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

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

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

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

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

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

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

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

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

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

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

The Old Town Road rapper has not given a reason for the issue.View the full article

The singer also recalled the band’s breakthrough set at the festival as stand-ins for the Stone Roses in 1995.View the full article

If you’re familiar with the renowned music mogul Simon Fuller‘s global pop group Now United, formed in 2017. You dear reader, probably know more than I do. For reasons unknown, this exciting band flew under my radar. They even opened for the S Club “Good Times” tour in the UK and Ireland, a fact I unfortunately missed. It’s worth noting that this very group provided Joalin, a talented artist and dancer hailing from a unique Finland-Mexico background, with her breakthrough opportunity. Now, she’s embarking on a solo journey, and after releasing several singles and an EP, she has just signed with Because London Records, marking an exciting new chapter in her career. The excitement surrounding Joalin’s latest venture is palpable, as her record label is eager to highlight this remarkable talent. With impressive airplay on BBC Radio 1 and a notable performance at the Great Escape 2024, she’s on the verge of elevating her international solo career. In line with this momentum, Joalin is gearing up to release her highly anticipated mixtape, “CAMALEÓN,” on June 20th. To ignite the campaign, she’s unveiling “GUM” as the debut single, igniting anticipation for what’s to come! With “GUM,” Joalin not only raises her solo music game but also takes a big step forward sonically, sharing her catchiest track yet. She really shines in this fusion-pop vibe, mixing English and Spanish so effortlessly that it’s up to us to appreciate this cool part of her musical identity. I think it’s a smart move for her record label to push this as Eurovision hype is ramping up. I mean, it can’t hurt, right? It seems like a clever strategy that might really pay off. Whether it’s the addictive groove or the fresh blend of styles, there’s no doubt this track will pull in listeners. Joalin covers a lot of ground and definitely keeps me wanting to hear more from her. The video showcases Joalin in both male and female roles, brilliantly paying homage to the street dance style of popping that captivated her at just 9 years old. This striking representation highlights the profound inspirations and influences behind her artistry. With all her remarkable accomplishments to date, Joalin is undeniably poised as a popstar ready for the spotlight. With “GUM,” she firmly establishes herself at the very top of my list of must-watch newcomers in the pop scene. Connect with Joalin Facebook: https://www.facebook.com/joalinofficial Instagram: https://www.instagram.com/_joalin/ The post EMERGING ARTIST: Joalin appeared first on EQ Music Blog. View the full article

If there’s one thing Miami doesn't need more of, it’s opulence. But MËSTIZA, the red-hot Spanish DJ duo known for fusing flamenco with house music, found a way to elevate even this city's standards during a sizzling Miami Music Week appearance at Queen. Headlining a special edition of the club's "Queen Wednesdays" series at the former Paris Theater, the duo commanded the room with unmistakable presence. Clad in their signature cordovan hats and noir outfits, they exuded a matador-meets-mystery vibe and practically possessed the place. MËSTIZA's dramatic DJ set oozed with the sultry sounds of their Latin American heritage as Palmas handclaps and flamenco guitar strums slithered through sumptuous four-on-the-floor beats. It's a seductive sound entirely their own, and at this decadent South Beach staple, it felt like the soundtrack to some sort of futuristic bullfight in Andalusia. Queen Miami Beach mestiza But the setting was just as decadent. As guests toggled between fine dining and full-body dancing, servers floated by with rare Wagyu cuts, sashimi bouquets and gilded Japanese-style cocktails. They also got in on the action, gyrating to MËSTIZA's music and pumping up clubbers like the most elegant pep rally we'd ever seen. Queen itself defies easy categorization. Equal parts gourmet dining establishment and pulsating nightclub, its dual identity served as the perfect backdrop for MËSTIZA's own boundary-blurring sound. The duo's DJ set built methodically over the evening, allowing attendees to transition from appreciating Queen's culinary offerings to surrendering to the dancefloor's gravitational pull. Miami Music Week is no stranger to over-the-top moments, but this was something rarer. It was worldly, fashion-forward and rooted in cultural pride, a reminder that sometimes the most compelling experiences are those that honor their roots. You can find out more about Queen Miami Beach and reserve a spot here. View the original article to see embedded media. Follow MËSTIZA:Instagram: instagram.com/mestiza.music TikTok: tiktok.com/@somosmestiza Facebook: facebook.com/mestizaexperience Spotify: tinyurl.com/eksyb8sj

Jack Dorsey, who believes it’s time to “delete all IP law.” Photo Credit: Mark Warner Against the backdrop of ongoing AI debate — and adjacent legal battles concerning generative models’ training processes — Block CEO Jack Dorsey says it’s time to “delete all IP law.” Dorsey provided that controversial take on X, where, unsurprisingly, many promptly criticized the position. Notwithstanding the pushback – more on this in a moment – the contentious stance did find a high-profile supporter in Elon Musk. “I agree,” the xAI founder replied to Dorsey, who elaborated on his four-word post when replying to less enthusiastic responses. These responses touched on not only the income fallout for creatives, but differences between various types of (and protections for) IP, the potential effect on medical research, and a whole lot else. “creativity is what currently separates us,” Dorsey followed up in one response, “and the current system is limiting that, and putting the payments disbursement into the hands of gatekeepers who aren’t paying out fairly.” (There may well be non-AI angles to the comment for Dorsey, whose current company in November 2024 scaled back its questionable Tidal investment. Regarding the “gatekeepers” word choice, we’ve been hearing quite a lot lately about artists, from Snoop Dogg to Kate Nash, receiving small major-label streaming payments for their much-played tracks.) Meanwhile, another critic asked about the sweeping move’s possible impact on the motivation to create. “What motivation would there be to create if there were no way to monetize?” the individual inquired. “This is straight out of the CCP playbook.” “execution and speed matters more,” followed up Dorsey, whose net worth is (per Forbes) $3.6 billion. As initially mentioned, Dorsey’s remarks are especially interesting and relevant in light of far-reaching AI-training questions. There’s still much to see here, in terms of lawsuits and legislation, in both the U.S. and internationally. And though it probably doesn’t need saying, lawmakers aren’t going to “delete” IP protections outright. But like DMN Pro has broken down in detail, despite rightsholders’ continued pushback, it’s not outside the realm of possibility that stateside courts will deem training on protected materials fair use. More concretely, it’s safe to say that gen AI giants based in several other nations around the globe are (and will almost certainly continue) freely disregarding IP concerns when training. Of course, this broader disregard for IP isn’t exactly new. But it’s definitely taken on a heightened importance given the unprecedented content-output capabilities of the technology at hand. Following the point to its logical conclusion, there’s a separate conversation to be had about a susceptibility to commercial fallout stemming from cheapening artistry and prioritizing near-term profits above all else. In and well beyond the music world, today’s top-selling projects aren’t necessarily today’s best projects, and carefully tailored AI outputs may resonate with the undiscerning audiences in question. View the full article

Photo Credit: @ruthsviveros on TikTok Coachella attendees went viral on social media after they showed off their pricey meals: tacos, nachos, and lemonades for two costing $102. It may not come as a surprise to some that the prices of concessions at live events can get a little ridiculous. But in the post-pandemic economy, where concerts and music festivals are struggling to break even, Coachella attendees are stunned to see food and drink going for three times the normal cost. Just like the airport, but with better music. In videos shared on social media, festival goers have been showing off what they ate and how much they paid for their meals or even individual items. One TikTok user, Ruth Viveros, shared a video on April 11 showing two plates of three tacos, an order of loaded nachos, and two lemonades (costing $17 a piece), running her $102 altogether. “They’re not good, not good at all,” said Viveros of the tacos. “The tortillas are like freezing cold.” Her post, and others like it, have led to a slew of commenters quick to criticize festival organizers for the price of concessions—especially considering the limited options available for attendees out in the California desert. “These prices are diabolical,” wrote one commenter. “Coachella seems like a miserable money trap that everyone falls for,” commented another. Another video, posted by TikTok user @FrugalJimmy, showed off a slice of pepperoni pizza that cost $13, which he jokingly stated was “not too bad.” “I honestly thought it would be a lot more for a big slice of pizza,” he noted. “So good.” Meanwhile, those preparing for Coachella’s second weekend have taken to Reddit to ask those who camped out during Weekend 1 just how expensive the food has been. “Expensive,” replied one Redditor. “Most items start at $15-20. ‘Meals’ are like $20-30.” Another added that a Nate’s Nashville hot chicken slider with fries cost $30. However, despite the rampant posts and comments about prices, many attendees have defended Coachella, saying the experience was worth the spendy snacks. “Does anyone have a genuinely good time at Coachella? All I see are horrendous prices and bad organization,” wrote one commenter on Ruth’s video. “Yes!” she responded. “Coachella is actually very fun and inspiring and like everything else, there’s some rough things.” This year’s festival featured headliners Lady Gaga, Green Day, Post Malone, and Travis Scott, with performances from Megan Thee Stallion, Weezer, Missy Elliott, Charli XCX, The Original Misfits, and many more. View the full article

Photo Credit: Stevie Nicks / Live Nation Stevie Nicks announces a leg of tour dates this summer and fall, stopping in cities across North America, including Las Vegas, Toronto, and Boston. Legendary singer, songwriter, and storyteller Stevie Nicks has announced a new leg of tour dates for summer and fall 2025, following a celebrated run of performances. General on-sale begins Friday, April 18 at 10 AM local. Tickets for previously announced dates with Billy Joel are on sale now. Produced by Live Nation, the newly added shows will see the iconic artist travel across North America, with stops in Boston, Toronto, Tampa, Las Vegas, Phoenix, and more. As ever, Stevie Nicks will enchant audiences with her unmistakable voice, poetic lyrics, and unforgettable live performances. Stevie Nicks 2025 Tour Dates August 08 | East Rutherford, NJ — MetLife Stadium (with Billy Joel) 12 | Boston, MA — TD Garden 15 | Toronto, ON — Scotiabank Arena 19 | Saint Paul, MN — Xcel Energy Center 23 | Cincinnati, OH — Heritage Bank Center 27 | Columbia, SC — Colonial Life Arena 30 | Tampa, FL — Amalie Arena October 04 | Santa Clara, CA — Levi’s Stadium (with Billy Joel) 07 | Phoenix, AZ — PHX Arena 11 | Las Vegas, NV — T-Mobile Arena 15 | Oklahoma City, OK — Paycom Center 18 | New Orleans, LA — Caesars Superdome (with Billy Joel) November 15 | Detroit, MI — Ford Field (with Billy Joel) As a multi-platinum solo artist and member of Fleetwood Mac since 1974, Stevie Nicks is the first woman to have been inducted into the Rock & Roll Hall of Fame twice. She has collectively sold over 220 million albums. With Fleetwood Mac, she was instrumental in the success of the band’s beloved album Rumours, one of the best-selling albums of all time. The record has connected with generations of fans worldwide for over 50 years. In October 2020, Stevie’s 24 Karat Gold: The Concert was released at select cinemas, drive-ins, and exhibition spaces around the world for two nights only. The sold-out film offered audiences a virtual front-row seat to the magic Nicks brought on her sold-out 24-Karat Gold Tour. View the full article

Photo Credit: Melissa Lee / Marine Corps Sean ‘Diddy’ Combs’ sex-trafficking case gets underway in about a month, but his defense team has asked for an adjournment. Instead, they want to see the May 12 starting date pushed back by two weeks. His lawyers argue the U.S. Attorney’s Office for the SDNY has not been fully sharing material such as emails from a former Combs employee. They allege that the prosecution’s witness ‘Victim-4’ seems to have “cherry picked messages” shared on WhatsApp. Outside of court, Combs’ team said they would no longer seek an adjournment if the feds “get their act together.” Combs pleaded not guilty on Monday to an expanded federal indictment that charges him with five criminal counts—including charges for racketeering and sex trafficking. Combs entered his plea to the new charges at a hearing before U.S. District Judge Arun Subramanian in Manhattan. “These are not new allegations or new accusers. These are the same individuals, former long-term girlfriends, who were involved in consensual relationships,” his lawyers said to the media after the hearing. Jury selection for the trial remains scheduled for May 5 with opening statements set to begin May 12 if the judge does not grant an adjournment. Prosecutors allege that Combs used his business empire to sexually abuse women between 2004 and 2024. The allegations include having women take part in recorded sexual performances called ‘freak offs’ with male sex workers, who were sometimes transported across state lines to facilitate the action. Combs has been sitting in the Brooklyn Metropolitan Detention Center since September. He is also facing more than a dozen civil lawsuits filed by both men and women that accuse him of sexual abuse. His lawyers have argued that Combs never forced anyone to engage in sexual acts against their will. He says the ‘freak offs’ reported by the media were consensual activity between consenting adults. A surveillance video from 2016 leaked in 2022, kicking off the intense interest. The video shows Combs kicking his former girlfriend, R&B singer Cassie Ventura. View the full article

Anjunadeep disembarked in the far continent for the first time ever — and we were a part of it all. The Anjuna family of labels is a group that has been a pioneer of the genres they harvest for years on end. While Anjunabeats, the main division, rocked the charts during the 2000s, its little brother Anjunadeep became an absolute sensation towards the end of the 2010s, bringing talents such as Lane 8, Ben Böhmer, Tinlicker and Yotto to the public eye. You could argue they’re pretty good at discovering the legends of the succeeding 10 years. And with their own Anjunadeep Open Air series debuting in a handful of destinations across the seven seas, we were all in when they announced they’d be bringing the experience to South America — Lima and Santiago. I just so happen to be based in the latter capital, so it was a no-brainer to attend. And here’s what I have to say. Beware, it’s a lot. A good lot, though! Arriving Let me begin this by saying, this was my first-ever official Anjuna-branded party. Ever. So the stakes were high, and I have to spoil it, it didn’t disappoint at all. I Ubered to the place and arrived bang on time thankfully, a few minutes before the first act walked into the booth — my buddy Paul Arcane. The venue took me by surprise. I knew the park pretty well up to that point, but I’d never been in that corner of it, and its beauty caught me off guard. I was so lost in the high of the Anjuna atmosphere paired with the scenery that I even missed a lagoon in its perimeter. It was all great, they had stands for everything from spirits to electrolytes. I even clocked a stand for my favourite vermouth, though I’d never go on to buy me a cup, instead doing beer all afternoon. Daytime Bliss First up on the decks was Paul Arcane, and I must say, Anjuna’s choice as the warm-up act was spot on. Not because I’m a mate of his, I’m being 100%, full-on objective critique here. His set was a RIDE, going between Organic and Progressive, but in a nonlinear fashion, blending both at different times of the 2-hour set he played. The way he’d climb to a more chilled Progressive only to drop back down to a more punchy Organic, all the while keeping a proper coherence, he crushed it. I shared the whole day with a bunch of Argentinians I’d met through Facebook. Seeing their flag waving amidst the crowd made me feel right at home. They had come early to see Ezequiel Arias, and I convinced them to arrive a tad earlier to root for Paul too, and so we all did. It was lovely, it was all Anjuna in the early hours of the party: youngsters, adults, even kids with their parents having a picnic. The atmosphere was lovely. Paul closed with a remix of that ‘Now We Are Free’ track, proper goosebumps, singalong moment. The transition to Ezequiel Arias kept the energy ticking along nicely, while his dense and distinctive Progressive sound transported me to my favourite country, Argentina. His sound is so Argentinian Prog. You can hear it. Once you recognise their current, you can’t avoid spotting the sound, that four-on-the-floor Argentines do that just makes you want to move. Fittingly, as life would have it, I bumped into more Argentinians during this time. A good portion of them flew over to attend the Anjuna festival, which this time didn’t stop down in the Land of Tango. As Arias’ set drew to a close, I wondered if Qrion was at the venue already, and like reading my mind, she popped from behind the booth while Eze was closing his set. I went for a quick water checkpoint to down the beer I’d had, and winged it back into the crowd, eager for my first Qrion set. She did phenomenally. Momi kicked things off with a touch of Progressive, not as purist as proper Argentine Progressive, instead it was more of a hybrid with House influences. And then she went full-on House. Not your standard cheesy House from fashion runways though, Anjuna-tinted House with its own identity. She dropped a remix of ‘Bailando‘ that I STILL can’t get out of my head. I’ve attached it to your right so you too can help yourself. Q also dropped a remix of ‘Silence’, proper goosebump moment, alongside tracks from her latest album, We Are Always Under The Same Sky. I never imagined those laidback tracks would translate SO WELL into the dancefloor. They’re proper sleepers. As the minutes went by, Momi had the pleasure of pairing that day’s sunset, and the timing was spot on, pure magic. The crowd at that point was lovely, a proper mix of families, respect, and plenty of Anjuna energy. Nighttime As night fell, more and more ravers started to arrive, a more mixed bunch and, I must say, less focused on the music. The dancefloor got packed to the point where moving became a proper mission. My mates and I were in the geographical middle of the dancefloor, and I couldn’t dance properly anymore. So I decided to retreat to the VIP area, enjoying the music from a slightly more distant vantage point. And I was lucky to do so, because I ran into Marsh back there. I was chatting with Paul and his family who’d come to see him play, and then somehow Tom spawned. A distant nod turned into a friendly chat, apparently he recognised me from the times I saw him in Buenos Aires. Such a cool lad. We all enjoyed a longish chat backstage plus nonalcoholic beer and water, while Dosem was tearing up the dancefloor with his iconic Housy beats. It was a very interesting experience, it was very Anjuna to be surrounded by so much Anjuna at one time, surreal even, given the low frequency of label-related parties we often have in South America. Finally, it was time for Tom to rock. Marsh’s set was, for me, the second-best of the night, only dethroned by Paul Arcane’s brilliance. Marsh never, ever disappoints, but Paul was such a great act that I have to hand him the medal this time. Tom… Tom played perfectly in his 90-minute bracket. All the tracks I was hoping for were there, it truly felt like listening to my Spotify picks with perfect transitions in between. His selection was spot on, from his chilled House to ‘Rabbit Hole’, his remix of Bedrock’s ‘Heaven Scent’, his flip on ‘Sirens Of The Sea’, which he immediately followed with the impeccable Antrim remix of Yotto’s ‘Silhouette’. Do you ever get to a point at a show in which you shed tears? This was the point for me. Sirens to Silhouette was just too much. I was already feeling pretty jelly-hearted before because he’d played ‘Sun In Your Eyes’ a bit back. Anjuna, if you’re reading, please release that Antrim remix. I’m begging you. On my knees. Final Words The night could’ve gone on for hours, and no one would’ve complained. It was an incredible day, with incredible artists of the highest calibre, a beautiful place and lovely weather. My only but is the crowd, though you can’t do much about it, my purist self LOVED the daytime crowd, so the bar was high for the nighttime fellas. In my case, I was lucky enough to have an area to chill out and basically zone out listening to the music that has been marking my life for an entire decade, so I can’t complain. Thank you to everyone who made this possible, and thank you so much to all the artists and their teams for showing up just after playing Lima, on little to no sleep, yet still putting on a smile and sharing the love only they know how to deliver. Thanks, Paul, Eze, Momi, Marc, and Tom. You all rock. Oh, and needless to say: we’re already counting down the days for your return. *Cover image credit: Victor Norambuena The post [Event Review] Anjunadeep Open Air Triumphed In South America Debut appeared first on EDMTunes.

Most people leave behind a will or a family recipe. Alvin Lucier left behind instructions to regrow his brain and let it keep making music. Inside a dimly lit gallery in Perth, metallic clangs echo through the room like Morse code, yet no musicians are present—just 20 golden brass plates, a network of wires and a small, pale mass of living brain tissue pulsing with electric activity. It's not science fiction. It’s "Revivification," an ambitious collaboration that has literally brought a piece of a composer back from the dead. Four years after his death, Lucier is, in a sense, still composing. His living remains, a cluster of brain matter grown from his own reprogrammed blood cells, are suspended inside a central plinth, feeding off the sounds of the room and generating haunting, improvised compositions in real time. Foundation for Contemporary Arts The installation is the brainchild of artists Nathan Thompson, Guy Ben-Ary, Matt Gingold and neuroscientist Stuart Hodgetts, who connected through a now-defunct science research laboratory, according to The Art Newspaper. They began collaborating with Lucier in 2018, captivated by his trailblazing use of brainwaves in 1965’s "Music for Solo Performer," which turned neurological activity into live sound. That same fascination with internal impulse now fuels "Revivification," only this time, Lucier's mind is no longer metaphorically in the music. It is the music. "The central question we want people to ask is: 'Could a filament of memory survive this transformation?'" the team said in a statement. "Can Lucier’s creative essence persist beyond death?" The "in-vitro brain" was developed using Lucier’s white blood cells, which were donated before prior to hi 2021 death and ultimately transformed into stem cells at Harvard Medical School. The cells were then cultivated into neural clusters mimicking a developing brain and embedded on a mesh of electrodes. The setup captures the organism's spontaneous electrical impulses and converts them into signals that activate transducers and mallets behind the brass plates. Each neural spark is rendered into sound, and those sounds bounce back into the brain via microphones, closing a feedback loop that allows Lucier’s synthetic brain to listen and react. As gallery visitors move and speak, their presence is woven into the performance like unknowing collaborators in a living score. The team hopes their work continues to evolve. Future plans include adapting the installation for extreme environments like Antarctica, or even space. But for now, Lucier’s last concert plays on in a gallery in Perth, a strange and stirring performance from a musician whose mind refuses to go silent.

A bomb threat made Saturday at a casino just miles from Coachella's sprawling festival grounds prompted a region-wide manhunt that ended with a man's arrest in Palm Springs, USA Today reports. Davis Darvish, 40, is being held on $1 million bail after allegedly threatening to bomb the iconic festival, according to the Cathedral City Police Department. The incident unfolded on the morning of April 12th, when Darvish approached security staff at the Agua Caliente Casino in Rancho Mirage. Authorities say he claimed he would be responsible for a bombing at the nearby ongoing Coachella festival. The threat prompted immediate coordination between local agencies and festival security teams. Law enforcement used automated license plate recognition technology to track Darvish's vehicle through the Coachella Valley. Within about 90 minutes, Palm Springs police had located and detained him without incident. Officials confirmed that no weapons, explosives or bomb-making materials were found in Darvish's possession or vehicle. Nonetheless, he was booked into Indio's John Benoit Detention Center on suspicion of making false bomb threats, pending further investigation. Cathedral City detectives have since launched a broader inquiry into Darvish’s actions leading up to the threat, focusing particularly on his interaction with the Rancho Mirage casino. No formal charges had been filed as of Sunday evening, but authorities continue to encourage public tips related to the case. In the meantime, authorities have stated that there is no ongoing threat to public safety. Coachella's second weekend is set to begin April 18th as scheduled.

Vobile has officially announced a Pex buyout deal. Photo Credit: Pex Self-described IP protection, monetization, and marketing specialist Vobile has officially acquired Pex. Santa Clara-headquartered Vobile confirmed the buyout in a brief release today. Founded two decades back by Yangbin Wang (who doubles as CEO), the publicly traded business bills itself as “a worldwide leader in digital content protection and transaction services.” As things stand, the purchaser is said to provide digital fingerprinting for a variety of video content. Vobile’s other products include a social-media rights-management offering and the AI-powered DreamMaker creative platform (which only rolled out last month), the appropriate website shows. Now, the company (which already counts Sony Music and Warner Music as clients) is evidently leaning into audio. Against the backdrop of a well-documented gen-AI explosion, Wang touted the Pex deal as one piece of an effort to meet evolving rightsholder needs. “Vobile has been at the forefront of helping global entertainment companies to protect and monetize their content in a rapidly evolving digital landscape,” said the Vobile chairman and CEO. “By integrating Pex’s advanced audio technologies, we are expanding our service capabilities to meet the growing needs of rightsholders, especially as generative AI reshapes the future of creativity.” On the financials side, Vobile opted against publicly disclosing the hard numbers behind the Pex deal. But the entity (which reported HK$1.2 billion, currently $154.7 million, in H1 2024 revenue) did confirm that Pex’s “team has joined Vobile subsequent to the acquisition.” However, Pex founder and now-former CEO Rasty Turek has stepped away from his company, the relevant LinkedIn profile shows. Others are in fact remaining aboard Vobile, their own profiles indicate; Pex framed the sale as the beginning of its “next chapter.” “Joining Vobile marks an exciting new chapter,” echoed Pex COO (now Vobile’s EVP and head of music business) Amadea Choplin. “Together at Vobile, we can make an even greater impact for our clients.” Vobile’s aforementioned H1 2024 revenue spiked 17.7% YoY, and about half the sum stemmed from operations in the Chinese mainland, the document specifies. The company achieved a relatively modest 8% YoY boost in China during the six-month stretch, compared to a 30.1% YoY hike for all other markets, per the report. Last month, AI-focused cybersecurity firm GetReal Security scored a $17.5 million raise, and Sony Music led AI licensing startup Vermillio’s $16 million Series A. View the full article

For most, Telluride conjures images of sweeping ski runs and summer bluegrass jams. But this August, the historic mountain town will transform into an alpine sanctuary where electronic music meets panoramic wilderness, thanks to Of The Trees. The EDM.com Class of 2024 artist has unveiled the full lineup for his first-ever curated event, Camp Alderwild, a two-day concert and camping experience set for August 22-23 in Telluride Town Park. The rare weekender marks the first large-scale electronic music event in the town in nearly a decade. Headlining both nights, Of The Trees will be joined by a cadre of genre-defying artists. Friday’s bill includes the intricately textured bass of Jade Cicada, a live band performance from Thought Process, UK genre-blender Taiki Nulight and ambient trap producer Curra. Saturday will expand into cinematic territory with a set from Tycho along with Air Castles and the psychedelic dub soundscapes of Ott. Meanwhile, experimental electronic virtuoso EPROM is intriguingly billed as "underclock," debuting a new live show. "My team and I are incredibly excited to bring a concert experience to a location where the natural beauty is perhaps an even bigger centerpiece to the experience than the show itself," Of The Trees said in a statement. "This is the beginning of realizing the dream I’ve always had of hosting events that bring people together to a place where nature and music are intertwined in a way such as this." The event is being co-produced by Planet Bluegrass, whose reputation for sustainable festivals is unmatched in Colorado, alongside the live music powerhouse AEG Presents. A presale is scheduled to begin Thursday, April 17th at 10am MT before the general on-sale the next day at the same time. c/o Press Follow Of The Trees:Instagram: instagram.com/ofthetreesmusic TikTok: tiktok.com/@ofthetreesmusic X: x.com/ofthetrees Facebook: facebook.com/ofthetrees Spotify: spoti.fi/2YxTKb9

Senators from both sides of the aisle are reportedly urging the DOJ to zero in on the recently announced deal between Live Nation and Fanatics. Photo Credit: Bernini123 Besides fending off a Justice Department lawsuit — and regulatory obstacles across the pond — Live Nation is now grappling with a new round of bipartisan antitrust scrutiny. That scrutiny pertains to the sports side of the Ticketmaster parent’s operations, but is certainly important from the perspective of Live Nation’s broader antitrust woes as well. According to Sportico, the fresh pushback arrived in the form of a letter penned by Senators Amy Klobuchar and Mike Lee. Though on opposite sides of the aisle, the senators have long been critical of Live Nation; this isn’t even the first time the lawmakers jointly called out the promoter. For a bit of quick background, Ticketmaster and the self-described “global digital sports platform” Fanatics unveiled a ticketing tie-up early last month. The companies have been partnered for a while, but the March agreement brought the official rollout of a standalone “Fanatics Ticket Marketplace.” (In detailing the “two-way” tie-up, Sportico outlined a means of selling Ticketmaster passes via the Fanatics app, with the merch business then listing its own products on Ticketmaster.) As reportedly described by the senators (who wrote to assistant AG Abigail Slater, the DOJ’s antitrust division head), however, the bolstered Live Nation-Fanatics union is the latest example of “‘anticompetitive behavior’” from the former entity. Fanatics higher-ups, instead of opting to “‘innovate, disrupt and compete themselves as they have in numerous other sports-related markets,’” united “‘with an online ticketing monopolist,’” the senators reportedly said. Driving home their point, the lawmakers asked the DOJ to identify and pursue remedies for possible antitrust-law violations. Here, those potential violations refer to the alleged use of Live Nation’s “‘monopoly power to prevent Fanatics from entering the online ticketing market, depriving consumers of the benefits of competition,’” per the mentioned report. Unsurprisingly, a Ticketmaster representative refuted the letter’s claims in a statement shared with DMN. “The agreement simply provides that Ticketmaster can sell secondary tickets to sporting events on Fanatics websites and mobile apps, giving fans additional ticket-buying opportunities,” this rep told us. “The secondary ticketing market is extremely competitive. Ticketmaster competes with StubHub, SeatGeek, Vivid Seats and numerous others and is in no way the leading secondary ticket seller, as the Senators’ letter suggests.” Especially because the U.S. government’s initially mentioned Live Nation/Ticketmaster antitrust case remains active, it’ll be interesting to see whether the DOJ feels the same way. In any event, the bipartisan criticism appears to underscore the legislative mood when it comes to competition concerns. Said mood could set the stage for the passage of not just the reintroduced TICKET Act (which Live Nation actually supports), but different ticketing-competition and -resale legislation yet. View the full article