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Photo Credit: Rod Stewart by Joe Bielawa / CC by 2.0 Rod Stewart postpones his performance at The Colosseum at Caesars Palace four hours before showtime due to an unnamed illness. Sir Rod Stewart called in sick just four hours before he was scheduled to hit the stage at The Colosseum at Caesars Palace in Las Vegas on Sunday night. The 80-year-old rock and roll legend posted to his Instagram Stories to give fans the news, while Caesars Palace also confirmed the postponement. “I am sorry to inform you that I’m not feeling well and my show tonight at The Colosseum at Caesars Palace is being rescheduled to June 10,” wrote Stewart. “Your tickets will be valid for the new date.” Later this month, the legendary artist is slated to perform at Glastonbury as one of the oldest artists to play the UK festival. He has confirmed the show will feature a Faces reunion with Ronnie Wood. Throughout the summer, Stewart will also perform more shows across North America for his One Last Time World Tour, and will continue with his 200-show residency at The Colosseum at Caesars Palace through the fall. Stewart was forced to cancel a few shows in Las Vegas last summer due to a combination of strep throat and COVID. Last week, he was honored with the Lifetime Achievement Award at the 2025 American Music Awards. “I love what I do, and I do what I love,” Stewart said in an Instagram post last year. “I’m fit, have a full head of hair, and can run 100 meters in 18 seconds at the jolly old age of 79.” “This will be the end of large-scale world tours for me, but I have no desire to retire,” he said, speaking on his One Last Time farewell tour. “I’d like to move onto a Great American Songbook, Swing Fever tour the year after next—smaller venues and more intimacy,” Stewart explained. “But then again, I may not.” View the full article

Fans around the world can tune into live coverage of the Vans Warped Tour next weekend. With the iconic punk-rock festival back for a special 30th anniversary tour this summer, Vans Warped Tour has announced that its sold-out stop at the RFK Festival Grounds in Washington, D.C., on June 14-15 will be broadcast live via Amazon Prime Video and Amazon Music’s Twitch channel, running from 5PM to 2AM local time on both dates. The lineup for this year’s historic tour opener in D.C. features more than 90 bands spanning rock, punk-rock, alternative, pop-punk, emo, and more. Livestream-confirmed artists include Bowling for Soup, Hawthorne Heights, Mayday Parade, mgk, Sublime, and more. Promising to bring Warped Tour’s “spirit of punk and alternative rock directly to the fans,” according to a press release, the stream will be hosted by musician and social media personality Lilith Czar and Amazon Music’s Andy Harms, with the duo set to preview performances and chat with artists backstage while a field correspondent reports from the crowd. Other anticipated performances throughout Warped Tour’s weekend in D.C. include Avril Lavigne, Beauty School Dropout, Simple Plan, All Time Low, 3OH!3, and many more. Check out the full lineup here. Fans can also listen to REDISCOVER Vans Warped Tour, the event’s official playlist on Amazon Music, featuring music from this year’s tour, as well as commentary from artists and tour founder Kevin Lyman. Now three decades on from its launch in 1995, Warped Tour 2025 will continue with dates at the Shoreline Waterfront in Long Beach, California, on July 26-27 and at the Camping World Stadium campus in Orlando, Florida, on November 15-16. New for this year, the festival is presented, in-part, by Insomniac Events, after the powerhouse rave promoter unveiled an official partnership between the two scene-leading brands last October. For more information or to tune into the Vans Warped Tour D.C. livestream, visit music.amazon.com. Featured image courtesy: Vans Warped Tour. The post Vans Warped Tour D.C. Comeback To Stream Live On Amazon Prime Video appeared first on EDM Maniac. View the full article

Fans around the world can tune into live coverage of the Vans Warped Tour next weekend. With the iconic punk-rock festival back for a special 30th anniversary tour this summer, Vans Warped Tour has announced that its sold-out stop at the RFK Festival Grounds in Washington, D.C., on June 14-15 will be broadcast live via Amazon Prime Video and Amazon Music’s Twitch channel, running from 5PM to 2AM local time on both dates. The lineup for this year’s historic tour opener in D.C. features more than 90 bands spanning rock, punk-rock, alternative, pop-punk, emo, and more. Livestream-confirmed artists include Bowling for Soup, Hawthorne Heights, Mayday Parade, mgk, Sublime, and more. Promising to bring Warped Tour’s “spirit of punk and alternative rock directly to the fans,” according to a press release, the stream will be hosted by musician and social media personality Lilith Czar and Amazon Music’s Andy Harms, with the duo set to preview performances and chat with artists backstage while a field correspondent reports from the crowd. Other anticipated performances throughout Warped Tour’s weekend in D.C. include Avril Lavigne, Beauty School Dropout, Simple Plan, All Time Low, 3OH!3, and many more. Check out the full lineup here. Fans can also listen to REDISCOVER Vans Warped Tour, the event’s official playlist on Amazon Music, featuring music from this year’s tour, as well as commentary from artists and tour founder Kevin Lyman. Now three decades on from its launch in 1995, Warped Tour 2025 will continue with dates at the Shoreline Waterfront in Long Beach, California, on July 26-27 and at the Camping World Stadium campus in Orlando, Florida, on November 15-16. New for this year, the festival is presented, in-part, by Insomniac Events, after the powerhouse rave promoter unveiled an official partnership between the two scene-leading brands last October. For more information or to tune into the Vans Warped Tour D.C. livestream, visit music.amazon.com. Featured image courtesy: Vans Warped Tour. The post Vans Warped Tour D.C. Comeback To Stream Live On Amazon Prime Video appeared first on EDM Maniac. View the full article

Making another surprise move into uncharted dance territories, world renowned Grammy Award-winning artist David Guetta has remixed one of this year’s most acclaimed club tunes ‘A Gira‘ by up-and-coming Brazilian artist unfazed. It’s a record that already breathed strong Brazilian vibes in its original guise, featuring warm percussion and feverish, sun-drenched vocals. Now, the French maestro reworked this early 2025 anthem with some powerful hooks, providing the initial afro house and Latin atmosphere with a solid dose of Future Rave excitement, making it the dream anthem for the current festival season, out now on Spinnin’ Deep. With the Brazilian dance scene continuously making new moves, young DJ/producer, unfazed, has made similar progress himself. Building a profile with his characteristic production style, he’s crafted an organic house sound on the wings of afro house, latin vibes and warm, melodic rhythms. His 2024 debut releases ‘Me Tienes‘ and ‘Keep Falling‘ immediately struck a chord with the international club scene, receiving widespread DJ support, followed by this year’s hit tune ‘A Gira,’ a hot-blooded club gem picked up by Spinnin’ Deep. By now, unfazed’s music has received support from some of the industry’s leading names, including &ME, Rampa, Adam Port, Keinemusik, Agoria and Marten Lou. Now, none other than David Guetta can be added to this list. The renowned French DJ/producer was already known for his diverse resume, having created numerous dance anthems throughout the years, covering both pop, R&B, uplifting festival tunes and deep club music in his ever evolving production style, but makes a surprising move yet again as he dives into unfazed’s widely praised afro house style. Stay tuned for more news! The post David Guetta Remixes Brazilian Anthem ‘A Gira’ to Festival Heights appeared first on EDMTunes.

Kölsch and CamelPhat have officially released their long-awaited collaboration, ‘Waste My Time’, available now via Kölsch’s own label, IPSO. Initially teased during their electrifying back-to-back set at Pacha Ibiza last summer, ‘Waste My Time’ quickly became a fan favorite. The track masterfully blends Kölsch’s cinematic depth with CamelPhat’s festival-ready energy, resulting in a hypnotic groove that resonates on dancefloors worldwide. Accompanying the release is a nostalgic, AI-generated music video set in a reimagined 1970s Pacha Ibiza, utilizing archival photos and footage to transport viewers back to the early days of Ibiza’s club culture. ‘Waste My Time’ also serves as the lead single from Kölsch’s forthcoming album, KINEMA, slated for release this October. The album marks a return to his roots as a live performer, featuring reimagined interpretations of his iconic tracks like ‘Grey’, ‘Loreley’, ‘Goldfisch’, and ‘All That Matters’ “KINEMA is a reflection of my journey as an artist… It’s about revisiting the music that shaped my career and giving it new life, creating a unique experience that blends nostalgia with innovation. Performing live allows me to connect with the audience in a way that’s deeply personal—I’m excited to revisit the tracks that have meant so much to me and my fans.” Kölsch With ‘Waste My Time’, Kölsch and CamelPhat not only deliver a compelling track but also set the stage for a new era in Kölsch’s artistic journey. Listen to Kölsch & CamelPhat – ‘Waste My Time’ below via Spotify: The post Kölsch & CamelPhat Come Together To Release ‘Waste My Time’ appeared first on EDMTunes.

Few artists today navigate the worlds of commercial dance and underground techno with as much style and intention as Oliver Heldens. With his chart-topping productions and a darker alias HI-LO making waves in the global techno circuit, the Dutch producer continues to push musical boundaries — and connect with fans in the most unexpected ways. Fresh off a vibrant tour through South America and moments before taking over the decks at Cologne’s legendary Bootshaus, Heldens sat down with us for an open conversation on music, identity, and why certain venues bring out the boldest side of him. South America: Passionate Fans and Personal Moments Heldens’ recent return to South America was nothing short of emotional. “It’s always really special playing there,” he says. “The fans are just incredibly passionate. The energy is different — intense, in the best way.” He played two sets in Lima (as both HI-LO and Oliver Heldens), followed by two more in Buenos Aires. “In Lima, we even did a fan day — we brought fans backstage before the festival. They gave me gifts: an alpaca and a capybara plush. That kind of passion stays with you.” Buenos Aires held particular meaning. “I hadn’t been there in eight years — COVID made scheduling so hard. Some fans told me they’d been waiting all this time. That’s humbling.” What stood out most, though, was his commitment to tailoring his shows. “In Peru, I added Peruvian music and Spanish lyrics; in Argentina, local classics. We even remixed Brazilian and Argentinian music for those shows. I want the crowd to feel that we’ve thought about them, not just played the usual set.” After the final show, he and his team traveled to Patagonia to film a live stream with his longtime security guard, who now lives in the mountains. “We grilled Argentinian-style, had drones flying, a lake in the background… it was beautiful. I think the footage will feel really personal.” Bootshaus: “The Wildest, Most Joyful Chaos” Our interview takes place backstage at Bootshaus, one of Germany’s most iconic clubs — and a special place for Heldens. “This venue is insane. I first played here in 2014, and it left a mark,” he explains. “It’s not just iconic — it’s alive. The crowd surrounds you, you’re right in the middle. And the energy is absolutely mental.” He describes it fondly, and with humor: “It’s a massive sausage fest — tons of guys going wild. But there’s also this pack of fearless girls jumping into the pit. Everyone’s just… joyful. And totally in sync.” That collective energy is why he loves trying new things at Bootshaus. “I’ve got a hardcore track I didn’t dare play in South America. But here? Perfect place to drop it. When you’ve got two hours and a crowd like this, you can really go deep and weird — and they’ll love it.” HI-LO: The Long Game of Artistic Freedom One of the most fascinating parts of Heldens’ career has been the evolution of HI-LO, his techno-focused alter ego. What began as a side project has grown into a full-fledged identity that resonates across the underground scene. “I started HI-LO 10 years ago, even before the techno boom,” he shares. “At first, it was this hybrid — bass house, tech house, a bit of electro — but with clear techno influences. I always knew I wanted to push it further.” That vision has matured over time, shaped by artists like Enrico Sangiuliano and Umek, and refined by countless sets in dark, sweat-soaked clubs. “Now, HI-LO is full-on techno, but I still like to blur lines. At my shows, you might hear Speed Garage, hard trance, even some hard techno or Death Gabber. People are more open now — boundaries are disappearing.” What’s most freeing, he says, is being able to switch between the HI-LO and Oliver Heldens identities. “I can blend tracks, surprise people, and explore sounds that wouldn’t work at a mainstream festival. And that’s the beauty of where the scene is today.” Music, Meaning & Staying Grounded Toward the end of our talk, we asked Oliver to describe a special thing that Music had brought him and what it truly means to him. His answer is sincere. “Music has been my dream job since I was a kid. Even before I made music, I wanted to be an artist or architect. I just loved creating. But what’s surprised me most is the emotional impact it has on other people. Seeing how music connects, uplifts, and inspires — that’s what gives me the deepest fulfillment.” When we asked about his dream B2B sets, he didn’t shy away from experimenting or taking creative risks. If anything, he welcomes it. “I’m open to all kinds of collabs. I’d love to go B2B with Disclosure, Boys Noize, Sammy Virji, or Trim. I just love their energy and mixing things up.” A Night to Remember As the lights dim and the bass begins to shake Bootshaus, Heldens steps into the booth — calm, focused, and smiling. Whether it’s under his own name or as HI-LO, he’s an artist who constantly evolves without losing touch with what really matters: the fans, the music, and the joy of playing loud, bold, unforgettable sets. Check out our review of the night that unfolded. In places like South America and iconic clubs like Bootshaus, that joy isn’t just heard — it’s felt. The post [INTERVIEW] Oliver Heldens Talks South America, HI-LO, And Wild Bootshaus Nights appeared first on EDMTunes.

The same black holes that tear apart stars and bend reality have become unlikely collaborators of NASA after the space agency released musical compositions formed through telescope data. NASA recently released sonifications—translations of digital data to sound—drawing from observations made by a number of its most powerful telescopes, including the Chandra X-ray Observatory, the James Webb Space Telescope and the Imaging X-ray Polarimetry Explorer. For astronomers, sonification offers a new way to analyze data that might reveal patterns invisible to traditional visualization methods. For the rest of us, it's a reminder that the universe is full of phenomena so extreme and beautiful that they can literally make music, even in the vacuum of space. NASA has been experimenting with turning space data into audio for years as both an accessibility tool and a way to help scientists identify patterns in complex datasets, but these black hole compositions represent some of the most sophisticated examples yet. The first piece captures WR124, a massive star located 28,000 light-years from Earth that may be in its final stages before potentially collapsing into a black hole. At the center is a "hot core of the star that may explode as a supernova and potentially collapse and leave behind a black hole in its wake," according to NASA. In their sonification, the star's surrounding nebula resonates as flutes while background stars chime like bells. The central star itself produces a descending, scream-like sound that begins the piece, with X-ray sources detected by Chandra translated into delicate harp tones as the musical scan moves outward from the stellar core. The second movement explores SS433, a binary system approximately 18,000 light-years away where a Sun-like star orbits either a neutron star or black hole. This cosmic dance creates fluctuations in X-ray emissions that multiple telescopes have observed. The sonification captures these orbital undulations as pulsing sounds while radio waves from the surrounding nebula, which collectively resemble a "drifting manatee," provide a backdrop. The system's location emanates a plucked sound while bright background stars mirror the plinking noises made by water droplets. The triptych concludes with Centaurus A, a galaxy 12 million light-years away that harbors a supermassive black hole at its center. Creating one of the most dramatic structures in the known universe, it's an "enormous black hole that is sending a booming jet across the entire length of the galaxy," per NASA. In the sonification, X-ray data from Chandra becomes wind chimes while continuous X-ray frequencies from IXPE produce other wind-like sounds. Meanwhile, the galaxy's stars, captured in visible light by the European Southern Observatory's MPG telescope, are translated into string instruments. These compositions were developed by the Chandra X-ray Center (CXC), with support from NASA's Marshall Space Flight Center and NASA’s Universe of Learning program. The collaboration was led by visualization scientist Kimberly Arcand as well as astrophysicist Matt Russo and musician Andrew Santaguida along with consultant Christine Malec. You can read more about the sonifications here.

Photo Credit: why kei A coalition of automakers and tech companies sends a letter to Congress urging them to pair the AM radio mandate with royalties for musicians. A broad array of leading automakers and technology companies have sent a letter to the Chairs and Ranking Members of the Senate and House Judiciary Committees, asking them to advance the American Music Fairness Act (AMFA). The legislation will require big radio companies that made $13.6 billion in advertising revenue last year to pay the artists whose music they currently play for free. The letter was signed by the Alliance for Automotive Innovation, the Consumer Technology Association (CTA), the Zero Emissions Transportation Association (ZETA), and the musicFIRST Coalition. “Mandating AM radio without addressing the performance royalty issues would perpetuate an inequity that denies hundreds of millions of dollars in compensation to countless recording artists every year,” the group writes. “While some of our coalition members have concerns about the AM bill for a variety of reasons, we also believe that Congress should not mandate the use of an infringing platform that exploits artists by not paying them for their work. Our position is simply one of fairness and equity, and one that we think all Americans can agree: if you put in the hard work, you should be compensated.” Their call to action comes as the House Energy and Commerce Committee prepares to consider the AM Radio for Every Vehicle Act. In their letter, the coalition warned that mandating AM radio in vehicles without first addressing the issue of performance royalties would exacerbate an already unfair system. “AMFA addresses a longstanding inequity and would ensure that music recording artists are finally paid when their work is played on terrestrial radio. Under current law, terrestrial radio is the only music delivery platform that is not required to pay recording artists for their music,” the letter reads. “Satellite radio and streaming services, including some of our member companies, must compensate artists for their work. The lack of a performance right on terrestrial radio puts some of our member companies at a competitive disadvantage.” “We urge the Senate and House Judiciary Committees to consider the American Music Fairness Act without delay to ensure this longstanding loophole is finally closed and that music artists are not left behind if Congress moves forward with the AM bill,” the coalition writes. “We stand ready to work with you to achieve this goal.” View the full article

Adventure Club have revealed a "Throwback Tour," a series of 2025 shows that's set to transport fans straight back to the golden era of melodic dubstep. The influential duo first made waves at the turn of the 2010s, when dubstep was beginning to evolve and cross over the Atlantic to court a new North American audience. With breakout tracks like their haunting remixes of Yuna’s "Lullabies" and Flight Facilities' "Crave You," they struck a rare balance between emotional catharsis and heavy-hitting electronic music. Adventure Club's signature fusion of cinematic melodies with thunderous, rushing synths became a cornerstone of the genre's melodic wave. Their more recent work, like collaborations with Said The Sky and EDM.com Class of 2025 artist Jessica Audiffred among others, has pushed their sound into new terrain, but the "Throwback Tour" is a deliberate celebration of the blueprint that first made them festival mainstays and global fan-favorites. The tour will kick off August 8th in Houston and hit a slew of major US cities including New York City, Philadelphia, Chicago and Nashville before wrapping in Tampa in late-December. Fans can register for a pre-sale scheduled for Thursday, June 5th before tickets release the following day. View the original article to see embedded media. Follow Adventure Club:Facebook: facebook.com/AdventureClub X: x.com/AdventureDub Instagram: instagram.com/adventureclub Spotify: spoti.fi/3QWj8NH

Photo Credit: Kneecap Kneecap are getting ready to play their largest show outside of Ireland at Wembley Arena in London. The 12,500 capacity event comes at a time when the group is facing criticism for promoting proscribes terrorist groups Hamas and Hezbollah. After being removed from Glasgow’s TRNSMT festival due to police concerns—organizers cited the need for a “significant policing operation” if the group were to perform—the rap trio quickly pivoted. They announced a new show at the O2 Academy in Glasgow and sold-out the show in just 30 seconds when tickets became available. Fans at Wembley can expect a setlist spanning their acclaimed albums 3CAG and Fine Art, alongside singles like “H.O.O.D.” and “Its Been Ages.” The Wembley Arena show is also the centerpiece for a packed summer; Kneecap has several other dates slated including Glastonbury, Dublin’s Fairview Park, 2000 Trees, and Sziget in Budapest. Kneecap’s set at Coachella this year drew international headlines for its pro-Palestinian messaging and anti-Israel sentiment—prompting calls for visa revocation. Their first set at Weekend 1 for Coachella was censored, while the second weekend featured the group getting the crowd to lead a chant of ‘Maggie’s in a box’ a reference to former Prime Minister Margaret Thatcher. The fallout from their appearance at Coachella included the loss of their booking agent and cancellations of several appearances at European music festivals. Kneecap member Mo Chara (real name Liam Og O Hannaidh) faces a terror charge in London. The charge stems from footage showing the rapper chanting support for Hamas and Hezbollah, both proscribed terrorist organizations in the UK. Mo Chara has denied these allegations, dismissing them as a “carnival of distraction.” He is scheduled to appear in Westminster Magistrates’ Court on June 18. Despite the controversy, the group has no shortage of upcoming tour dates. Summer 2025 — Kneecap Europe & UK Tour Dates June 06 | NorthSide Festival — Denmark 08 | Primavera — Barcelona, Spain 11 | Rock for the People Festival — Czech Republic 14 | Best Kept Secret — Netherlands 19 | Fairview Park — Dublin (SOLD OUT) 28 | Glastonbury — England July 2 – 4 | The Depo — Plymouth, England 05 | Finsbury Park — London 06 | Eurockéennes — France 10 | 2000 Trees Festival — England 11 | TRNSMT — Scotland (CANCELLED) 13 | Rockwave Festival — Greece August 01 | Off Festival — Poland 07 | Way Out West — Sweden 08 | Øya Festival — Norway 09 | Flow Festival — Finland 11 | Sziget — Hungary 14 | Green Man — Wales 15 | Wythenshawe Park — England 16 | Pukkelpop — Belgium 17 | Cabaret Vert — France 24 | Rock en Seine — France 29 | Vital — Belfast, Ireland September 05 | Paradiso — Amsterdam 06 | Paradiso — Amsterdam 18 | Wembley Arena — London, England View the full article

The infamous Fyre Festival brand, associated with the disastrous 2017 event, is attempting another comeback, this time as a week-long “experience” in the Caribbean. Announced on June 2nd via an Instagram collaboration between the official Fyre account and its founder, the convicted fraudster Billy McFarland, the new venture is dubbed the “Fyre Coral View Pop-Up.“ Scheduled to take place from September 3rd to 10th on Utila, one of Honduras’ Bay Islands, the event is being marketed as a getaway for “adventurers, creators, and the curious.” According to a statement on the newly launched Fyre Hotels website, a small beach resort on Utila approached Fyre after hearing the brand’s intellectual property was for sale. Their idea was to leverage the Fyre name to bring global attention to their “off-the-map gem” by having Fyre program “unforgettable experiences.” The Fyre Hotels website further explains that this return to the Caribbean is seen as a way to reconnect with the “spark that started it all,” referencing earlier, smaller-scale island trips that predated the ill-fated Fyre Festival. This new pop-up promises to blend adventure, spontaneity, and paradise. This announcement comes after McFarland’s plans for a “Fyre Fest 2” were indefinitely postponed in April 2025, and a portion of the Fyre IP was reportedly sold to a documentarian for a music-focused streaming platform. Despite the brand’s notorious past, this latest iteration aims to re-establish Fyre with a resort pop-up experience. About Fyre Festival The Fyre Festival, a name now synonymous with spectacular failure, was the brainchild of Billy McFarland and rapper Ja Rule. Initially conceived in 2016 to promote McFarland’s Fyre music booking app, it was marketed as an ultra-luxurious, exclusive music festival on a private Bahamian island once supposedly owned by Pablo Escobar. Promoted heavily by social media influencers, the event promised high-end accommodations, gourmet food, and A-list musical acts, with ticket packages costing thousands, and in some cases, hundreds of thousands of dollars. However, when attendees arrived in April and May of 2017, they were met with chaos: disaster relief tents instead of villas, inadequate food (famously including cheese sandwiches in styrofoam containers), no medical services, and a complete lack of organization. The festival quickly collapsed, leading to multiple lawsuits, widespread media ridicule, and ultimately, a federal conviction for McFarland on fraud charges. But a federal conviction wouldn’t hold McFarland back. Since his release from prison, he’s made several attempts to keep the Fyre brand alive and generate new ventures. He announced plans for “Fyre Festival 2,” initially slated for late 2024 in the Caribbean, and later promoted for April or May 2025 in Mexico, with tickets going on sale. These plans, however, faced setbacks, including denials from officials in proposed locations and eventual indefinite postponement. In April of this year, McFarland announced that the Fyre brand itself was up for sale, including its trademarks and intellectual property, stating the brand was “bigger than any one person.” Now, just two months later, McFarland has shifted his focus back to promoting Fyre with the “Fyre Coral View Pop-Up.” If there’s one redeeming quality McFarland has, it’s his perseverance. The post Fyre Rises Again? Billy McFarland’s Brand Launches Caribbean Hotel ‘Experience’ appeared first on EDMTunes.

Brazilian DJ and producer Vintage Culture is teaming up with Von Dutch Loves, the bold new label from the iconic Von Dutch brand, for their first ever artist collaboration with a limited edition capsule collection. Known for its fearless designs and connection to music, nightlife and rule breaking creativity, Von Dutch Loves finds a perfect partner in Vintage Culture, whose genre defying sound and global influence embody the spirit of nightlife and creative rebellion. The highly anticipated collaboration between Vintage Culture x Von Dutch Loves will launch globally on Monday, June 16th on the official website, with the collection channeling the energy of the underground through a Y2K lens, reflecting the dynamic energy of the nightlife scene and the spirit of individuality. The limited edition clothing line, designed by Vintage Culture himself, offers stylish and versatile designs for both men and women, featuring oversized silhouettes, distressed finishes and hand-scrawled graphics spanning trucker hats, t-shirts and more. From bold statement pieces to sleek, understated essentials, the collection celebrates self expression and creative freedom. Speaking about the collaboration, Vintage Culture said: “Von Dutch Loves and I share the same passion for pushing boundaries and celebrating individuality. It’s the perfect match and something I am immensely proud to finally be able to release into the world. The collection draws on a sense of nostalgic energy, reimagined through an edgier lens to create something truly unique. This has been a long time in the making and to finally see it come to fruition is incredibly exciting” The collection will be available online and at select retail locations worldwide following the launch event. It is the first in a series of influential activations for Von Dutch Loves, with further collections, festival and event partnerships and more to come across the year. Stay tuned for more news! The post Vintage Culture Announces Collaboration with Von Dutch appeared first on EDMTunes.

Swedish electronic music icon Eric Prydz premiered his groundbreaking Holosphere 2.0 production at Ibiza's [UNVRS] club on Monday night, a production characterized by the venue's owner, The Night League, as "the most advanced club show on Earth." The centerpiece of the show is a massive spherical structure that required every component to be custom-engineered from scratch, according to a press release. The installation achieves what the club describes as a "razor-thin balance between engineering-grade strength and near-total transparency," a feat made possible only by its cavernous main room and arena-scale infrastructure. The visual content represents a collaboration between Prydz and a phalanx of digital artists, including renowned visual effects artist GMUNK. Working from a Los Angeles studio, the team filmed crystal orbs, plasma balls and burning glass in 360 degrees, then laser-mapped and stitched the footage into immersive holographic environments. Each visual loop functions as what the creators call "a standalone digital sculpture," with dramatically improved resolution, pixel density and color depth compared to the original Holosphere that debuted in 2019. Rather than a sequel, however, Prydz positions Holosphere 2.0 as a complete reimagining of his iconic show concept, potentially setting a new standard for immersive electronic music experiences. "We’ve waited six years for this," Prydz said. "Not because we wanted to, but because we had to. The technology needed to catch up with our vision as every single part of Holosphere 2.0 is bespoke and original. This is what we always dreamed of." [UNVRS], Ibiza's newest superclub, officially launched Friday night with a spectacular opening party. Watch a video of the debut of Holosphere 2.0 below, courtesy of Prydz. View the original article to see embedded media. Follow Eric Prydz:X: x.com/ericprydz Instagram: instagram.com/ericprydz Facebook: facebook.com/EricPrydzOfficial Spotify: spoti.fi/2WNQq7N

ULTRA Europe has officially unveiled the 2025 edition of Destination ULTRA, introducing new locations and a refreshed format across Croatia’s coastline and islands. The seven-day event will take place from July 11 to 17. It will blend festival experiences with island travel, scenic venues, and a diverse selection of artists representing the spectrum of electronic music. The week kicks off in Split, where ULTRA Europe returns to Park Mladeži from July 11–13. The lineup includes some of the scene’s most influential names: Armin van Buuren, Martin Garrix, Tiësto, Alesso, Hardwell, Carl Cox, and Solomun. The weekend also features key performances from Amelie Lens, John Summit, Artbat. Additionally, there is an exclusive B2B set from Adam Beyer and Mau P, expected to be one of the highlights of the summer. Following the main festival, the Destination ULTRA program moves into its island phase. On July 14, the RESISTANCE brand makes its debut on Brač island at Club 585 in Bol. This premiere marks a new chapter for RESISTANCE, combining its underground sound with the natural beauty of Croatia’s island setting. Mind Against will headline, supported by Jasmin Blust and Joshua Robbie. Another major shift in 2025 is the relocation of ULTRA Beach. It moves from Hvar to a new venue: Olife Beach in Milna, Brač, on July 15. This natural amphitheater will host Afrojack and R3HAB. Furthermore, there will be a showcase from Afrojack’s Jacked Takeover label featuring Crime Zcene, Gregor Salto, Julian Cross, and Sven Fields. The week concludes on Vis island on July 16 with the RESISTANCE Closing Party at Fort George, a boutique event limited to 2,000 attendees. Headlining is Cassian, known for his releases on RÜFÜS DU SOL’s Rose Avenue label. He is supported by D3fai and Jesabel. Alongside the on-land programming, ULTRA continues to offer a luxury Destination ULTRA Yacht Package. This combines music, island hopping, and exclusive access to official events. The package includes private cabins, onboard amenities, and meals. There are only a few cabins remaining. The Croatian National Tourist Board, a long-standing festival partner, supports Destination ULTRA. The festival is seen as a unique offering that blends tourism, music, and cultural experience along the Adriatic coast. Destination ULTRA 2025 Schedule: July 11–13: ULTRA Europe, Park Mladeži, Split July 14: RESISTANCE Brač, 585 Club, Bol July 15: ULTRA Beach, Olife Beach, Milna, Brač July 16: RESISTANCE Vis Closing Party, Fort George, Vis Tickets and more information are available at ultraeurope.com. The post Destination ULTRA 2025 Announces Lineup and New Locations Across Croatia appeared first on EDMTunes.

Get ready to dive deep into the cosmos of sound as EDMTunes sits down with one of the most explosive names in today’s techno scene, Space 92! Known for his searing basslines, relentless energy, and chart-topping releases that have dominated dancefloors worldwide, the French producer has carved out a unique and powerful niche. We recently had the incredible opportunity to connect with the maestro himself to discuss his meteoric rise, creative process, and what aural asteroids he has in store for us next. So, buckle up and prepare for a journey into the mind of a modern techno titan – this is one interview you won’t want to miss! Hi! Thanks so much for speaking with us. How are you and how has your year been so far? Hi, thanks for having me! I’m good, can’t complain. This year has been my biggest so far so I’m very happy and satisfied, even if this means I’m touring all the time and not getting much sleep – it’s so worth it. I played at Ultra Miami’s 25th anniversary as well as Beyond Wonderland SoCal and EDC Vegas, in addition to other prestigious events and venues. And I’ve recently performed in Hong-Kong for the first time, it was insane! Tell us about your TAKEOFF label. What is the story behind it and what ethos are you trying to put across with your platform? I’ve always dreamed of launching my own label so, as soon as I consolidated my own position as an artist and producer, I went for it. Having my own label means I’m completely free and in control. It also means that, today, I can play an active part in giving other talented artists a chance. My label does not care about names or notoriety, it cares about good music being released – period. Tell us about the Formula 1 influence on your new track “Formula Loca”. What’s the story behind that? The F1 sounds are just something that I really like, they’re super powerful and project this image of speed, of fast tracks – just like Formula Loca, pun intended! Also, what made you want to go with the Malena Navay feature? How do you think this carries the release? I really wanted to use sultry, feminine vocals on this track and I’d actually found some; I had already integrated them into the whole thing. That was until one day, a colleague messaged me out of courtesy saying he’d used those same vocals and was releasing his track before me. Very understandably I panicked and posted a message on my socials, where my Argentinian supporters happen to be the most involved, loyal, feral even haha. In no time, I’d received a million messages telling me to check out a beautiful and talented singer & actress called Malena Narvay, who’d already worked with Boris Brechja. So I messaged her, she replied, and you know the rest! You’re released on Drumcode, Filth On Acid and Factory 92. How did you form a relationship and come to release on such heavyweight imprints. I am so honored to have released on these labels. I guess my music spoke for me and matched their vibe & spirit! What advice would you give to young producers wanting to start a label? What are the benefits and what are the hindrances? Be organized, have the right people around you, save everything to your Drive and plan waaay ahead! The benefits are complete creative freedom and not getting exploited, which totally happened to me when I was starting out as a producer. As for the hindrances well, you really need to be careful with your deadlines and not get carried away. Tell us about the journey to your sound. How did your upbringing shape your sound? I’ve always been a music fan, I like all genres. But stumbling upon techno music when I was a teen completely changed my perception of music. I’d dream all day every day of producing and buying those damn expensive machines. I guess it was in my DNA. What have been your main musical influences? So many but Stephan Bodzin was my slap in the face (in a good way). What are your three essential tracks? ‘Formula Loca’ with Argentinian singer Malena Narvay and myself, out now on my very own label TAKEOFF! I’m so proud of this release, Malena is super talented. ‘Jack’, my upcoming collab track with my friends Joyhauser, coming up on TAKEOFF – it’s one of those tracks that essentially tear the dancefloor apart. I really mean it! ‘Rolling’, my upcoming collab with Maddix, probably one of the year’s best tracks for me. Not telling you more! What do you look for in an artist before signing them to your label? His or her music. I don’t care about the rest. Is the production clean, is the track interesting or original, do I want to dance when I listen to it? They could be a Hong-Kong producer with 180 Instagram fans that it would not matter a bit. What music do you listen to outside of the electronic spectrum? Pretty much everything, from French pop music to Rick Astley : ) What shows have you got coming up and which are most looking forward to? Extrema, Awakenings and Tomorrowland, as well as other huge events I can’t talk about right now. There’s also an all-night-long show in Buenos Aires coming up in August… Argentina has a very special place in my heart. It’s going to be exceptional. What was the last record that blew you away? My own!!! I am so serious right now, haha. I was working on a thing and out of nowhere I came up with something so huge it blew me away. I swear it wasn’t just me, my tour manager was sitting there and she jumped up to the ceiling when she heard it. Any comment on the current techno scene in France to leave with? The Techno scene is so dynamic and lively, it’s a blessing. French Hard Techno producers are especially really tearing it up at the moment, from IHM to Nico (Moreno) to Shlomo. The post EDMTunes Chats with Space 92 appeared first on EDMTunes.

Just a year after suggesting Suno and Udio are direct threats to human artistry, the world’s biggest music companies appear to be changing their tune. Universal Music Group, Warner Music Group and Sony Music Entertainment are now in advanced talks to license their catalogs to generative AI music startups Suno and Udio, Bloomberg reports. If finalized, the deals would not only bring long-standing legal battles to a close, but also mark a dramatic strategic pivot in how the music industry chooses to engage with AI. The companies behind Suno and Udio have been central players in a heated copyright debate since last summer, when the Recording Industry Association of America (RIAA) sued both startups on behalf of the major labels. At the heart of those lawsuits was a charge of mass infringement alleging that the services copied "decades worth of the world’s most popular sound recordings" to train their text-to-music models. The potential damages, by some estimates, soared into the billions. Yet in a striking departure from their prior hardline stance, the same music corporations are now reportedly weighing licensing agreements that would not only grant Udio and Suno access to copyrighted works, but also potentially include equity stakes in the platforms themselves. Sources familiar with the talks indicate that while the labels are pressing for stronger oversight and safeguards, Suno and Udio are seeking flexible arrangements at prices that won’t stifle innovation—especially critical for startups still in their growth phase. Suno recently raised $125 million while Udio secured $10 million in early-stage funding from investors. Both startups maintain they do not store or replicate copyrighted material, emphasizing that their models are designed to generate original works. Still, in their own public statements, Udio previously acknowledged that their systems “learn from examples" and Suno defended its mission as empowering musicians with “transformative” technology. Should the talks reach an agreement, the resulting licensing frameworks could set a precedent for how recorded music is integrated into machine learning ecosystems, potentially influencing how artists and rightsholders are compensated across the AI sector.

After making a powerful statement with her first single “When She Was Your Soldier” from the upcoming debut album “Forever Fighting” (out August 8), 23-year-old dance artist LUNAX now showcases a lighter, more carefree side with her new single “Summer Nights” (feat. myne) – just in time for summer and ready to take over playlists and dance floors. “Summer Nights” is an infectious dance-pop anthem that combines LUNAX’s driving festival beats with catchy pop melodies. The song captures the essence of everything we associate with an unforgettable summer: freedom, friendship, and living in the moment. The accompanying music video, released simultaneously with the track, brings that exact energy to life. It features friends fully embracing summer – partying, goofing around, hanging at the beach, and cruising in a convertible. Scenes that make you want to dance your way into the next summer night. With her fourth single release, “Summer Nights,” LUNAX opens a new chapter – the track is danceable, uplifting, and still deeply personal. For LUNAX, the song also symbolizes the freedom and lightness she has fought for over the past few years as an artist. “It’s about THAT summer – the one where you forget everything around you, spend time with friends, and just feel life. That’s exactly the feeling I wanted to put into this song,” she explains. Her debut album “Forever Fighting” – out August 8, 2025 – celebrates not only five years of LUNAX on the big stages, but also showcases the full range of her sound: from empowering messages to anthems for endless nights on the dance floor and high-energy festival vibes. Download and Stream: https://save-it.cc/bdr/summer-nights The post LUNAX delivers the ultimate soundtrack for summer 2025 with “Summer Nights” appeared first on EDMNOMAD. View the full article

EDC Las Vegas has never been short on spectacle, but what unfolded in 2025 with Tchami and Malaa was a farewell sermon for the ages delivered by two of dance music's most enigmatic figures. For the better part of a decade, the duo's "No Redemption" series stood as one of the scene's most compelling live collaborations with equal parts panache and pummel. And on a spring night in Las Vegas, Tchami and Malaa brought that saga to a close with a DJ set that embraced the very duality that's always defined their creative partnership. Set against the monumental LED walls and eruptive pyrotechnics of EDC's circuitGROUNDS stage, Tchami and Malaa's final "No Redemption" performance took place Saturday, May 17th. "Almost 8 years of No Redemption ended last night at EDC Las Vegas," Tchami wrote at the time. "Glad we could take it this far with my brother." The duo leaned into their shared catalog, revisiting the tracks that shaped their distinct alliance. Those include “When The Beat Bang,” “Underground," “N9” and the four-pronged collaboration “Made In France” alongside DJ Snake and Mercer. One of the night’s most emotionally charged moments came with Malaa’s remix of Linkin Park’s “In The End,” a track that, in the context of this farewell, carried an added layer of poignancy as it echoed across the desert air. And in true Tchami fashion, the set concluded on a note of cinematic clarity with a layered mashup of “Adieu.” You can watch the full "No Redemption" finale live from EDC Las Vegas below. Follow Tchami:X: x.com/iamtchami Instagram: instagram.com/tchami TikTok: tiktok.com/@tchami Facebook: facebook.com/iamtchami Spotify: spoti.fi/30ORbPE Follow Malaa:X: x.com/Malaamusic Instagram: instagram.com/malaamusic TikTok: tiktok.com/@malaamusic Facebook: facebook.com/malaamusic Spotify: spoti.fi/2X7DZnt

TikTok for Artists has officially launched in more than 25 countries. Photo Credit: Kelly Sikkema TikTok for Artists, the video-sharing app’s “all-in-one music insights platform,” has officially set sail in the U.S., Brazil, Japan, and more than 20 other countries. ByteDance-owned TikTok announced the formal rollout of Artists today, weeks after scoring a SoundCloud “Add to Music App” partnership. Available via certified Artist accounts, the newer offering is said to compile data (views, posts, engagements, etc.) down to the song level. Additionally, one can tap Artists to monitor the performance of individual posts (including everything from likes and shares to completion rates and comments), with a collection of “daily-updated analytics dashboards” part of Artists to boot. Perhaps most importantly, Artists further charts audience demographics, among them age, gender, and language, TikTok relayed. In theory, the details could enable TikTok-focused acts to better tailor on-platform strategies and possibly off-platform efforts. Running with those points, TikTok today also confirmed the worldwide launch of Pre-Release. As its name suggests, Pre-Release (which first hit TikTok’s distribution service three years ago) allows acts to promote new projects on TikTok before they officially release elsewhere; TikTokers can save previewed works directly to Apple Music or Spotify. Still facing an uncertain stateside future, TikTok has brought the overarching Artists to 26 nations: the U.S., Canada, Mexico, Colombia, Brazil, Argentina, the U.K., Ireland, France, Germany, Spain, Italy, the Netherlands, Sweden, Norway, Denmark, Indonesia, South Korea, Japan, Australia, New Zealand, Egypt, Morocco, Lebanon, Saudi Arabia, and the United Arab Emirates. But according to the app, TikTok for Artists will begin “rolling out in other countries soon.” In a statement, global head of music business development Tracy Gardner touted Artists’ perceived value and usefulness for talent. “We built the platform to give artists transparent access to useful, actionable data about their music and their fans, to help them better engage with the TikTok community and supercharge their careers both on and off the platform,” the former Warner Music higher-up said in part. In the bigger picture, despite the mentioned uncertainty surrounding TikTok’s U.S. future, the app isn’t hesitating to lean into music-world initiatives. Besides TikTok for Artists’ launch, of course, that includes pulling out the promotional stops for Miley Cyrus’ new album and moving forward with another “Global Live Fest” installment. Nevertheless, it wasn’t too long ago that TikTok found itself embroiled in an ugly licensing showdown with today’s largest label. For this and adjacent reasons, many in the industry aren’t particularly concerned about the app’s stateside fate – especially with Reels and Shorts continuing to expand aggressively. View the full article

Somewhere in the UK, a group of audio engineers spent nearly two decades figuring out how to fix a problem most people didn't know they had: their ears are lying to them. Not in a philosophical sense, but in a very literal, measurable way that makes every song sound slightly wrong. That's the promise of Definition, a new passive in-ear device from Flare Audio that works like acoustic contact lenses for your ears. The recent recipient of a King's Award for Innovation, Flare says these tiny, non-electric inserts reduce distortion in head-related transfer function (HRTF), which basically refers to the natural ways your ear canals process incoming sound waves. After 18 years of research and development, the company has mastered its patented technology, which somehow does not use electronics to amplify sound. "I realized that there was a significant problem inside our ears that was not being addressed," says Davies Roberts, Flare's co-founder and co-CEO, who runs the company alongside his wife Naomi. Instead, Defintion reshapes how music travels through your ear canal, drastically enhancing sound clarity without turning up the volume. Flare's pitch is audacious: slip these discreet devices into your ears, and your bargain-bin headphones will suddenly sound like they cost 10 times more. However, the real test isn't in pristine listening environments like your quiet bedroom. Flare Audio says Definition excels in the sonic hellscapes where most of us regularly consume music, like noisy coffee shops, crowded streets, janky subway cars and clubs with sound systems that saw their prime when CDs were still cool. The proof is in the pudding. EDM.com's staff tested out Definition at a recent Tiësto rave in Austin and the enhanced audio clarity was striking, even through The Concourse Project's state-of-the-art d&b Audiotechnik sound system. Whether Definition can deliver on its promise to let you "hear music as the artist intended" remains to be seen. But in an era when tinnitus and other chronic ear conditions are becoming more pervasive, using good old physics to fight the noise war seems like a solid value proposition. We caught up with Roberts to discuss the innovative Definition and his lofty goal to "improve everyone's relationship with sound." Davies Roberts, Kenny McCracken EDM.com: Most audio enhancement technologies focus on active noise cancellation or digital signal processing. Definition takes a passive, non-electric approach, which is a bold departure. What inspired this counterintuitive choice? Roberts: We think of our ears as things that just receive sound so to say that they are distorting it can be a difficult concept. During the R&D for Calmer (our non-electrical alternative to earplugs that leaves you able to hear, but reduces stressful, annoying noise) as well as for our earphones, we learned that our ear canals act like a little echo chamber. When sound enters, certain frequencies bounce around and get amplified, especially the harsher high-end tones. This resonance can muddy details and add unwanted sharpness. Our mission is to fix that. By designing products that reduce this internal distortion we are stripping away the noise your own ears are adding. The result is clearer, more accurate sound. Not boosted. Not colored. Just honest. A bit like the difference between talking in a cave or talking in a studio. It’s audio design flipped inside out—treating your ear not just as a listener, but as part of the problem. And maybe, finally, part of the solution. The technology was so popular with our customers that it was a natural progression to adapt it into a passive (non-electrical) product that can improve all sound. EDM.com: Definition’s patented technology is a key differentiator. Can you talk about some of the specific advantages the product offers in real-world scenarios that active technologies cannot replicate? Roberts: Much like shells, the shape of our ears resonates sound (particularly in the 2-8khz area). This creates unwanted distortions when listening to music. All loudspeakers and headphones tune this distortion out, either by design (adding bracing or wadding) or using electronics to apply an EQ to pull out the frequencies that sound unpleasant (that we now know is ear distortion). The issue with this damage control approach is that by retrospectively correcting sound, it also reduces detail in sound, limiting the advancement in sound quality and making sound more subjective (everyone’s ears resonate sound at a slightly different frequency based on their different individual shape). Definition’s technology removes ear resonance at source, enabling the wearer to experience greater levels of definition, especially when using headphones that have not had HRTF frequencies removed (these tend to sound overly smooth and less dynamic, with less detail in mid and high frequencies) or in loud sound environments like bars, cafés, restaurants and at gigs, concerts and festivals. Flare Audio Flare Audio EDM.com: The in-ear device market is as crowded as ever. How do you convince both non-technical consumers and skeptics that a passive device can deliver superior results in noisy environments? Roberts: It’s exceptionally hard to do! And it’s something we’re incredibly aware of. Everyone needs to experience it for themselves in order to believe its effects. We do have a 100 day return policy so people can try out the tech risk-free. We expect the technology to be a slow grower due to this but as more reviews come in we expect awareness and interest to grow. A couple of weeks ago we found out that we’d won a King's Award for Innovation—that meant an awful lot to us because I felt that it gave our technologies credence and I hope will ease the skeptics minds that our techs work in the way that we say they do! EDM.com: Flare Audio’s 18 years of acoustic research is a significant foundation for Definition. Can you share a specific breakthrough moment or unexpected discovery from this journey that fundamentally shaped the development of Definition? Roberts: We’d been designing loudspeakers that produced sound with as little distortion as possible. They’d been used on some brilliant gigs: Skrillex, Mark Ronson, Chase & Status, Pendulum, etc. We often had producers and engineers visit us at Flare HQ and we’d demo them our very fancy and expensive speakers: Flare Zero. Zero produces very little resonance and is made from aluminum plates clamping vortices that surround the loudspeaker driver (you can still hear them at Selfridges Cinema in London). We had a great response to these speakers but people were still asking us to “tweak the 4kHz” and “can you give me a bit more 2kHz?" It was at this point that I became aware that there was subjectivity—and where there was subjectivity there must be distortion. I discovered that there was much more distortion going on inside our ears compared to that produced by headphones and speakers. So, over the last 18 years, I’ve developed a unique particle approach to invent our sound technologies as it allows me to visualize distortion issues that have been missed using the traditional acoustic approach. This work led me to explore the human ear in detail and it was during this work that I realized that there was a significant problem inside our ears that was not being addressed. EDM.com: By minimizing distortion and enhancing clarity, Definition alters the listener’s psychoacoustic experience. Have you conducted studies on how this affects emotional engagement with music or cognitive processing of sound? For instance, does the increased detail lead to measurable differences in enjoyment or even memory retention of musical content? Roberts: That’s such an interesting question! I’m so glad you asked. We’re currently working very closely with the brilliant producer Flood and we firmly believe that by reducing resonance in sound we’re giving the listener a much cleaner pathway and connection to the music, in turn increasing enjoyment and immersion in sound. It’s a similar concept to looking at your favorite piece of art or watching your favorite film through blurred glasses—would you be able to enjoy it as much, would you be able to fully immerse yourself? The difference to listening to music with and without Definition is night and day. Your favorite tracks reveal even more detail and subtle nuances that you’ve not previously heard are suddenly very present. There is a much deeper connection to your favorite music—goosebumps with every track. Flare Audio When we delved deeper into sound we read that noise is the second biggest killer after air pollution. This is because our body is put under stress and releases things like cortisol, which then leads to an increase in heart attack and obesity—conditions linked to stress. Our theory is that it’s not noise that’s the issue—it’s that our ears are not compatible with our noisy world. This is because of HRTF (head-related transfer function) which distorts and boosts sound between 2kHz-8kHz. This distortion triggers the release of cortisol, which in turn puts our entire body under stress. HRTF is there to stress-respond and alert us to threats. It’s the ear's way of saying "alarm" or "danger." Sounds in the 2-8khz range resonate like a bell inside our ears to make them more prominent. Useful when we lived in nature—not so useful when you fast-forward to present day and our busy towns and cities. Anyone who has experienced a loud, distorted loudspeaker knows how that feels and it’s even been used in the past to torture people. By removing HRTF inside the ears, even the most distorted sound environments become more bearable and often even enjoyable. (Maybe not the London underground!) Because everyone’s ears are a unique shape, quantifying the advance is tricky. The easiest way to demonstrate it is to use the product in a loud environment and then remove it. Every user then experiences a significant increase of distortion and becomes aware of exactly what Definition is doing. It's important to note that Definition is not an ear protector—in simple terms they’re a resonance reducer, and by reducing resonance we’re revealing previously lost detail in sound. EDM.com: Given that Definition alters how the brain processes sound by reducing distortion, have you explored collaborations with neuroscientists or audiologists to study its impact on auditory processing disorders or hearing health? In other words, could Definition have therapeutic applications, such as aiding individuals with hyperacusis or tinnitus? Roberts: We’ve sold over 2 million pairs of our product Calmer (which again is a passive, non-electrical device that reduces our stress response to sound) and this has given us incredibly useful insight into who is buying Calmer and for what purpose. We know from the feedback we’ve had from thousands of customers that this technology is particularly helpful for people with sound sensitivities and neurodivergent people. We don’t claim it will help everyone but we’ve been blown away by how many people with these issues have told us it works for them. We are at an earlier stage with Definition, but we believe that the technology could help people who struggle to hear in noisy situations and those who have sensitive hearing. Traditional hearing aids fail in noisy situations as they amplify sound, which in a noisy space can be detrimental. With Definition being passive we believe that it could be a vital tool for people to use when their hearing aids fail them. This is an area that Flood is very interested in exploring. It’s well-known that when people lose their hearing and don’t get hearing aids, they’re much more likely to develop conditions like Alzheimer’s due to their isolation from conversations and from integration in society. We believe that by reducing resonance and distortion, we can improve everyone’s relationship with sound. EDM.com: With the rise of spatial audio and immersive formats like Dolby Atmos, how does Definition fit into the future of music consumption? Does its passive nature limit its adaptability to these technologies, or do you see opportunities to integrate your tech with next-gen audio experiences? Roberts: We firmly believe that in the future, Definition could be used in harmony with other technologies and that it will become the best way to experience higher-definition music. Using Definition in a Dolby Atmos room is impressive as sound placement becomes a lot more precise, creating an improved experience both in the studio and in a venue. The patented technology also allows for electronics to be added, enabling the potential for a range of earphones, hearing aids and a range of other devices to improve our relationship with sound. Flare Audio EDM.com: Definition claims to let users hear music "as the artist intended." However, artists often create music with specific environments in mind. How do you reconcile this claim with the reality that Definition fundamentally alters the listening experience? Roberts: For decades, serious compromises have been made to music in the studio so that tracks sound averagely good on average devices. We want to change that so that music production can evolve into greater levels of detail and that compromises don’t have to be made. A good example of this is a smartphone loudspeaker. Listen to a track on a smartphone played loud wearing Definition, then as the track is played, remove Definition. You will hear that it is not the smartphone that is distorting—it’s your ears. It’s a mad concept to get your head around at first but it’s completely addictive and hypnotizing once you’ve heard it. EDM.com: Definition seems to be a stepping stone in Flare Audio's broader mission to redefine how we experience sound. What's the next frontier for your team? Roberts: I love that terminology! It definitely feels like we’re on a mission. Flare was founded back in 2007 to solve the fundamental issues in sound quality. It took just over a decade (and a whole lot of loudspeaker designs) to discover that the fundamental issue was inside of us! Now our focus is to develop a range of products that advance sound quality for everyone. It’s mad to me that we used to listen to The Prodigy on our speakers as a test track and that now Liam Howlett uses our Flare Studio Master earphones in the studio to produce tracks and scores! I have to pinch myself. Keep an eye out for our new earphones (currently the Flare Studio range). They feature our unique technology that enables wearers to experience significantly more detail and realism in music. But aside from that, we’re incredibly excited as to what we’ve got coming. We’re currently working with the Alpine Formula 1 motor racing team to help improve its performance and we’ve got an exciting range of products scheduled for launch in upcoming months. Follow Flare Audio:Facebook: facebook.com/flareaudio Instagram: instagram.com/flareaudio TikTok: tiktok.com/@flareaudio X: x.com/flareaudio

DJ and Producer MITCH DB steps in for an exclusive guest mix, offering his signature blend of Hypertechno, sharp edits, and club-focused energy through his selections. Known for his consistent release schedule and growing list of collaborations, including tracks with Wrex, Felixx, and Minerro, MITCH DB has been making steady waves across the Electronic Music scene with his high-impact sound and boundary-pushing approach. Through his mix, he offers a snapshot of his current sound: fast-paced, melodic, and built for the dancefloor; featuring originals and reworks, MITCH DB brings a diverse selection of music to highlight his evolving style and share his distinct tastes with listeners. Tracklist: MITCH DB, Gulmee – Follow Me MITCH DB, Minerro – Taking Drugs MITCH DB, Wrex, Koen Fagen – We Found Love Meet Her At The Love Parade Riton, Kah-Lo – Fake ID (Studio Acapella) lOOFY – Last Night (Remix) X If I told you ones, I told you twice (Studio Acapella) Guru Josh, Klaas – Infinity Katy Perry – Firework (Studio Acapella) Safari Duo – Played A Live VS Armin van Buren, Vini Vici, Highlight Tribe – Great Spirit I like the way you kiss me (Studio Accapella Great Spirit x Techno Vikin) MITCH DB, Gulmee, Felixx – Disturbia Anyma & Argy & Son Of Son – Voices In My Head (MerkMine & Dantronix Remix) MITCH DB, Felixx, Ziggy – Summer PAWSA, The Adventures Of Stevie V – Dirty Cash (Money Talks) Lance Savili – Devotion (Studio Acapella) Bingo Players – Devotion Mau P – The Less I Know The Better 45:54 Anxiety – Douchii (Studio Acapella) Gotye, FISHER, Chris Lake, Sante Sansone, Kimbra – Somebody Fedde Le Grand – Rude Boy Supermode, Meduza – Tell Me Why (Meduza Remix) HUGEL, Topic, Arash ft. Daecolm – I Adore You (Studio Acapella) Avicii – Levels FAULHABER – Run it Set Fire To The Rain (Studio Acapella) BL3SS, CamrinWatsin, bbyclose – Craving 4 U (Studio Acapella) Michael Schulte, R3HAB – Waterfall David Guetta, Alesso, Madison Love – Never Going Home (HEADER Remix) Dimitri Vegas & Like Mike x W&W x MARNIK, Demitri Vegas – Yeah MITCH DB, ZAP, Lefwee – Fortia Timmy Trumpet, POLTERGST, Naeleck – Like A G6 MITCH DB, Reprobeater, Swae Boy – Désenchantée MITCH DB, Wrex, Gulmee – Hot N Cold MITCH DB – ID (Unreleased) MITCH DB Online   Spotify | Instagram | Website  The post Turn It Up: MITCH DB Curates a High-Powered Guest Mix appeared first on EDMTunes.

Terry Golden steps behind the decks to offer a guest mix built entirely from his own productions: a personal showcase of the music that continues to shape his identity as a Producer and DJ. With a catalogue that spans Progressive House and Melodic Techno, the mix highlights Terry Golden’s forward-thinking approach – offering a distinct glimpse into the sounds that define his signature style while placing his unique energy front and centre. Whether through original solo material or collaborations, his growing body of work reflects a balance of diversity and cohesion, as he remains focused on building his reputation within the Electronic Music scene and sharing his sound with the global community. So, whether you’re familiar with his work or tuning in for the first time, this mix delivers a clear sense of Terry Golden’s musical direction, featuring carefully selected tracks that reflect his ongoing commitment towards originality and innovation. Tracklist: Terry Golden – Rave The Universe (Extended Mix) [Exx Underground] ARTBAT & Vintage Culture – ARTBAT & Vintage Culture – She The Last One (CASTRO & ITALOWSKI Remix) [unreleased] Terry Golden – Talk is Cheap (Extended Mix) [unreleased] Terry Golden – Obsession (Club edit) [unreleased] Terry Golden, Anyma – Space and Time vs Pictures of Me (Mash-Up Club Edit) [unreleased] Terry Golden, Max & Dana – Take My Hand (Extended Mix) [unreleased] Stylo, Space Motion, Amethy – I Walk Alone (Original Mix) (Terry Golden Edit) [Space Motion Records] Terry Golden – Bring Me To Life feat Patricia Vivanco (Terry Golden Rework – Clubmix) [Brain Pain Records] Terry Golden – Space (Club Mix) [Interplay Records] RoelBeat & Terry Golden – Dance all Night [Exx Underground] Terry Golden – Walk Like An Egyptian (Extended Mix) [Exx Underground] Terry Golden, Darude – Sandstorm (Terry Golden Remix – Club Edit) [unreleased] Airsand & TuraniQa – The Power Of Underground (Extended Mix) [unreleased] Terry Golden, Emre – Jungle (Extended Mix) [Exx Underground] CamelPhat – COLA (Melodic Techno viral Rework by Rock Da Cat) [unreleased] Terry Golden – Shine (Extended Mix) [Exx Underground] Terry Golden – Hold Me Now(Original Mix) [unreleased] CAMELPHAT x ARTBAT ft. RHODES – For A Feeling (ADAM SELLOUK & Y DO I Remix) [unreleased] Terry Golden Online Website | Instagram | Spotify The post Signature Sounds Only – Terry Golden Crafts a Powerful Guest Mix for EDMTunes appeared first on EDMTunes.

Major music labels are reportedly in talks with generative AI music platforms Suno and Udio — the very companies they sued last year for alleged copyright infringement. According to Bloomberg, Universal Music Group, Warner Music Group, and Sony Music Entertainment are discussing potential licensing deals that would not only bring in fees but also include a small equity stake in the companies. READ MORE: “It’s a weird kind of wanky, tech-bro nightmare future”: Radiohead’s Thom Yorke says AI does nothing more than “steal” from human artists Sources (which Bloomberg says “declined to be identified because the talks could fall apart”) told the news outlet that if successful, the agreements could help resolve ongoing legal disputes while laying the groundwork for how AI companies compensate recording artists and rights holders in the future. Suno and Udio have been at the forefront of the new wave of generative AI platforms. These tools allow users to type in simple prompts like “a modern rock ballad about a bad break up” and receive a full-length audio recording in return. Behind the scenes, the platforms rely on massive training datasets – likely made up of existing copyrighted material – which has drawn legal scrutiny from the industry. Last June, the Recording Industry Association of America (RIAA), on behalf of the major labels, filed blockbuster lawsuits against Suno and Udio, alleging copyright infringement on an “unimaginable scale.” The suits accused the startups of using copyrighted recordings without permission to train their models, and sought damages of up to $150,000 per infringed work, potentially amounting to billions of dollars. For their part, Suno and Udio have countered that the labels are wielding their intellectual property as a cudgel to stifle competition and innovation. They also argued that their use of copyrighted material falls under the “fair use” exemption to US copyright law. The current negotiations are seen as a way to settle these cases out of court. Talks are reportedly happening in parallel with both companies, creating a bit of a race to see who might land a deal first. Still, discussions are complex, says Bloomberg, as labels want greater control over how their music is used, while the AI startups are pushing for enough “flexibility” to continue experimenting as well as “deals at a price reasonable for startup companies”. Stay up to date with how AI is reshaping music creation, rights, and industry standards at MusicTech. The post Record labels reportedly in licensing talks with AI music firms Suno and Udio appeared first on MusicTech. View the full article

Barry Can’t Swim, one of electronic music’s most dynamic and in-demand talents, will headline The Warehouse Project on Friday 21st November with an unmissable three-room takeover hosted by his label imprint Earth’s Only Paradise. The Edinburgh-born artist will present two sets on the night – a full live show and a DJ set – as he takes centre stage at one of the UK’s most iconic venues. The Warehouse Project show follows a monumental year for Barry, with the announcement of his highly anticipated second album ‘Loner’, due for release on 11th July via Ninja Tune. The record includes the recent double single ‘About To Begin’ and ‘Cars Pass By Like Childhood Sweethearts’, a showcase of his genre-blending range – from euphoric club-ready energy to dreamy downtempo textures. Fresh from a sold-out North American tour and a string of major festival announcements for the summer, this Warehouse Project date stands as a rare chance to catch Barry Can’t Swim at his own headline show alongside a fully curated line-up. Taking over the three stages at Depot Mayfield including Depot, Concourse, and Archive, Barry Can’t Swim will be joined by the likes of Chloé Caillet, DJ Seinfeld, Prospa, Jayda G, Ross From Friends presents Bubble Love, and a special b3b between Étienne de Crécy, Cassius and DJ Falcon. The full line-up is announced below. Pre-sale ticket sales go live on Thursday 5th June from 10am. General ticket sales go live on Friday 6th June from 10am. Sign up at https://thewarehouseproject.com/calendar/ for pre-sale access. /// Barry Can’t Swim Friday 21st November Times: 20:00 – 04:00 DEPOT BARRY CAN’T SWIM (DJ SET) CHLOÉ CAILLET B2B DJ SEINFELD PROSPA BARRY CAN’T SWIM (LIVE) ROSS FROM FRIENDS PRESENTS BUBBLE LOVE ELADO CONCOURSE AVALON EMERSON BEN UFO JAYDA G LEON VYNEHALL ATRIP BOLLIBUBBLES ARCHIVE ÉTIENNE DE CRÉCY B2B CASSIUS B2B DJ FALCON KELLY LEE OWENS (DJ SET) BULLET TOOTH MARIE DAVIDSON (LIVE) MOUNT KIMBIE (DJ SET) NORA The post Barry Can’t Swim Announces Stacked Warehouse Project Takeover for November 2025 appeared first on Electric Mode.

Amsterdam-based electronic DJ-producer Kilder is set to release his highly anticipated new single and accompanying music video ‘Dusk Till Dawn’ arriving May 30 across all streaming platforms. Following the success of his standout track ‘Smile On My Face’ earlier this year and 2024’s club favourite ‘Next To U’, ‘Dusk Till Dawn’ marks a striking evolution in Kilder’s genre-fluid sound. Drawing from the raw intensity of rave and techno while weaving in house and UKG rhythms, the single merges club energy with melodic depth, a hallmark of Kilder’s unique production style. The video for ‘Dusk Till Dawn’ offers a cinematic portrayal of the transformative journey from the monotony of daily life to the exhilaration of the night. It follows a man entrenched in the routine of a 9-to-5 job, depicting his day filled with repetitive tasks and a palpable sense of despair. As the clock strikes the end of the workday, a subtle shift occurs, his demeanor changes, and anticipation builds. The narrative captures his metamorphosis as he sheds the layers of his work persona, symbolizing a release from the confines of his daytime identity. The visuals transition seamlessly from the sterile environment of the office to the vibrant, pulsating energy of the night. He embarks on a journey through the city, the atmosphere charged with the promise of the night ahead. With over 12 million streams across just two EPs, Kilder continues to bridge the underground and the mainstream. Inspired by the likes of Jamie XX, KETTAMA, and Disclosure, he has already caught the attention of major tastemakers and DJs including DJ Heartstring, Ki/Ki, and Benwal. Elsewhere, he has earned coveted placements on editorial Spotify playlists like New Music Friday, Planet Rave, and Altar as well as three major sync with Apple already under his belt. ‘Dusk Till Dawn’ also teases the upcoming EP of the same title, set for July 2025 and becoming a breakout year for Kilder, who’s been quietly crafting an arsenal of club anthems behind the scenes. With a reputation for spotlighting emerging talent, his past collaborators include Issey Cross, Alice Longyu Gao, Friday Night Plans, LYAM, and more. Kilder’s genre-defying sound and polished unpredictability has landed wide acclaim from BBC Radio 1, Triple J, 3FM, Dasding, 3voor12 and more alongside press nods from Notion, The Line Of Best Fit, Dummy and Wonderland. With tours in the EU, UK, and AUS/NZ on the horizon, Kilder is poised for global breakout. ‘Dusk Till Dawn’ is out 30th May on all major platforms. Follow Kilder: Instagram / TikTok / Twitter / Spotify / YouTube / Soundcloud WATCH VIDEO BUY / STREAM: ‘DUSK TILL DAWN’ HERE The post Kilder shares new single ‘Dusk Till Dawn’ via Infinite Rhythms appeared first on Electric Mode.