehouse has been transformed into the 1,500 capacity Unlocked. According to Unlocked’s launch video, the venue occupies “a once illegal rave venue [that has been] abandoned for a decade” to revive the “fading culture” of East London. The new venues will hopefully serve as a clubbing renaissance and bring new life to an apparently declining club scene. Capital On Tap’s findings also hinted at a decline in clubbing across the UK. The report predicts that Leeds, Brighton and Bristol will also lose upwards of 60% of their clubs by 2030. Elsewhere, Sheffield and Liverpool are predicted to see a 50% decline. However, it could be looking up – the injection of new venues isn’t just exclusive to London. A new club space is set to open in Liverpool on 2 May. Kapsule will be opening a space within within Invisible Wind Factory’s former wind turbine factory. The club is a collaborative effort from the Invisible Wind Factory and Sun Palace Sound System – the only UK unit who work with a quadraphonic RLA system. As a result, Kapsule has got its hands on some pretty powerful sonic power, boasting a 4-point high-fidelity soundsystem and substack. The post Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030 appeared first on MusicTech. View the full article

LePrince, the reggatronic trailblazer known for fusing hard dance energy with raw vocal power, now steps into the techno spotlight — and he’s doing it loud and proud on scene-defining label Filth on Acid. His debut techno EP Who Dem is a high-impact statement, blending his signature fire with uncompromising underground sounds. The EP kicks off with the solo title track Who Dem, a straight-up rave weapon built on square-pounding drums and razor-sharp acid lines. Next up, Issa Vibe sees LePrince team up with Sevn Rhodes to deliver a brutal techno cut laced with gritty vocal shots and machine-gun synths. The final track Hardcore — a three-way collab with Maski & Banga — lives up to its name: relentless kicks, trance-tinged leads, and a driving intensity that doesn’t let up. With Who Dem, LePrince breaks genre boundaries and shows that his sound can’t be boxed in. This is hard techno with a rebel soul — music made to destroy dancefloors. LePrince – Who Dem EP is out now via Filth on Acid. The post LePrince makes his techno debut with explosive ‘Who Dem EP’ on Filth on Acid appeared first on EDMNOMAD. View the full article

NAMM president and CEO John Mlynczak has once again urged the Trump administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products” from the tariffs announced in President Trump’s recent executive orders. Earlier this month, Donald Trump rolled out a fresh wave of tariffs aimed at reducing the US trade deficit – a move that sent shockwaves across global industries, including the music products sector. Given how many American brands rely on overseas manufacturing, or on importing key materials not readily available in the US such as certain tonewoods or metals to manufacture their gear, it’s not hard to see why. Under Trump’s new plan, imports from countries like Vietnam could face tariffs as high as 46% – a move the NAMM executive previously warned will have “devastating consequences” for the music products industry. READ MORE: How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down In response to mounting pushback, Trump has since announced a 90-day pause on what he’s calling “reciprocal” tariffs, essentially delaying enforcement of certain measures until 9 July. Tariffs already aimed at China, however, remain in effect. Addressing the move in a new statement, Mlynczak welcomed the pause but stressed that the broader uncertainty is already taking a toll: “The negative effects of these measures threaten the economic and cultural impact of US-made musical instruments and accessories, as well as cause our US music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels,” he says. “The 90-day pause on reciprocal tariffs announced last week via executive order (until July 9) is a welcomed measure, but the continued unpredictability of these tariff actions makes it difficult for companies to react in a meaningful way.” “The back-and-forth raising of tariffs between the US and Chinese governments that we have witnessed this past week will have serious business implications and create consumer turmoil for the music products industry,” the statement continues. “The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.” In addition, last week also saw NAMM sending a letter in support of US-based acoustic stringed instrument manufacturers, urging the US Secretary of Commerce not to recommend additional tariffs on imported tonewoods. “These tonewoods are often impossible to grow in the US, and they are used to create many iconic music products for American brands,” says the NAMM CEO. Billboard reporter Kristin Robinson previously broke down how the new taxes could impact the music gear and vinyl pressing industries. She pointed out that bands have faced difficulty bringing unsold merchandise back to the US from international tours, as these also face tariffs, unless the artist is selling only American-made merch. Vinyl prices will likely be hit as well, as the materials used to make them are from overseas countries, including PVC and their paper sleeves. The post NAMM CEO warns US musical instruments industry will “lose its global competitive advantage” due to Trump’s tariffs appeared first on MusicTech. View the full article

The sequel nobody asked for – but somehow still sold tickets – has officially been postponed. That’s right, Fyre Festival 2 is off. For now, at least. Less than two months out from its proposed 30 May to 2 June run, the notorious festival’s second chapter has been shelved. The news first trickled out in emails sent to ticket holders and newsletter subscribers, before being confirmed by ABC News. READ MORE: “I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s why “The event has been postponed and a new date will be announced,” reads the message. “We have issued you a refund. Once the new date is announced, at that time, you can repurchase if it works for your schedule.” Electronic producer and DJ deadmau5 has also responded to the news, sharing a screenshot of the announcement on his Instagram account along with the caption, “Well that sucks”. Tickets for Fyre Festival 2 reportedly ran between $1,400 and $25,000, with “premium” packages being priced as high as $1 million. And while no lineup had been announced, nor any real infrastructure confirmed, that didn’t stop founder Billy McFarland from pushing ahead. Or at least trying to. The festival was set to take place on Isla Mujeres, a tropical island off the coast of Mexico. But as the supposed location for Fyre Fest 2 came into focus, questions quickly followed. Local officials said they were unaware of any such event being planned. “For us, this is an event that does not exist,” said Edgar Gasca, from the tourism directorate of Isla Mujeres, in an interview with The Guardian. McFarland quickly disputed that claim in an Instagram post, maintaining that his team had been “in communication with local and state government to ensure full compliance and a successful event.” Even so, the paperwork paints a different picture. The only permit reportedly granted was for a 12-hour listening party with a cap of 250 guests — no live music, no festival-scale production, and far from the luxe experience ticket buyers were led to expect. So, where does that leave Fyre Festival 2? In limbo. Again. But with refunds going out and vague promises of a future date, we’re guessing McFarland isn’t done trying to make fetch happen. The post Fyre Festival 2 postponed weeks before launch – “Well that sucks,” says deadmau5 appeared first on MusicTech. View the full article

V-Stage 88: £3,459/$3,999/€3,999 V-Stage 76: £3,027/$3,499/€3,499 roland.com Ask any serious live player what they want from a keyboard and they’ll likely describe a combination of sound, feel and performance controls you can access fast. Roland’s new V-Stage models are aimed at people who prize all three and are willing to pay for an instrument that crams a studio’s worth of keyboard instruments into a single unit and then puts the myriad different controls for those instruments at your fingertips rather than burying them in menus. This is no simple task since controlling a grand piano, a Rhodes or an organ are all completely different techniques. READ MORE: Best free plugins: free synths that you didn’t know you needed Has Roland succeeded, and is there room for another red stage keyboard on the market? Comparisons with Nord’s Stage 4 are inevitable. Both instruments are aimed at the same type of user, though the Nord is around £400 more expensive still. Blow-by-blow comparisons can be found online and we won’t re-litigate them but will note differences where they arise. My review model was the larger 88-key which Roland says weighs 22 kg but feels as heavy as other weighted 88-key models and is no picnic to move around – you’ll want a serious flight case for it. It has an integrated power supply fed by a kettle lead, a welcome addition since it’s one fewer peripheral to lose. Then the rear panel has a serious array of inputs/outputs, reflecting its status as a pro gigging instrument. There’s a headphone out, dual XLR balanced outs, stereo jack outs and sub left/right balanced outs and on the input side, stereo line input jacks plus an XLR mic input. Full-sized MIDI in, out and thru are present as are four control pedal inputs – hold and three controls, assignable to the various pedal types like organ swells or volume you will want to use. Some users have noted the ports here aren’t built as durable as the Nord’s metal versions, which we’d agree with. Aside from this, build quality is solid throughout. You get handy extras including two USB-A inputs for connecting compatible MIDI controllers, useful for adding an extra organ layer for example. A USB-C port connects to your computer and turns the keyboard into an audio and MIDI interface, with the multiple parts that make up each sound appearing as separate MIDI and audio channels, great for recording or live mixing. Then another USB-A port supports flash drives, the means by which you manage firmware, backups and transferring patches from Roland Cloud. Though this works, it’s a bit anachronistic in 2025 with other developers – like Nord’s Sound Manager – providing far smoother computer integration. On the other hand, V-Stage has a larger display than the Nord, making on-device editing more pleasurable. And while it’s arguably a matter of preference, I find the Roland’s layout to be more logical and easier to use, especially at a glance, which is just the ticket in a live scenario. My 88-key model uses a weighted keybed with escapement and ivory feel for a more authentic piano experience, but crucially allows enough fluidity for organ and EP runs without hurting your hands. This balance is difficult to get right but Roland has aced it here, making something that works brilliantly across all the different instruments. Speaking of which, at the heart of V-Stage are four independent sound engines, each with a corresponding section on the front panel. First is pianos, using Roland’s acclaimed V-Piano technology with unlimited polyphony. Based on modelling rather than samples it allows an incredible level of tweaking of all the aspects of the different pianos. Then there’s the electric piano engine and a Virtual Tone Wheel organ with three independent upper, lower and pedal parts. While the organ engine’s polyphony is also unlimited, the electric piano shares a 256-note polyphony with the remaining, synth engine. Synth parts are powered by the Zen Core engine that support expansions via Roland Cloud – several free extra models are provided too. There’s extensive layer and split functionality of course as well as a powerful system for storing presets. 512 slots are available for Scenes – complete keyboard setups – as well as 128 Scene Chains for managing complex sets. Then there are eight EX Scenes which auto-save changes you make in real time – perfect for capturing those moments of inspiration when playing. One really nice touch is that thanks to the powerful dedicated processors it’s possible to switch sounds or scenes while sustaining the last sound, without any dropouts. It might sound inconsequential but that’s invaluable in the midst of fast-moving performances. Roland has done an excellent job of placing the most important controls at your fingertips respective to each of the four instrument sections. Each section has a dedicated level control plus a bunch of specific effects and settings, and drawbars, rotary speed and brake for the organ. There’s a total of 16 multi-effects with 93 types and a Master section with multi-band EQ and compression. You can simply experiment with these when you’re trying to sit your sound in a live mix, mid-song without needing the help of the sound engineer. The sounds are excellent, perhaps not surprising given Roland’s vast experience and though the synths are nice to have it’s the acoustic and electromechanical instruments that really sell the V-Stage. The extent to which they have listened to pro players when designing the layout is clear – it’s a live tweaker’s paradise. There are loads of stage-ready presets as starting points but the reality of live performance is that it’s often necessary to change things on the fly. This is so simple to do here. Splits and layers let you build complexity into layouts, taking advantage of the impressive processing power of the keyboard. If you’re spending north of £3k you’re not likely to be a beginner and this keyboard – and others like it – are really for more accomplished players, ranging up to working professionals. It feels and sounds beautiful and puts the emphasis on supercharging your live performances with hands-on, dynamic effect and sound editing like you’d get from the real instruments. In truth, the V-Stage is an investment in the same way that a high-performance tool is to any professional. It makes playing a joyous experience, sounds amazing and puts a plethora of sounds and controls right in front of you without ever getting in your way. If your business is music, the V-Stage just might be the last performance keyboard you ever need. Key features 88-key and 76-key models 4 dedicated sound engines 512 scenes; 128 scene chains V-Piano modelling technology SuperNatural models, virtual organs Add synth models via Roland Cloud Comprehensive inputs/outputs including XLR mic in Multi and master effects USB data and audio/MIDI interface capability Multiple assignable control inputs The post Roland’s V-Stage keyboard puts a studio’s worth of classic instruments and effects at your fingertips appeared first on MusicTech. View the full article

We recently sat down with a brilliant mind for a quick chat. The industry is so crowded with producers right now, that it’s quite hard to distinguish true talent from just a name with good promotion. And helping settle that difference for you all, we’ve just had a quick chat with one of those names we truly believe are clear future diamonds — Waxman. Waxman is a Canadian producer, DJ, composer, and mixer based in Melbourne, producing rather rich and vibrant Dance and Electronica tunes. Not only that, but he also composes pieces for TV and film. After support from acts like John Digweed, Solarstone, and Nick Warren, and releases on The Soundgarden, Pure Progressive, Maldesoule, WTHI, and plenty more, he’s just added another piece to his catalogue — ‘Harmless‘. And while the track is still hot off the oven, we’ve approached him to have a bit of a chat, regarding early influences, production techniques, doing your own thing, and more. Read on to find out what Waxman had to say. Who are the artists or sounds that most shaped your style early on? I have a ton of old electronic faves who I still love to listen to. deadmau5, Flume, Max Cooper, Justice, Boys Noize, Stimming. They were all early influences of mine when I really dove head-first into my love of electronic music and decided to try my hand at production. It’s funny how years later these guys are still some of my very favourite artists to play and listen to, no matter how many different phases I go through and how many new artists I discover and delve deep into. What’s the one sound or technique that you think defines your signature style? I love playing with vocals — chopping them up to create texture and mood. I guess more broadly I’m pretty dead-set on having lead melodies and harmonies that hook me while I’m writing. Those might be with vocals, whether they’re lead, chopped up, or just kind of providing harmonic points of interest to create more depth. Sometimes it’s a lead arpeggio or a grain delay splashing weirdness all over the upper frequencies. I’m not really going to pursue working on a track if it doesn’t hook me first with melodies. Why do you think it’s important for artists to focus on developing their own sound rather than chasing trends? You can always try and copy what’s out there but chances are by the time you’ve achieved that (if you actually manage to) so will a hundred other producers and trends will have moved on. You won’t always (or maybe ever) be a trendsetter but you can at least be original and true to your own creative instincts. See where they take you and where that leads your sound. It may end up being the sound everyone else wants to achieve. Or it may just be the sound you wanted to achieve. Either way, it’s more likely you’ll have something you’re proud of than if you just copied another style. How do you know when a track is finished? Finishing a track is an incredible skill to develop. I like to stop (or at least pause) when I’ve reached a point where I’m happy and don’t find myself making any major changes when I listen through in my DAW. Stop, let it sit, and listen again in a few weeks. If it’s still sounding done, then it’s done. If not, then continue tweaking, but it’s probably close. Extra ears from friends, labels, etc., are also extremely valuable at this stage in knowing if a track needs anything more or if it’s ready to go! What’s the biggest mistake you see other producers making when it comes to their creative process? Not finishing and moving onto your next project/EP/song. You can endlessly tweak a track, but in my experience, it will never be perfect (at least not to you). It’s more constructive and productive to get to an end point, whatever that may be exactly, and finish your tune. Then start a new one! You’ll get better at the process and have new and fresh bursts of creative ideas. What’s one piece of advice you’d give to an artist who’s struggling to find their sound? Try producing different styles and genres. Maybe you’ll find a realm that better suits your natural, creative, and productive instincts. Or maybe it will get you to try different techniques that inspire you when you come back to what you were trying to aim for in the first place. What’s the one element every track you release has to have to feel complete to you? As I mentioned, I love some nice vocals and am always a sucker for a great melodic line — so I tend to have those as strong elements in my songs and productions. What do you think makes an artist’s music stand out in today’s crowded music industry? Being yourself! Do different and interesting things and don’t try to sound like everyone else or the people you see with success. Easier said than done but so much music I hear these days sounds very generic and boring. Just try something different and experiment. What’s the one thing you wish people knew about the challenges of being a producer today? Trying to stand out from the crowd and have any of your music have any sort of lasting power is incredibly difficult today. Even if a song does well, chances are it’s only going to be listened to, purchased, or streamed for a very short period of time. It creates a frustrating situation of people churning out so so much content just so they have new stuff constantly coming out. I’ve been guilty of it myself but realized the age-old quality over quantity adage. Final Words Thank you so much to Waxman for this one. ‘Harmless’ is out now and you can check it out by hitting the ‘Play‘ button on the Spotify player below. 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 [INTERVIEW] Waxman Talks Influences, Production, Developing Your Own Sound, And More appeared first on EDMTunes.

After 50,000 daily steps and tons of surprises, we returned from the first weekend of Coachella Music Festival with tons and tons of emotions. The heat didn’t stop us from having a grand time in the desert, April 11-13, and the music gave us life. Nonetheless, Weekend 1 is always a trial and error for the festival, as mishaps surely happen. We will now review the festival, including the lineup, the campsite, production, and what we think could improve heading into weekend 2. The Music Coachella is a mainstream and underground hybrid. It brings out the biggest names in the industry, as well as up-and-coming artists. Furthermore, this year’s lineup was fantastic and delivered major experiences from stage to stage. Of course, the headliners like Lady Gaga and Charli XCX gave us some of the best moments, but other stages had energy, which could be felt in the air. Coachella is a superstar when it comes to surprises. Artists will bring major collaborations to the stage. This year, the dark princess of pop Lady Gaga took her performance to new heights with Gesaffelstein to perform their song Killah. Charli XCX brought out Troye Sivan, Billie Eilish, and Lorde during her Bratchella set. Moreover, Megan Thee Stallion brought Queen Latifah, Victoria Monet, and Ciara. EDM reigned supreme this year with so many twists and turns that my ankles are sprained at this moment. Yuma, Sahara, and the DoLab brought their A game with electric and fun performances all weekend. House, Techno, and Bass had the most support out of the other EDM genres. Highlights included Sara Landry’s Eternalism Debut, and her Blood Oath surprise appearance at the DoLab alongside Indira Paganotto and Amelie Lens. Their set was accompanied by a drum and bass/jungle b2b2b2b2b2b with Jenna Shaw, Coco & Breeze, Mary Droppinz, VNSSA, J. Worra and Bad Girl Bailey. Earlier sets had incredible attendance, such as PARISI, Marsh, Boris Brejcha, and Layla Benitez b2b Henri Bergmann. Horsegiirl, DJ Gigola, VTSS Klangkuenstler, salute, and Mind Against b2b Massano offered amazing auditory journeys as well. The Production at Coachella Coachella has a real budget for production. Visuals, pyrotechnics, lightshows, and stage design all work all weekend to provide magical adventures throughout the weekend. From props and dancers to live and electronic instruments, each artist can make their Coachella sets, and some of their debuts, a one-of-a-kind performance. Some indoor stages had air conditioning, which helped under the desert heat. The event also has tons of separate activities and side-quests one can enjoy across the venue. Tons of brands have their own booths and activation centers, such as Heineken, White Claw, and Red Bull. We stopped by the End Overdose booth to speak with AJ Banuelos (Director of Community Engagement) to discuss the growth and impact the non-profit has had on EDM since its foundation. They have partnered with promoters like AEG and Insomniac for their flagship festivals, have collaborated with names ranging from Limp Bizkit’s Wes Borland to Illenium on social media campaigns through Instagram (105k followers) and TikTok (331k followers), and have trained over half a million people nationwide. Their booth teaches festival goers how to recognize signs of an opioid overdose and how to administer Narcan, as well as how to do rescue breaths, and how to delegate tasks until medical personnel arrive on the scene. Red Bull®Mirage The Red Bull®Mirage offered an unparalleled hospitality experience and seamlessly blended exclusive access, unique programming, and the exciting pre-launch of the highly anticipated Red Bull Summer Edition White Peach. Red Bull® brought a 20,000 square-foot structure, located directly across from the Quasar Stage. As the festival’s exclusive energy drink, Red Bull® provided attendees with the wiiings to fully immerse themselves in the music and atmosphere. The space featured distinct experiences across its multiple levels, providing guests with spaces to recharge, socialize, and find inspiration. General admission festival goers gathered in the dedicated GA areas to enjoy access to specialty drinks including the Red Bull Summer Edition slushies, pop-up DJ sets by Joaqu.n of Pangea Sound, Tinx and Bambii, and shade with cooling misters. Level 1 offered a Nobu Omakase experience paired with a curated Red Bull cocktail menu, available to festival goers by reservation only. Level 2 provided a thoughtfully curated space that served as the ideal backdrop for a Red Bull Mirage Happy Hour and pop up sets by DJ PeeWee (a.k.a. Anderson .Paak) and Hudson Mohawke, bringing together tastemakers, creators, and media. Level 3 served as an invite-only retreat for artists and celebrities, offering a private space with stunning views of the Quasar Stage. Notably, Cardi B arrived with her friends and enjoyed the third floor, complete with drinks and Nobu. Logistics Now we will get a little serious because, as much as we had an amazing time at Coachella, we struggled a little bit with security and logistics at the festival. It felt like the event was understaffed and underprepared for the massive influx of cars and people going in early. Chris Lake’s performance on the campsite during day 0, which was a historical moment, was overshadowed by the thousands of cars that were in line for 6+ hours to make it into the event to set their campsites. Security had no idea how to direct traffic, and it ended in massive traffic where it felt like every man was for themselves. We hope that the event takes traffic more seriously, as it kept people from making it to their campsites at a decent time. The Vibes at Coachella It’s always tricky to measure the vibes at an event that is heavily attended by a mainstream crowd, tons of celebrities, and ravers who are more EDM savvy. However, most stages had amazing crowd energy. The Coachella mainstage did have the busiest sets mostly, but for plenty sets there was enough room to dance and enjoy yourself. As we do everything again this weekend, we can’t wait to explore new sets we missed the first time, as well as reliving some of the sets that had our jaws drop to the ground. The post [Event Review] Coachella Weekend 1 Had Us Dying to Go Back For Weekend 2 appeared first on EDMTunes.

In a shocking turn of events, local residents of South Gloucestershire have blocked a psytrance festival that was set to happen in September due to residential complaints. The local council made this decision on April 8th. The council informed the organizers of Goa Cream of their decision. Goa Cream is currently scheduled from September 12th to 14th, for the third year in a row. Environmental health officer Florence Fisher expressed that there were 11 complaints from locals last year about the festival. One resident described the event as “non-stop heavy bass music; it was almost inhumane and a form of torture“. Another resident claimed the extremely loud noise had a “profound effect” on him and his family. With other complaints expressed it gave them a headache all weekend, and others stated the music made their houses and windows shake. On Monday, April 14th, Piers Chapora, the festival’s organizer, wrote on Facebook post that they are currently looking into alternative sites. “Hi friends, Goa Cream is NOT cancelled !! For all of you freaks looking forward to being tortured at Yewtree farm in September. I’m afraid South Gloucester Council have objected to our licence application, the long and short of it, “Yewtree farm is an unsuitable venue for music/dance festivals? All this means is, we are now looking for another venue for this September’s party. I am going to see other possible sites later this week, so fingers crossed. Just putting it out there, if you know of a suitable venue with like-minded land owners, please let us know. One World, One Love, One Dancefloor.“ The post UK Town Blocks Psytrance Festival Calling It “A Form Of Torture” appeared first on EDMTunes.