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Tomorrowland Top 1000 is back! One World Radio is letting you vote for the most iconic tracks throughout the history of Tomorrowland. Starting today, April 14th through April 18th, people around the world can cast their vote for their favorite Tomorrowland Anthems using the app or on tomorrowland.com. Tomorrowland has always been about uniting the world together. People from different countries, different cultures, different languages, and so many different walks of life are able to come together. For three things will always transcend space and time; love, laughter, and music. If you participate, your choices get you automatically entered for a chance to win two tickets to the Avicii Experience in Stockholm, along with an exclusive Avicii merchandise package. This unique opportunity will be an incredible experience for a lucky winner as we celebrate the legacy of a music legend. Listeners can tune in for the results and highlights of electronic music history from Wednesday, April 30th, until Friday, May 9th. Covering the total rundown of the voting results. But it keeps getting better… this year, the final order is still up to the fans. The final order of the top 10 tracks will be voted upon by the People Of Tomorrow using the same channels as before. This second round of votes will end on May 9th, and those participating will be entered in a drawing to win 2 Full Maddess Passes to Tomorrowland Belgium 2025! The ultimate anthem taking the 2025 number 1 slot will be announced on May 9th. People Of Tomorrow came together in 2024, voting for their top anthems last year. This resulted in an electric top 10 from artists like Avicii, Swedish House Mafia, David Guetta, Dimitri Vegas & Like Mike, and many more. These anthems have stolen the hearts of humans around the world for their happy and beautiful sounds, powerful mood-changing rhythms, and soul-stirring lyrics. You can vote here. Here’s the 2024 top 10 list: Avicii – Levels Dimitri Vegas & Like Mike, MOGUAI – Mammoth Martin Garrix ft. Bonn – High On life Swedish House Mafia ft. John Martin – Don’t You Worry Child Tim Berg, Avicii – Seek Bromance Sebastian Ingrosso & Alesso ft. Ryan Tedder – Calling (Lose My Mind) David Guetta ft. Sia – Titanium Alesso vs. OneRepublic – If I Lose Myself Sebastian Ingrosso, Tommy Trash, John Martin – Reload Armin van Buuren – Blah Blah Blah The post Tomorrowland Opens Voting For Top 1000 Anthems 2025 appeared first on EDMTunes.

The 40-year-old sung Louis Armstrong’s What A Wonderful World as she entered space.View the full article

Photo Credit: Molson Coors Beverage Co. Molson Coors Beverage Co. is releasing a beer-filled vinyl called ‘Dive Bar Sounds.’ The vinyl record actually plays and is filled with Miller High Life beer. The beer-filled vinyl record goes on pre-sale later this week for an $18 price point. Miller says each dive bar tells its story through sounds, from the creak of the door opening to the clink of glasses. “Now these iconic sounds are captured in this High Life-infused vinyl. Here’s a peek at what’s included: Side A “Welcome to the Dive” “Champagne Nights” “Happy Hour” “Rack ‘Em Up” Side B “Regular’s Remix” “Another Round” “Last Call” The beer-filled vinyl is intended to celebrate musicians and the culture of neighborhood dive bars. The limited-edition launch album marks the launch of ‘The Soundtrack to the High Life’—a new platform focused on spotlighting musicians. “Dive Bar Sounds comes to life through original tracks that blend the authentic sounds of your favorite dive bar with The Champagne of Beers to tell the story of a night at the dive,” says Molson Coors in a statement about the limited-edition release. Pre-orders for the vinyl start on April 15 and April 16 at 11 am CT, with the vinyl expected to ship sometime in July 2025. The record goes for $18 bucks, but I’m not entirely sure why anyone would want to add the beer vinyl to their collection beyond displaying it. Any degradation of the vinyl is likely to result in the liquid seeping out—potentially ruining a vinyl collection if it’s stored improperly. But hey, corporations love marketing gimmicks that get people talking. People are still complaining about the free U2 album that Apple gave away in 2014 because it was auto-added to any iTunes library that existed back then. KFC also got on board with a ‘Bucket Bangers’ Spotify playlist that released in 2019 in France, curating 46 hip-hop songs mentioning KFC. View the full article

Photo Credit: Olivier Bergeron TikTok made nearly $39 billion from its US operations last year, drawing the question of the economic impact of a federal ban to the forefront. Beijing-based TikTok parent ByteDance earned a quarter of its total revenue last year from its US TikTok operations, according to sources close to the matter. The company’s international revenue jumped 63% to a whopping $39 billion in 2024, a quarter of ByteDance’s total revenue of $155 billion for the year — its highest to date. Moreover, growth in ByteDance’s Chinese operations, such as Douyin (China’s version of TikTok), has slowed significantly. That leaves the company more dependent than ever on what TikTok earns from American users. ByteDance is now between a rock and a hard place. If it doesn’t divest TikTok in the US, it will completely lose that revenue. But if it does divest TikTok, and the platform is able to continue its US operations, ByteDance will only get a lump sum in the transaction, missing out on its future US earnings. Neither option is preferable for the company, which has already indicated it is reluctant to make a deal, especially when faced with Trump’s hard-hitting tariffs. TikTok’s list of potential suitors grows ever larger, while some estimates have put the platform’s value at over $100 billion. In comparison, TikTok is earning more than YouTube, but less than Instagram, and likely not profiting as much as either. YouTube earned over $36 billion in ad revenue last year, but its income from Premium subscriptions, YouTube Music, YouTube TV, and movie/television rentals pushes that number even higher. Instagram brought in around $71 billion, with its annual profit jumping up 59.5% year-over-year. ByteDance, meanwhile, saw only a 6% increase in profit in 2024, for a total of $33 billion in profit out of $155 billion in revenue. That’s due in no small part to its significant investments in AI development and data infrastructure. The company also invested heavily in ecommerce, with its TikTok Shop accruing impressive sales during the Black Friday weekend. However, given that TikTok just laid off a portion of its US-based ecommerce team, perhaps it isn’t reaping as many benefits from its success abroad as one might expect. View the full article

Breakaway Music Festival, presented by CELSIUS®, made a high-voltage entrance into Texas, lighting up Dallas’ Fair Park for its first-ever multi-day edition in the city. With over 20,000 attendees across April 5–6, the kickoff to Breakaway’s 2025 season was nothing short of explosive. Day 1: Zedd, GRYFFIN, and a Nonstop Party Breakaway Dallas launched with a bang on Saturday as over 12,000 fans packed into Fair Park for a full day of music, energy, and community. Headliners Zedd and GRYFFIN lit up the night with their signature sounds—Zedd delivering crisp, high-octane production, and GRYFFIN bringing melodic, emotional highs that had the crowd in sync from start to finish. The supporting acts brought just as much fire. TroyBoi delivered bass-heavy trap and hip-hop cuts, BUNT. blended genre-fluid, feel-good grooves, and Ship Wrek kept the energy bouncing with infectious house beats. KREAM and Daniel Allan closed out the day with immersive sets that sustained the momentum deep into the night. CELSIUS® kept fans fueled throughout Fair Park, offering product samples and interactive brand experiences as part of their ESSENTIAL VIBES TOUR™—a nationwide activation that continues to elevate the festival experience across all Breakaway stops. Day 2: Cold Front, Hot Lineup Sunday brought colder temperatures, but the energy at Breakaway Dallas never wavered. With even more fans than the day before, over 20,000 attendees braved the chill for another round of world-class performances. Headliners SLANDER, Louis The Child, and Afrojack delivered standout sets that defined the day. SLANDER brought their signature melodic bass and emotional drops, turning Fair Park into a wave of lights and feels. Louis The Child kept spirits high with vibrant, genre-mashing selections, while Afrojack closed out the night with a stadium-level set packed with high-energy anthems and relentless crowd engagement. The undercard was just as stacked. Zomboy delivered a massive dubstep barrage that shook the stage, EVAN GIIA captivated with her vocal-driven hybrid sound, and ACRAZE kept the crowd moving with bass-heavy house heaters. Layz brought the heavy edge, rounding out a sonically diverse day. Over at the Silent Disco, more than 30 regional DJs turned a side-stage into a standout experience, proving that Breakaway is just as much about discovery as it is about headliners. The vibe was intimate, sweaty, and electric—exactly what you want from an underground dance floor. By the end of the weekend, Breakaway Dallas had left its mark. From big-stage blowouts to local DJ gems, it was clear: Dallas didn’t just welcome Breakaway—it claimed it. The post [Event Review] Breakaway Music Festival Brings 20,000+ Fans to Fair Park for Dallas Debut appeared first on EDMTunes.

Photo Credit: Mengwen Cao for Global Citizen The Global Citizen Festival will return to Central Park on September 27, this time with a search for a new hitmaker with Colossal and Live Nation. The Global Citizen Festival, driving millions of actions from global citizens and billions of dollars in commitments to end extreme poverty, is back for another year. The 2025 edition of the Global Citizen Festival campaign once again supports and partners with a variety of nonprofit organizations aligned in mission and cause, serving communities across New York. This year, for the first time, Global Citizen is partnering with Colossal to find America’s Next Top Hitmaker. Musicians, bands, and groups from across the US will compete in the months leading up to this year’s festival for the chance to perform on the Global Citizen Festival stage on September 27. The free, ticketed event, hosted in New York City with Production Partner Live Nation and produced by Diversified Production Services (DPS), will bring together the world’s biggest artists, grassroots advocates, government leaders, philanthropists, and music fans. Together, they will call on world leaders to drive action on the most urgent issues facing humanity and our planet, including protecting the Amazon rainforest, ensuring children everywhere have access to education, and upscaling renewables across Africa. “As our world faces rising temperatures, growing inequality, and deepening uncertainty, this year’s Global Citizen Festival is an opportunity to push for real, lasting change,” said Katie Hill, Chief Music and Entertainment Officer, Global Citizen. “We’re excited to unite 60,000 global citizens on the Great Lawn of Central Park, together with some of the world’s biggest artists and advocates, to demand action. See you on September 27!” This year’s full festival lineup will be announced in the coming months. Tickets will be free and can be earned by taking action on the Global Citizen app or their website. Over the past decade, $41 billion in commitments announced on Global Citizen platforms has been deployed, impacting over 1.15 billion lives. Established in Australia in 2008, Global Citizen’s team operates from New York, London, Paris, Berlin, Melbourne, Toronto, Johannesburg, Lagos, and beyond. View the full article

Photo Credit: EMRA The United Arab Emirates (UAE) have established the first collective management society—the Emirates Music Rights Association (EMRA). Recent legislative and regulatory action on the UAE grants a collective management license to EMRA, authorizing it to oversee the collection and distribution of music creators’ rights across the country. The move aims to strengthen the creative economy by ensuring compliance with copyright laws across broadcasting and content platforms. The license was granted in accordance with Federal Decree Law No. 38 of 2021 on Copyrights and Related Rights. The International Federation of the Phonographic Industry (IFPI) has applauded the move. Both the IFPI and the International Confederation of Societies and Composers (CISAC) were on hand to congratulate EMRA. “The establishment of an effective, transparent and accountable rights management organization for public performance and broadcast rights is a further step that will cement UAE as one of the most dynamic and exciting music markets in the world,” adds Victoria Oakley, CEO, IFPI. “Not least because according to the IFPI Global Music Report just published, in 2024, [the UAE] was the fastest growing recorded music market in the world. IFPI is proud to support this work and I congratulate you all on a successful launch.” According to the IFPI’s Global Music Report 2024, the MENA region was the fastest-growing recorded music market worldwide—expanding by 22.8% in 2024 alone. Meanwhile, the global music industry grew by 4.8% in the same period. Abdulla bin Touq Al Marri, Minister of Economy for the UAE says the country has successfully developed a legislative framework aligned with global best practices to support intellectual property rights and drive the creative and cultural sectors as key pillars of the national economy. “Granting his license to EMRA is a significant step in advancing the UAE’s creative economy in line with the We the UAE 2031 vision,” he adds. View the full article

This year has already seen the release of the 2016 Ibiza Version of Avicii and Sandro Cavazza’s ‘Forever Yours’ which while sparking some controversy was still a welcome surprise. Now 2025 is giving us another gift as a new compilation album is coming soon with an unreleased song on it. This new album titled ‘Avicii Forever’ will feature a series of his greatest tracks from all across his illustrious career. With 21 songs including ‘Wake Me Up’, ‘Levels’, ‘Lonely Together’ and many more of his classics, ‘Avicii Forever’ will be a display of the legendary Swedish DJ at his very best. But there’s one song which is particularly exciting as the unreleased ‘Let’s Ride Away’ with vocals provided by Elle King is in the track list. It’s one of the many songs that fans have been crying out to hear for years and now ‘Let’s Ride Away’ will finally see the light of day. While most of the album is familiar to long time fans, the release of ‘Forever Yours’ could be the start of the younger generation’s discovery of Avicii. An official release date is yet to be revealed however it is rumoured to be coming out in May 2025. The question as to whether Avicii’s music should continue being released still lingers, but having the opportunity to hear more of his magical melodies is exciting none the less. Full ‘Avicii Forever’ Track List

Sleep Of Reason, which Tennant will release with Mark Springer, will see him sing over classical arrangements.View the full article

The annual Sunday evening, late-March walk to the outskirts of Bayfront Park consistently leaves me with the belief that the past weekend spent in downtown Miami supersedes many that have come before it. And although some degree of recency bias involuntarily creeps in, that impression felt in the wake of Ultra’s 25th anniversary weekend held true more than ever. For a milestone weekend that would celebrate the quarter-century mark of its flagship festival, Ultra crafted what many — including me — believed to be its strongest artist offering of the past decade or so, at least on paper. And while that lengthy collection of unmissable acts — 15 of which I wanted to specifically acknowledge ahead of time — would inevitably lead to more than a few stressful conflict decisions for myself as well as the 50,000 daily attendees, it translated into a fully fledged reality of unrelenting Ultra superiority across March 28, 29, and 30. First and foremost, this cannot continue without a section of appreciation for Richard Milstein, the mind responsible for Ultra’s annual stage designs. There were reasonable expectations that Milstein and his REDNOIR creative team would architect a mainstage design that we would be able to stack up against some of Ultra’s most iconic designs since 2013. And he did just that, engineering what I wholeheartedly consider to be Ultra’s most impressive mainstage structure since 2016’s magnum opus as well as first-class production arrangements at both the MegaStructure and Worldwide stages. Let’s dive into the weekend itself. I could understandably convert this article into a thesis-length explanation about each and every standout moment of the weekend (there are individual set recaps on the Dancing Astronaut Instagram that can help with that) but I’ll spare everyone from any further incoherent rambling. The seconds, minutes, and hours spent throughout another three-day run at Bayfront Park — from opening with Miss Monique at the MegaStructure to seeing Alesso reunite Ultra with the greatest song known to mankind all the way down to wrapping up the weekend with Martin Garrix’s grand finale on Sunday evening — comprised of some of the most unforgettable memories that I have built up in nearly a decade of annual March trips to Miami. At the very least, I have to specifically nod towards the three-and-a-half-hour sequence that decisively etched day two into Ultra’s hall of fame. The progression of Axwell — who appeared unaccompanied for the first time at Ultra — into Skrillex — who returned to Bayfront Park for the first time in a decade — into Hardwell — who finalized Saturday’s mainstage run with one of his all-time sets — was an outright masterclass of an evening. When prompted with the question of which singular artist was responsible for my go-to slot of the weekend, my reply is that I simply cannot separate the perfection that was the second half of March 29 at Bayfront Park. While there’s an overwhelming consensus that 2025 prevailed as an edition that holds its own against cherished Ultra installments like 2013 or 2016, there’s always room for improvement as we now look towards the 26th anniversary. The first point of feedback has to be that Ultra should address its bottleneck entry issue for general admission, with extensive lines beginning to form at certain points throughout the weekend. Once attendees made it to the second step of entry, some had attested to the fact that security seemed a bit too nonchalant, leading to a sea of tall flag poles — which are explicitly named in Ultra’s prohibited items list — from people that conveniently chose to stand front and center. Instead of the annual battle against fan clackers, it was the flag poles in 2025 that would consistently clog up the view at mainstage from any angle on the dance floor. For a second year in a row, we were unable to remain in Mother Nature’s good graces for the weekend’s entirety, with a thunderstorm leading to a temporary shutdown of the festival on early Sunday afternoon. And after Ultra had broadcast an evacuation message on its mainstage screen, some confusion quickly stemmed surrounding the status of festival entry as well as stage closures. It wouldn’t be until a few hours later that Ultra would share the news that the evening would be extended by an hour as well as an updated timetable, despite a couple of real-time scheduling changes — like Kaskade and Steve Aoki having swapped slots — having already come and gone. But in the grand scheme of things, the above comments are truly just minor blips encountered during an otherwise seamless anniversary celebration in the heart of downtown Miami. Even after a quarter century of operations, the 25th anniversary reminded myself of one thing for sure: Ultra remains my favorite place on Earth. Between furthering its lengthly record of all-time performances, designing another slate of world-class stage production, continuously maximizing the sublime setting that is Bayfront Park, and combining every other little thing that comes together makes Ultra what it is, the weekend gave the dance music world a front-row seat of Ultra Music Festival at its highest form. Thank you so much to Ultra, all of the production team, all of the staff, all of the crew, and everyone else that comes together to make this festival happen each and every March. Featured image: Alive Coverage The post Ultra’s milestone 25th anniversary was a decisive reminder of its greatness [Review] appeared first on Dancing Astronaut.

Introducing the Cassette Mixer Magnitron-1, developed by Andrey Kurokhtin, also known as Shine Grooves. The Magnitron-1 is a one-of-a-kind device that allows you to play and mix two cassette decks, each with independent control over pitch, volume, and a three-band equalizer. Magnitron-1 is not just a mixer; it’s a complete musical instrument, opening up new creative possibilities for working with cassette tapes. Andrey handcrafts each unit in Yekaterinburg as part of a limited series. Pre-orders are open until the end of the year with a price of 1400 euros + shipping (50% prepayment required). Specs Tape Mechanism: Speed: Nominal 4.76 cm/s (adjustable ±50%) Wow and Flutter: 0.7 – 1% Frequency Response: Type I (Normal): 40 Hz – 14,000 Hz Type II (High): 40 Hz – 17,000 Hz Type IV (Metal): 30 Hz – 21,000 Hz Stereo Tracks: 2 (Stereo) Mixer Panel: Channels: 2, with independent pitch control for each deck Equalizer: 3-band EQ per channel (Bass, Mid, Treble with boost/cut) Pre-listening: Available in headphones with smooth switching between channels and preview/master modes Master Volume Control: Rotary knob Inputs and Outputs: Inputs: 2 Line Inputs (Stereo RCA) 2 Phono Inputs (Stereo RCA) Outputs: 1 Master Output (Stereo RCA) 1 Recording Output (Stereo RCA) 1 Headphone Output (6.3 mm Jack) Indicators: Type: Stereo VU meters with calibration capability Function: Displays summed stereo signal (Deck 1 + Deck 2) Note: Master volume control does not affect indicator levels or recording output Power and Dimensions: Power Supply: 200-230V AC, 50/60 Hz Dimensions: 492 mm x 386 mm x 123 mm Weight: 6 kg Operating Environment: Temperature Range: -5°C to +45°C Humidity: Up to 80% The post Forget Turntables, go back to DJing with cassettes appeared first on Decoded Magazine.

Brixton Storeys is an all new, indoor-outdoor, multi-room event space set to offer new levels of late night audio-visual immersion. The venue on the site of the former Prince of Wales is the first in the area to have a 24-hour music and alcohol license and it launches on 18 April 2025. The venue promises to bring a new narrative to South London nightlife and kicks off with ‘A Tribute To Alfredo Balearic Beat’ roof party. Brixton’s famously bristling scene is about to be shaken up by a brand new music destination. This mid-size, 750-capacity venue has undergone a complete transformation to deliver a cutting-edge experience that blends world-class sound, high-tech production and electrifying atmospheres with a range of different genres, DJs, live acts and much more all set to bring it to life all year round. While the site may be familiar, Brixton Storeys is a wholly new concept that redefines what a multi-room venue can offer. With its unique 24-hour music and alcohol license, it is the only venue of its kind in the area and boasts brilliantly designed and fully reimagined spaces. “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. Brixton Storeys will be home to three distinct spaces, including The Red Room, which has been wholly redesigned. With a focus on cutting-edge A/V offerings in partnership with Bigabox Productions, immersive lighting and superior acoustics from Turbo Sound and Funktion-One technology, Brixton Storeys sets an all new benchmark for nights out in the capital. The SKY Terraces, set to be completed by June, have been fully redesigned to incorporate two outdoor rooftop terraces, full sound systems and a DJ booth for plenty of sun-kissed, open-air musical fun. Though perfect for when the days warm up and the nights grow lighter, retractable roofs make the spaces suitable for all-season shenanigans. Finally, The Boudoir is a secondary indoor space for more intimate events. Brixton Stories is already attracting some of the UK’s most exciting club brands, with confirmed residencies and events from favourites such as Mas Que Nada, The Connection Party, Summerized Sessions, By Day By Night, Got Soul, Dazed, Up on the Roof, Cirque du Soul, Balliano Disco, Maizon, Milkshake, Wallop, UKG Brunch, Reggae Brunch, Supa Dupa Fly Brunch & a lot more to follow. Brixton Storeys has partnered exclusively with Ticketmaster to enhance the venue’s ticketing experience. Leveraging its powerful discovery platform, Ticketmaster Local, this collaboration will expand the venue’s reach, attract more audiences, and create seamless ticketing for fans—ensuring unforgettable, sold-out nights. “Brixton’s rich musical heritage sets the stage for Brixton Storeys to be a game-changer for the local scene. With our ticketing and marketing expertise, we’ll connect more fans to the venue and provide a superior ticketing experience—so they can simply focus on having an unforgettable night.” Tim Goom, Client Development Director, Music at Ticketmaster Brixton Storeys isn’t just a renovation—it’s a complete reinvention of what a music space can be. With an all-new layout, world beating production and well curated lineups of agenda-setting club brands, it promises to bring something all new to the local area and wider London scene. For more information and event listings head to; brixtonstoreys.com Brixton Storeys 467-469 Brixton Road, London, SW9 8HH brixtonstoreys.com The post New Venue Brixton Storeys set to launch on site of former Prince of Wales with 24-hour license appeared first on Electric Mode.

Reggatronic trailblazer LePrince debuts on Filth On Acid with his latest ‘Who Dem’ EP. Known for his genre-blending approach he ventures into uncharted territory, fusing his deep-rooted love of hardstyle with his signature rhythmic energy and influences of reggae and hip-hop to create a sound built for maximum impact in the club. The EP sees LePrince explore the raw intensity of acid-infused techno and hard-style, presenting a trio of tracks designed to ignite dancefloors worldwide. Opening with the solo cut ‘Who Dem’, he delivers a relentless rush of pounding drums and electrifying acid lines. Teaming up with Sevn Rhodes for ‘Issa Vibe’, the energy escalates with driving rhythms, rapid-fire synths, and raw vocal hooks. Closing out the release, ‘Hardcore’, with Maski & Banga lives up to its name, unleashing unrelenting kicks and soaring trance-techno synths in a track primed for peak-time destruction. LePrince’s ability to merge influences from across genres is rooted in his diverse musical background. Raised in Amsterdam, his early years were shaped by Surinamese Kawina and Kaseko music before he expanded into reggae and electronic sounds. His breakthrough came in 2010 when he won first place in an HIV awareness campaign using music as a tool for education, alongside being recognized as Best R.O.C. Artist for Central Netherlands. His track ‘Forgive Me’, produced by Leffy Ignacio Cairo, gained widespread recognition and cemented his status as an artist with a unique voice in the industry. Now stepping into new sonic realms and pursuing his reggatronic sound, LePrince continues to evolve, bringing his immersive live performances to some of the world’s most iconic stages. He debuted his solo act at major festivals such as Defqon.1, Qlimax and Sziget, combining DJing and live performance that bridges cultures, styles, and generations. With his debut on the legendary Filth on Acid championing his sound, LePrince reinforces his reputation once more, delivering a release that defines a new wave of genre fusion. BUY / STREAM: LEPRINCE – ‘WHO DEM’ EP HERE LePrince socials: https://www.instagram.com/leprince7/ https://www.facebook.com/LePrinceMusic The post LePrince debuts on Filth On Acid with reggatronic ‘Who Dem’ EP! appeared first on Electric Mode.

Photo Credit: People Magazine / Instagram Green Day’s headlining set brought the heat to Coachella with a firework that hit a palm tree, causing it to catch fire dangerously close to the crowd. During Green Day’s set at the Coachella Valley Music and Arts Festival’s first weekend on Saturday, a firework lit a palm tree on fire in the nearby artist section. The fire was dangerously close to a crowd of onlookers. “This firework just flew into the crowd and exploded right next to FaZe Banks and all of his friends, causing trees and more to catch on fire at Coachella,” wrote Ryan (@scubaryan_) on X/Twitter. Gaming clan FaZe founder Banks also posted a video on the social media platform, showing his friend sitting in a chair and being checked out by paramedics. “Zack was literally on the tree that exploded. The most nuts shit.” Green Day’s performance marked their debut at the annual festival, especially as a headlining act. In 2014, frontman Billie Joe Armstrong performed as a guest with The Replacements. This past weekend, he also joined the Go-Gos to perform their 1984 classic, “Head Over Heels.” The band’s set featured a slew of their career-defining hits, as well as songs from their latest studio album, Saviors. Last summer saw Green Day honoring the 20th anniversary of their quintessential album, American Idiot, by announcing a deluxe edition featuring live performances and unearthed demos. The re-release included a 110-minute documentary, 20 Years of American Idiot, which included interviews with members of the band and archival footage. American Idiot was a massive success for Green Day and marked a significant comeback for the band, propelling them into the mainstream. The album featured several hits, including “Holiday,” “Boulevard of Broken Dreams,” and its titular track. It also earned the band its first seven Grammy nominations. Coachella’s first weekend is now over, but next weekend kicks off the second half of the festival from April 18 to 20. Other headliners include Lady Gaga, Post Malone, and Travis Scott, with notable performances from Missy Elliott, Charli XCX, Megan Thee Stallion, Weezer, Tyla, T-Pain, Jimmy Eat World, Ed Sheeran, and Blackpink’s Lisa and Jennie. View the full article

Electronic dance music claimed the lion's share of Coachella's 2025 music programming, according to new data analysis from ROSTR. Published by Boardroom, the media company co-founded by NBA superstar Kevin Durant and business partner Rich Kleiman, the findings revealed that dance and electronic artists comprised a commanding 39% of the total lineup for this year's edition of the legendary California festival. That figure is nearly double the next most-represented genre grouping, 21% for indie, rock and alternative acts. Zedd, Sara Landry, Above & Beyond, The Prodigy and EDM.com Class of 2025 stars Beltran and Layton Giordani only scratched the surface of Coachella's massive 2025 electronic music billing. This significant presence marks a notable pivot in the talent booking strategy of the festival's organizer, Goldenvoice, which historically trended toward pop and rock music. Boardroom EDM enthusiasts could read the tea leaves in 2024 after Goldenvoice launched the groundbreaking Quasar stage, which now locks horns with longtime Coachella favorite Do LaB in an Empire Polo Club turf war over which is the festival's top raving hub. While nearly four in 10 acts booked for the 2025 festival represented electronic dance music, none were headliners, with that distinction going to Lady Gaga, Green Day, Post Malone and Travis Scott. However, Gaga's lone onstage guest was the French electronic music icon Gesaffelstein. Prior to 2023's surprise last-minute headlining set by Skrillex, Fred again.. and Four Tet, Goldenvoice counted only Calvin Harris and Swedish House Mafia as Coachella's only other DJ headliners in the last decade. But that may soon change. CAA's Alex Becket, who became the powerhouse agency's first electronic music agent over a decade ago, prophesied the genre's swelling influence in major festivals prior to last year's Coachella. "Festivals want big shows and big moments so it factors in a lot for them," Becket told EDM.com at the time. "Big production was an essential part of the "EDM" boom in the early 2010s and has always been a big part of the EDM experience. 'Underground' shows with no production emerged in response to that, and now you're seeing the pendulum swing back the other way in many cases with underground artists building big shows. In this way we're seeing big productions with better music and it's a winning combo." View the original article to see embedded media. Elsewhere in ROSTR's Coachella 2025 lineup analysis was a 4% increase in indie, rock and alternative acts compared to previous iterations, with famed outfits like Green Day and The Misfits appearing alongside contemporary stars such as Sam Fender, Still Woozy and beabadoobee. Hip-hop and rap also saw modest growth with a 2% increase from last year, maintaining substantial representation across all three days of the festival with Travis Scott, Missy Elliott, Megan Thee Stallion, Mustard, T-Pain, Ty Dolla $ign and more holding down the fort. Follow Coachella:X: x.com/coachella TikTok: tiktok.com/@coachella Instagram: instagram.com/coachella Facebook: facebook.com/coachella

Photo Credit: Robot Picnic / YouTube The LA Philharmonic embarked on unfamiliar territory with a guest-filled Coachella set led by conductor Gustavo Dudamel. Gustavo Dudamel and the LA Philharmonic delivered an unforgettable 50-minute set at Coachella on Saturday, featuring stars like Becky G, LL Cool J, Maren Morris, Zedd, and Laufey. The stars performed some of their biggest hits, accompanied by the iconic symphony. The outdoor stage in Indio is a far cry from what the orchestra is accustomed to at their usual home in downtown LA’s Disney Hall. But according to Dudamel, the performance was a long time coming. “It will be beautiful,” Dudamel said the week before the show. The performance was a culmination of an idea that dates back to the early days of the conductor’s 17-year tenure with the orchestra. Notably, that tenure ends for Dudamel when he moves to New York for a leading role with the NY Philharmonic next year. But that just makes the Coachella show all a more glorious send-off. “This was a dream that I had for many years,” said Dudamel of the Coachella performance, admitting that despite his long-running dream, it was only within the last year and a half to two years that the LA Phil held serious discussions with Coachella producers to make it a reality. “We have the opportunity to do many wonderful things here at the Hollywood Bowl [where rehearsals took place], this wonderful venue where we have the chance to interact with wonderful pop artists on different music styles that we have the chance to do,” Dudamel explained. “But in the context of a festival that represents a culture itself, it was always a dream. We were talking a lot about how to do it and when, and I think it’s perfect timing. We have built something very beautiful together with the team.” The LA Phil’s performance during Coachella Weekend 2 will feature different guest stars—the identity of which will not be revealed ahead of time, to keep it a surprise, as was the case with Weekend 1. Saturday’s show featured contemporary hits interspersed with classical music, including LL Cool J’s medley with the climactic “Rock the Bells.” The mash-up marked a first in the symphony’s long and glorious history. “LL Cool J has been invited for as many years as Coachella’s been around, and he’s never been to Coachella, as a guest or anything,” noted Joanna Rees, Vice President of Programming at the LA Phil. “And so it was Gustavo and the Philharmonic and this opportunity that is bringing him out to the desert. The way he did with orchestral collaboration came out of this amazing [Zoom meeting] we were on with Todd —LL Cool J —and Gustavo talking this idea through, and watching the two of them go through what was in their minds, you could just see it happening live. They were both getting each other super excited about the ideas and the possibilities—and now it’s happened.” “He actually has basically sampled, in his medley, Beethoven’s Fifth and Stravinsky’s ‘Firebird,’” said Megan Umber, LA Phil Chief Programming Officer. “And I’ve never seen anybody do it, actually, for all the years that we’ve done pop collaborations—properly fitting the orchestral music (of great composers) into his songs.” In addition to its Coachella sets this weekend and last, the LA Phil is keeping its regular spring schedule at Walt Disney Concert Hall in downtown LA, where they’re currently presenting Vivaldi’s “Four Seasons.” The Coachella crowd got a nice taste of that, with Dudamel leading an excerpt from the work as rearranged by Max Richter. This was interspersed with traditional pieces from the classical songbook, such as the Strauss cue best known by modern audiences from its placement at the beginning of Stanley Kubrick’s “2001: A Space Odyssey.” View the full article

Photo Credit: Sheléa for PBS Sheléa stars in the upcoming special, “Aretha! With Sheléa and The Pacific Symphony,” a televised tribute to soul legend Aretha Franklin. Hot off a national tour as Stevie Wonder’s special guest on his 2025 “Sing Your Song!” tour, Sheléa is now starring in an upcoming PBS special, “Aretha! With Sheléa and The Pacific Symphony.” The televised tribute to the legendary Queen of Soul will premiere on PBS stations starting May 30, and will also be available for free streaming on PBS.org and the PBS app. Sheléa will also release her new Aretha Franklin-inspired self-penned song, “Never Give Up On Love,” which drops on April 25 on all streaming platforms. The track is the first of several new originals she’s set to release this year. “I wrote the song for those who are losing faith in finding love,” says Sheléa. “It comes when you least expect it.” “Aretha! With Sheléa and The Pacific Symphony” was filmed on November 9, 2024, at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, California. Conducted by Emmy Award-winning Music Director Rickey Minor, the special showcases Sheléa performing timeless Franklin hits like “Chain of Fools,” “Say A Little Prayer,” “Respect,” and “Natural Woman.” It also features tracks like “Until You Come Back to Me” and “I Knew You Were Waiting,” a duet with Stevie Mackey. Sheléa is accompanied by the Pacific Symphony and a choir of background vocalists, delivering a truly unforgettable performance. Sheléa is a Grammy-nominated singer, songwriter, pianist, producer, and actress who has received the attention and support of music’s most powerful icons: Quincy Jones, Stevie Wonder, Rickey Minor, and David Foster. Widely recognized for her vocal mastery, she’s often compared to the legendary Whitney Houston, while her piano skills are likened to the piano prowess of Alicia Keys. She has also garnered accolades from the likes of Mary J. Blige, Missy Elliott, Queen Latifah, Jamie Foxx, and many more. With years of making a name for herself as a vocal powerhouse, she has performed at The White House, The Library of Congress, Carnegie Hall, The Kennedy Center, and The Vatican. In the fall of 2022, she made her debut at the Royal Albert Hall with maestro Jules Buckley to a sold-out crowd, returning for another unforgettable performance in 2024. Merging her musical talent with her new love for acting, Sheléa landed her first major role as Dorinda Clark in Lifetime TV’s critically acclaimed biopic, “The Clark Sisters: The First Ladies of Gospel,” which drew nearly three million viewers. View the full article

Photo Credit: BubbleTeaNeo / reddit The death toll for the Jet Set nightclub roof collapse in the Dominican Republic rose to 226 people over the weekend. Officials said they were able to rescue 189 people alive from the rubble, while 200 more were injured. 14 still remain hospitalized, four of those in critical condition. The roof of the night club collapsed during a merengue concert on April 8 during a live performance by Rubby Pérez. Rubby Pérez was tragically killed in the accident, as was Octavio Dotel, a former MLB pitcher for the Chicago White Sox. Friends and relatives waited for a forensics institute to return their loved ones’ bodies. Health minister Victor Attalah said there was a delay in identifying victims because the majority of them had to be matched using biometric data. Officials have said it is too soon to determine why the roof fell, though prosecutors investigated the scene on Thursday after rescue crews began packing up and removed heavy construction equipment used to move rubble. Video footage from the night the roof collapsed show people leaving the venue as dust and rain began sprinkling the crowd. Survivor Iris Pena said she left the venue after dirt started falling into her drink and a stone fell and cracked the table she was sitting at. Another video shared online shows performer Rubby Pérez on-stage singing while someone comments about a slab having fallen from the roof. Moments later, the roof collapses and the video devolves into darkness, crashing, and screams. The Jet Set nightclub building was 52 years old and was previously operated as a cinema. Standing two floors high, the club featured a spacious dance floor with huge disco balls, speakers, and light fixtures. The club was designed to host 700 people seated and 1,000 people on the floor. There is some speculation that a previous fire in the building in 2023 may have weakened the concrete and steel support structure. Architect Garivalddy De Aza analyzed the photos of the roof collapse on Instagram and offered his opinion “when a structure like that is affected by a severe fire, the durability of the concrete deteriorates significantly and it “turns into a kind of weak concrete.” The owners of the night club say they are working fully with authorities who are investigating the disaster. View the full article

Photo Credit: Windows Apple Music now offers Dolby Atmos playback on Windows, upping its support of devices outside the ecosystem. The strategy makes sense to capitalize for Apple’s Services division—main competitor Spotify’s high-fidelity audio offering is still MIA. Dolby Atmos is a surround-sound audio format that allows music to be heard in an immersive, three-dimensional audio experience. The feature was added to Apple Music for Windows in a recent update—which will require a PC and headphones with Dolby Atmos audio playback support. Apple first debuted Dolby Atmos support for Mac and iOS devices in June 2021, so the Windows update has been a long time coming. Apple initially delayed supporting Dolby Atmos playback on Android devices when the feature launched more than four years ago. But now Apple Music supports both Android and Windows devices—though Windows support requires the additional step of installing the Dolby Access app for full functionality. That app requires a $14.99 license to continue to playback Dolby Atmos audio after a seven-day free trial. Despite the additional step required, Apple Music is now one of the only major DSPs to give Windows users access to spatial audio. Spotify officially announced its HiFi audio service at its Stream On event in February 2021—but Apple’s support of Dolby Atmos for free took the wind out of those sails. From 2021 throughout 2024, CEO Daniel Ek continually reaffirmed that high-fidelity audio was coming to Spotify. Now rumors suggest Spotify is testing what it’s calling ‘Music Pro’ which is an add-on priced at ~$5 month that bundles HiFi audio with features like AI tools and concert ticket availability and additional audiobook listening hours. This new premium add-on is expected to launch this year—but it’s unclear how willing Spotify Premium users will be to pay extra when both Apple Music and Amazon Music include HiFi in their base streaming tiers. The ‘Music Pro’ add-on plan is also still pending label negotiations. Spotify secured a multi-year deal covering HiFi streaming with Warner Music Group in February 2025. It also secured a similar deal with UMG for ‘new paid subscription teirs’ and ‘super fan experiences’ in January 2025. Talks with Sony Music are ongoing and not yet finalized. Spotify’s rumored AI-powered song remixing may be part of the hold-up. View the full article

MPH is back with his latest single, "Alone," a stunning UK garage track featuring Carla Monroe—and it couldn't have arrived at a better time. Just in time for sunnier days, the spring release features an uplifting groove built for warm weather and late-night drives. "Alone" also proves once again why MPH is at the forefront of the contemporary UK garage movement. Opening with emotive piano chords and Monroe’s striking delivery ("Won’t cry, I’m better off alone"), the track builds with confident energy before culminating into a bouncy, high-energy drop. MPH blends fluttering synths, propulsive vocal chops and a palpitating bassline in a euphoric whirlwind that makes it impossible to sit still. Listen to "Alone" below and find the new single on streaming platforms here. Follow MPH:Instagram: instagram.com/mph_uk X: x.com/mph_uk TikTok: tiktok.com/@mphuk Facebook: facebook.com/mphukofficial Spotify: tinyurl.com/kb5an64w

Because social media is full of people who want to seem heroic without the inconvenience of actually doing anything heroic, its newest trend has everyone using AI to generate action figures of themselves. The trend is going viral as ChatGPT users flood our social feeds with AI-generated images of themselves as plastic collectible toys in blister packs, complete with accessories and suspiciously better posture. It's narcissism meets nostalgia, and it’s infectious. The trend, which makes use of OpenAI's GPT-4o model, is proving especially popular in the EDM community, wherein DJs and their fans are creating action figures en masse. View the original article to see embedded media. How to create your own custom AI action figure on ChatGPT1. Log into ChatGPT Navigate to chatgpt.com on the web or download ChatGPT on the App Store or Google Play. Log into your account or easily create a new one using just your email address. You will not be able to upload a photo of yourself unless you have an account. 2. Upload an image of yourself Click the + icon and then the "Upload from computer" button to drop a photo of yourself into the chat. A headshot or selfie will suffice, but it's best to use a full-body image for the most accurate results. It's important to note that the free version of ChatGPT allows users just three opportunities per 24 hours to try the image prompt feature. The AI can be erratic, so make sure you source the clearest and most authentic photos of yourself in case your first attempt generates a dissatisfactory result. 3. Enter your prompt Copy and paste the below prompt into ChatGPT, and fill in the brackets with your own details so the action figure matches your personality. As is the case with any AI prompt, it's important to be as detailed as possible. "Use this photo of me to create an action figure of myself in a blister pack, in the style of a premium collectible toy. The figure should be standing up and have a [FACIAL EXPRESSION]. The blister pack should have a header with the text [ACTION FIGURE NAME] in large letters and a subheading of [TAGLINE] below it. Include accessories in compartments to the side of the figure: [LIST OF ACCESSORIES]." Once you've submitted your request, ChatGPT will take two to four minutes to generate the image. You can then ask the program to make changes, like the clothes, accessories or text on the packaging.

Few could have predicted that a man who never shows his face would steal the spotlight at the music industry's most photographed festival, but Gesaffelstein did just that as the only special guest of Lady Gaga's Coachella 2025 headline set. The legendary producer, whose brutalist French electro has soundtracked countless fashion runways and underground clubs alike, is an ideal Gaga collaborator. As they previously showed in their track "Killah," the pairing represents the perfect marriage of pop theatricality and techno intellectualism. Joining Gaga onstage Friday night, Gesaffelstein emerged from the shadows to perform the song live in his signature, sleek all-black suit and reflective chrome mask, creating a striking visual counterpoint to her maximalist aesthetic. Gaga at one point went haywire on the drums in one of the performance's most electric moments. At the same time, Gaga released Gesaffelstein's brand-new remix of "Abracadabra," a song that appeared on her chart-topping album Mayhem. They performed that track live as well. There are collaborations that make sense on paper, and then there are those that ignite something primal. Gesaffelstein's remix of "Abracadabra" belongs in both categories. Elegance meets menace in his stunning remix, where he strips the original's glam pop sheen in favor of a claustrophobic, brooding banger with synths that wail like banshees in some kind of operatic nightmare. It's chrome dipped in blood, a return to the influential producer's electro-noir roots. You can listen to Gesaffelstein's remix of "Abracadabra" below. Follow Lady Gaga:Instagram: instagram.com/ladygaga TikTok: tiktok.com/@ladygaga X: x.com/ladygaga Facebook: facebook.com/ladygaga Spotify: spoti.fi/34ORJbf Follow Gesaffelstein:TikTok: tiktok.com/@gesaffelstein Facebook: facebook.com/gesaffelsteinmusic Spotify: spoti.fi/3cKr0Nv