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Photo Credit: Shift Instagram is prepping a new push to entice TikTok creators away from the platform as the site remains in limbo in the United States. While Trump offered a second extension on the TikTok ban, the increasing trade war between the US and China has left dim prospects of a deal materializing. Instagram is looking to appeal to creators who want a platform whose stability in the United States is not in question. They’ve added an iPad app and have worked on improving search functionality on the platform to help creators surface content based on specific search terms. While it may not sound like much, that last bit is very important. 74% of Gen Z users report using TikTok as their main search engine—even favoring it over Google. Instagram boss Adam Mosseri said on a recent episode of the ‘Build Your Tribe’ podcast that the platform is actively seeking to improve search. “We’re…starting to invest more in search on Instagram because there’s so much amazing content,” Mosseri said. “Quite frankly, what we call content search—as opposed to searching for an account, actually searching for some type of content—it’s not very good on Instagram.” It’s nice to see Mosseri address Instagram’s lack of quality search filters, such a filters by time posted or posts that mention a specific keyword. Mosseri says part of the issue is that the team that works on search for Instagram has been relatively small until recently. “It’s a long road, but I do think that could also be a really good one for people who are looking for things,” Mosseri continues. “You can imagine, whatever you use Instagram for, it’d be great to be able to find ‘that’ more easily. But also for creators…it should allow content to resurface so that you don’t get all the value in those first 24 to 48 hours.” It will be interesting to see if Instagram can compete with TikTok in the realm of super fans. Super fans who want to see ALL of the content available from their favorite K-pop group have a much easier time doing that on TikTok compared to Instagram—mostly because TikTok has built out search features that can resurface old content with specific keywords in a way that Instagram just doesn’t. View the full article

Photo Credit: Flou For all the attention paid to missing music metadata, copyright infringement, and royalty battles, the music industry often overlooks a potentially bigger issue: chaotic music contracting. Enter Flou, whose CEO, Alexiomar Rodriguez, is helming one of the more promising missions in the music industry: to fix the chaos that surrounds music agreements. Here’s a breakdown of his vision for ‘Music Contracts 2.0’ — including a detailed white paper. What’s wrong with music contracts? For the answer to that question, one must start at the beginning — i.e., the first draft of an agreement. Bad deals happen, and plenty of court cases focus on missed deliverables and differing interpretations. However, according to Flou founder and CEO Alexiomar Rodriguez, the bigger problem lies in the chaos surrounding the contract drafting, signing, and post-signature stages. Rodriguez — an Orlando-based music attorney who cut his teeth in the music industry hotbed of Puerto Rico — battled the same pile of shared docs and ‘versioning hell’ familiar to lawyers, labels, and artists alike. In response, Flou is aiming to reengineer the entire music contracting process, and replace the current chaos with a SaaS-like update that prevents downstream disagreements, metadata issues, and missed deliverables. Just recently, DMN joined forces with Flou to accelerate the industry’s shift to a completely different contracting approach. The very real possibility is that in just a few years, it’s entirely possible that the music industry lands in a totally different — and saner — place. Investors love this kind of problem/solution startup — and Flou is focused on a specific music industry problem. But what is ‘Music Contracts 2.0’? At its core, Flou’s ‘Music Contracts 2.0’ system features a centralized ‘Contract Lifecycle Management (CLM)’ platform that replaces a constellation of disconnected applications and sharing protocols like Gmail and Dropbox. On the creation side, Flou also includes automating contract drafting with templates and forms, streamlining sending, signing, and storing contracts with tracking and notifications, and integrating with other management and royalty systems. The logical solution is rooted in serious pain — felt every day by lawyers, artists, and everyone in between. “Current music contract management is messy, outdated, and leads to lawsuits, lost money, delayed releases, missed payments, and broken relationships,” Rodriguez relayed. Surprisingly, current contracting still features paper-based systems, manual tracking, and reliance on email and spreadsheets. It’s not that the tools themselves are bad, but they are rarely interconnected and frequently impossible to track cohesively. The result is a familiar, headache-producing swirl of disjointed elements. Flou envisions a 2.0 replacement that accelerates deal-making and offers better control on both sides of the table, as well as stronger privacy protection, time savings, reduced costs, and increased efficiency. “Flou is specifically designed for the music industry with pre-made templates, bilingual contracts, smart automation, and a secure central location for all contracts,” Rodriguez explained. “Our goal is to shift the music industry from a slow, stressful, and expensive contract process to a fast, simple, and clear one, ultimately turning contracts into an advantage rather than a headache.” If this sounds like a glass of ice water in your current hell, check out the white paper below – and theflou.com for more info. View the full article

Photo Credit: Karol G by Junta de Andalucia / CC by 2.0 A high court in Colombia rules that Karol G and J Balvin’s track “+57” violated the rights of children due to lyrics that ‘sexualized’ minors. A Colombian high court has ordered Karol G, J Balvin, and several other reggaeton artists who helped record the song last year, including Feid, DFZM, and Maluma, to refrain from publishing music that violates the rights of minors. The 14-page ruling determined that the song did, in fact, violate the rights of children and teens. The song generated controversy upon its release in November, with organizations that defend the rights of children quickly calling it out. “Sexualizing minors reduces them to becoming objects of desire, and exposes them to risks that can affect their development,” wrote the court. The song, called “+57,” is named for Colombia’s telephone country code and talks about a young woman who goes partying “despite having an owner.” The woman, “a hot mama since she was 14,” goes to a club and does shots. Lyrics refer to weed “starting to work,” passing “drinks mouth to mouth,” and “no room for your butt in the car.” Karol G apologized for the controversy on Instagram last year, saying the lyrics had been “taken out of context,” but adding that she understands she still has “a lot to learn.” “None of the things said in the song have the direction they have been given, nor was it said from that perspective. But I listen, I take responsibility, and I realize that I still have a lot to learn,” said Karol G. “I feel very affected and I apologize from the bottom of my heart.” Between the initial backlash and pressure from Colombia’s Institute of Family Welfare (ICBF), the song’s lyric was changed to reference the age of 18, rather than 14. Notably, the song was recorded in Karol G’s hometown of Medellin, Colombia’s hottest tourist destination, and a city known for several major reggaeton singers. But the city has struggled in its fight to protect minors; sexual predators are known to visit the city seeking young women. View the full article

Photo Credit: Rubby Pérez / Instagram Merengue singer Rubby Pérez has died after sustaining injuries during the Jet Set Club roof collapse in the Dominican Republic. He was performing on stage at the time. The Jet Set Club was a converted cinema and hosted large dance events, though authorities have not yet identified what caused the structural failure. At least 124 people died in the collapse of the roof, with 150 others reportedly injured. The death toll is expected to rise as authorities and first responders continue sorting through the rubble. Rubby Pérez was born Roberto Antonio Pérez Herrera in Haina, Dominican Republic. His career as a merengue singer spanned over five decades, with Pérez rising to prominence as the lead vocalist of the Wilfrido Vargas Orchestra in the early 1980s before launching his successful solo career in 1987. That earned him the title of ‘La voz mas alta del merengue’ or “The Highest Voice of Merengue.” Rubby Pérez initially wanted to be a baseball player, but a leg fracture from a car accident at age 15 instead led him to pursue a career in music. He began playing guitar, joined his church choir, and later studied at the National Conservatory of Music in Santo Domingo. His breakthrough with Vargas’s orchestra led to the recording of hits like El Africano and Voló Voló, which brought merengue to international audiences. Known for his energetic performances and powerful vocals, Pérez released albums through 2022—including his final work Hecho Está. His music blends traditional merengue with contemporary influences, earning him multiple awards and acclaim as a genre ambassador. His last performance before taking the stage at Jet Set Club was in Washington Heights, New York on April 4 at La Nueva Espana. Those in attendance described the show as electric, with attendees celebrating the singer and toasting his music. Eyewitnesses report that Pérez encouraged those in attendance to join him at his upcoming set at the Jet Set Club in Santo Domingo. Pérez was performing on stage when the roof of the building collapsed, killing him and more than 124 other people. His team confirmed the death on social media and released a statement mourning the loss of his musical legacy. He is survived by seven children and will be remembered as a cutural icon for his contributions to merengue. His funeral service will be held tomorrow, April 10 at 10 am to 4 pm at the Eduardo Brito National Theater. Afterward, his burial will follow at 5 pm in the Puerta del Cielo Cemetery Park. View the full article

Photo Credit: Edison Research A new study from Edison Research finds ad-supported streaming has more listeners than its paid, ad-free counterparts. For decades, music on the radio was the most accessible and free way to listen to music. But radio stations have traditionally been supported by ads, so listeners were well accustomed to hearing them between songs. The only way to get an “ad-free” experience was by purchasing an album on vinyl, tape, or CD. These days, thanks to streaming services like Spotify, Apple Music, and YouTube, many listeners are willing to pay a premium price to avoid ads altogether. But newly released data from Edison Research reveals that in the US, most people spend the majority of their daily audio time with ad-supported sources (64%), compared to ad-free premium sources (36%). Ad-supported sources in this study include AM/FM radio, radio streams, music on YouTube with ads, SiriusXM talk channels, free versions of streaming audio sources, and podcasts. Those who spend the most time with ad-supported sources tend to be older; 75% of Americans 55+ spend their audio time with ad-supported audio. Listeners aged 35-54 listening to ad-supported audio clocked in at 65%. Meanwhile, those aged 13-34 spend almost as much time listening to ad-free audio (46%) as they do ad-supported (54%). This data makes sense, given that younger American spend more time on platforms that make removing advertisements relatively easy and fairly inexpensive, like Spotify and YouTube. Further, older Americans are more likely to have spent time listening to ad-supported audio before the advent of streaming, perhaps making it less of a deterrent to them than younger generations. From the perspective of the providers, ad-supported audio remains an effective way to reach consumers and increase brand and product awareness. To that point, an increasing number of video streaming services are putting ads into their paid plans, such as Netflix. That only begs whether audio streamers like Spotify will follow in their video counterparts’ footsteps. Rumors have circulated this week that recent advertising updates to Spotify would result in ads appearing in paid plans. Namely, rumors suggest the current $11.99 monthly Premium plan would see a limited amount of ads introduced, with the company introducing a higher-priced tier for continued ad-free listening. Despite Spotify’s denial of any truth to those rumors, some users have reported encountering ads in their paid Premium subscriptions. Spotify says this is due to a technical issue. But whether these are actually the earliest whisperings of an additional source of revenue for the streaming giant remains to be seen. The company has been under fire for years over its abysmal royalty payments to artists. Perhaps more ads would provide a way for Spotify to cut artists on its platform a bigger check. However, that doesn’t mean its users are willing to pay the price. View the full article

Recording Academy CEO Harvey Mason Jr. speaks during Grammys on the Hill in support of the expanded No Fakes Act. Photo Credit: The Recording Academy Federal lawmakers have reintroduced the No Fakes Act, which is drawing strong support from in and well beyond the music industry. Senators and representatives from both sides of the aisle reintroduced the legislation today. We’ve covered the years-old bill (which, looking to tackle AI deepfakes, would establish bolstered voice and likeness protections) from the outset. In April 2024, for instance, Warner Music CEO Robert Kyncl appeared before Congress to back (among different measures) the No Fakes Act, which received legislative pushes in July and September of the same year. Of course, those particular pushes didn’t lead to passage. But much has changed – in the AI world and elsewhere – since then. Like during the summer of 2024, DMN’s inbox is currently filled with statements touting the No Fakes Act. However, in addition to enthusiastic remarks from the Recording Academy, the RIAA, the NMPA, ASCAP, the NAB, the major labels (Kyncl and Randy Travis were on Capitol Hill for the bill’s reintroduction), A2IM, and several others, support is now coming from outside the industry as well. OpenAI has endorsed the revamped No Fakes Act, YouTube signed off on the bill in a blog post, and the Walt Disney Company applauded the “important and meaningful protections” at hand, to name a portion of the examples. It probably goes without saying, but this newfound unity resulted from months of back and forth on the No Fakes Act, the latest iteration of which is 40% longer than the original by page count. Just scratching the surface here, the bill contains updated liability exclusions, including for any “service by wire or radio that provides the capability to transmit data” and any “online service” provider for which it’s “not technologically feasible” to remove “offending material.” Meanwhile, the heftier legislation dives into a variety of penalties, for both online service providers and individuals, pertaining to alleged deepfake violations. And perhaps most notably, the No Fakes Act would enable litigating rightsholders to ask any district court clerk “to issue a subpoena to a provider of an online service for identification of an alleged violator” of the law. For obvious reasons, that rightsholder-tech compromise could spell trouble for those who’ve uploaded soundalike AI works without permission. Here are a few of the many music industry statements backing the new version of the No Fakes Act. Recording Academy CEO Harvey Mason Jr.: “The Academy is proud to represent and serve creators, and for decades, GRAMMYs on the Hill has brought music makers to our nation’s capital to elevate the policy issues affecting our industry. Today’s reintroduction of the NO FAKES Act underscores our members’ commitment to advocating for the music community, and as we enter a new era of technology, we must create guardrails around AI and ensure it enhances – not replaces – human creativity. We thank Senators Blackburn and Coons, and Representatives Dean and Salazar for their unwavering support on this issue, and we look forward to working alongside them to pass the NO FAKES Act this Congress.” Warner Music Group CEO Robert Kyncl: “I applaud Senators Blackburn and Coons and Representatives Salazar and Dean for their leadership in introducing the NO FAKES Act. This bill reflects what can happen when tech and creative industries come together – foster cutting edge innovation while protecting human identity and artistry. We look forward to working with key members of the US Senate and House to help pass the NO FAKES Act this year.” NMPA president and CEO David Israelite: “NMPA is proud to support the reintroduction of the No Fakes Act. In an era where artificial intelligence is rapidly reshaping the creative landscape, it is critical that we protect the rights of creators from exploitation, fraud, and misuse. We commend Senators Coons, Blackburn, Klobuchar, and Tillis for their leadership in protecting songwriters and artists from illicit theft of their work. By establishing new protections against the harmful use of digital replicas, the No Fakes Act will provide the necessary framework to ensure that AI serves as a tool to enhance creativity rather than undermine the rights of those who create it. We urge the Senate to move swiftly in passing this critical legislation and securing the protections the creative community deserves.” View the full article

A live performance from Quavo, who, along with Hybe America and Quality Control, is facing a copyright infringement lawsuit from sculptor Daniel Arsham. Photo Credit: Jørund Føreland Pedersen Hybe America, its Quality Control subsidiary, and Quavo are facing a copyright lawsuit for allegedly infringing on a visual artist’s work in social media posts. Daniel Arsham, touted as “one of the most well-known contemporary artists in the world,” submitted the unique action to a New York federal court. As laid out in the suit, the plaintiff sells his projects “for many hundreds of thousands of dollars” apiece and “has a robust licensing market.” On the latter front, New York City-based Arsham is said to have collaborated with “a litany of hip-hop artists, including Pharrell, Usher, Jay-Z, Gunna, The Weeknd, Nas, and others.” While it probably doesn’t need saying in light of the complaint, Quavo isn’t featured in that litany of talent. At least as told by Arsham, he’s the creator of a sculpture called Quartz Eroded 1961 Ferrari GT. That 2018 effort is “part of a collection of full-size vehicle sculptures that he has created in his signature ‘eroded’ fictional archeological technique,” per the legal text. Also in 2018 (and then again in 2023), the plaintiff allegedly displayed the creation, photos of which are included in the suit, to the public in an exhibition. Fast forward to December 2024, when Quavo allegedly took to Instagram and TikTok to upload a teaser for “Trappa Rappa” (2025). This clip, besides several subsequently uploaded stills thereof, allegedly shows “Quavo performing in front of the” aforesaid sculpture. (The track itself debuted in February 2025; “music video” is used once in the complaint to describe the social posts, but the actual music video doesn’t seem to include the statue.) Though Quavo and his team tagged Arsham in the original posts, they didn’t obtain the artist’s permission to use the sculpture, the lawsuit maintains. The plaintiff “never consented” to the usage and hasn’t received related compensation, the legal text drives home for good measure. And to reiterate the obvious once more, Arsham – who purportedly discovered Quavo’s alleged usages in December 2024 and sent multiple cease and desist letters soon thereafter – claims there haven’t been any “meaningful discussions” between his team and the defendants. Furthermore, the alleged infringement has purportedly “significantly damaged the value of the” sculpture, the artist’s other works, and “the value of any licenses for his artworks in the relevant markets.” All told, Arsham is seeking relief for vicarious and contributory infringement, with an additional publicity-rights claim under New York law to boot. View the full article

Editor's Note [April 15, 3:20pm CST]: The death toll from the catastrophic collapse of the Jet Set nightclub has risen to 231. This article has been updated accordingly. The roof of Jet Set, a popular nightclub in the Dominican Republic, collapsed early Tuesday morning and killed at least 124 people, CNN reports. The death toll has nearly doubled to 231 a week after the disaster, Dominican Interior Minister Faride Raful told reporters. The deadly collapse occurred in the capital of Santo Domingo before 1am Tuesday during a performance by popular merengue artist Rubby Pérez, whose body was recovered Wednesday morning, according to emergency services officials. Juan Manuel Méndez, director of the Emergency Operations Center, reported that 145 people had been rescued alive from the rubble. However, the full extent of the catastrophe remains unclear, with the number of people still buried unknown. Approximately 300 people were inside the venue when the roof gave way. Video recorded from inside the club and shared on social media appears to capture the terrifying moment of collapse, showing lights falling from the ceiling seconds before the roof came down, followed by screams. At 12:34 a.m. Tuesday, April 8, 2025 the roof of the Jet Set Nightclub, Santo Domingo, Dominican Republic collapsed. At least 113 people were killed and another 155 injured including Nelsy Cruz, governor of the Monte Cristi province and former MLB players, Octavio Dotel and Tony… https://t.co/ZuQvb6ylG3 pic.twitter.com/CnxMxU7s9T — 𝓝𝓲𝓴𝓴𝓲 (@PFKHealth) April 9, 2025 U.S. Secretary of State Marco Rubio confirmed that at least one American citizen and several U.S. residents were among the dead. Former Major League Baseball players Octavio Dotel and Tony Blanco also passed, with Dotel—a World Series Champion in 2011—dying en route to the hospital after being pulled alive from the rubble, according to Méndez. The collapse has affected the families of prominent political figures as well. Nelsy Cruz, governor of the Monte Cristi province and relative of MLB All-Star Nelson Cruz, was confirmed dead by Dominican President Luis Abinader. Meanwhile, the son of Public Works Minister Eduardo Estrella remains among the missing. Outside the destroyed nightclub on Wednesday, distraught families gathered, clinging to hope that their loved ones might still be found alive as rescue workers methodically worked through the debris. Of the 124 confirmed fatalities at Jet Set, 33 bodies have yet to be identified, per CNN. "We deeply regret the tragedy that occurred at the Jet Set nightclub," Abinader said in a statement released on X. "We have been following the incident minute by minute since it occurred. All relief agencies have provided the necessary assistance and are working tirelessly in the rescue efforts. Our prayers are with the affected families." Authorities have not yet determined what caused the structural failure at the venue.

Photo Credit: Jim Herrington The Country Music Hall of Fame and Museum in Nashville is prepping a new exhibit titled ‘Dolly Parton: Journey of a Seeker.’ The exhibit will open to the public on May 20 and will be available through September. The new exhibition is intended to celebrate Dolly Parton’s career, highlighting her journey as a singer, songwriter, actress, entrepreneur, and philanthropist. Some of the highlights from the exhibit include personal artifacts such as costumes Dolly wore, musical instruments she played, and handwritten lyrics, photographs, and exclusive interview footage from the many phases of her longstanding career. Visitors will be able to see handwritten lyrics to her iconic song “Jolene,” a portable cassette tape recorder used to compose songs like “I Will Always Love You,” and “Jolene,” and her iconic cowgirl outfit from the 1980 film ‘9 to 5.’ The exhibit also displays Parton’s Kennedy Center Honors medallion from 2006 and several other notable awards bestowed upon the legendary country singer. ‘Journey of a Seeker’ focuses on turning points in Dolly Parton’s career, where she overcame obstacles and defied expectations. It explores her rise from humble beginnings in the Smoky Mountains of Tennessee to becoming one of the leading female figures in country music. An official exhibit playlist will be available on major streaming platforms starting May 20—the first day of the exhibit’s availability. Visitors who purchase a timed entry ticket to the museum must reserve a separate ticket for access to the exhibit, which is offered at no additional cost. A limited number of tickets to the exhibit and museum are available each day between 9 am and 3:30 pm CST, so visitors are encouraged to purchase tickets in advance. In addition to this new exhibit, the museum also features other Dolly Parton items on display. The ‘Sing Me Back Home’ exhibition showcases foundational artifacts that span the 100-year narrative of country music history. A dress Dolly wore on ‘The Porter Wagoner Show’ in 1970 is currently on display there, as is her Country Music Hall of Fame member plaque. View the full article

Photo Credit: Spotify It’s The White Lotus Effect: Streams of Billy Preston’s “Nothing From Nothing” spike on Spotify following its feature in the season finale. Each season of HBO’s The White Lotus leaves fans reeling and streaming, first with the show’s iconic theme song, and most recently with the season 3 finale on Sunday night. Between the music and the products, it seems like everyone wants to feel a part of that White Lotus aesthetic — something the media is calling “The White Lotus Effect.” Following its feature in the final scene of the season’s last episode, streams of Billy Preston’s 1974 hit “Nothing From Nothing” saw a spike of nearly 370% on Spotify in the US compared to the day previous. Likewise, the show’s theme and its many remixes have been cropping up in nightclubs and playlists everywhere. And lots of products have seen a spike in consumer interest after their appearance on the HBO hit. Coffee Mate released two new themed flavors just in time for the The White Lotus finale: Piña colada and Thai coffee. When piña coladas were featured in the show’s finale on Sunday (don’t worry; no spoilers ahead) Coffee Mate’s marketing team wasted no time in creating a somewhat viral post to respond to the episode’s key moment. “The show going on week by week is helping drive buzz for the flavors. So they’re both doing really well in market through the first quarter,” said Daniel Jhung, President of Nestle USA’s coffee and beverage division, which owns Coffee Mate. “But I do suspect that next week, when I pick up the sales data, that piña colada flavor will see a bit of a lift as people try it, just for the novelty aspect.” Lots of luxury brands, like Gucci, Loewe, Louis Vuitton, Valentino, and Goyard, have been featured just in the first two episodes of the show’s latest season. That’s no surprise, given the whole concept revolves around the ultra-wealthy in gorgeous destinations. Funnily enough, while the show pokes holes in the seemingly flawless veneers of that level of wealth and luxury, consumers are eating up the aesthetic rather than heeding any sort of cautionary lessons. During the season 3 premier, Louis Vuitton saw a 2% increase in brand awareness, with consideration for the brand up by 4%. But other companies, like Jim Thompson, saw an impressive sales boost of 671% after a scene in which a character wears one of the brand’s silk kimonos. “Consumers are gravitating toward bold, high-status brands like Prada and Louis Vuitton,” said Matt Herbert, co-founder and co-CEO of Tracksuit. “It’s a strong reminder that culture and commerce have never been more connected.” View the full article

YouTube is now testing an AI instrumentals generator as well as a feature that matches Shorts clips to music. Photo Credit: Kelly Sikkema YouTube is officially testing AI-generated instrumentals as well as a Shorts soundtrack-matching feature. Creator Insider, billed as “an informal YouTube channel” operated by the platform’s “Creator technical team,” revealed those new offerings in a brief video. On the instrumentals side, the “gradually” expanding AI-music support appears straightforward enough. As laid out by program manager Lauren Fendel, certain channels can now use text prompts to generate fully cleared works. “These are free for you to use, so you don’t need to worry about copyright claims,” Fendel elaborated of the outputs. Despite the off-platform availability of Google’s MusicFX, the instrumentals generator processes these prompts (and provides downloadable audio) via a “Music Assistant” tab on YouTube Studio itself, the video shows. Shifting, then, to release details, the AI instrumentals are currently live for some channels that have access to YouTube Studio’s years-old Creator Music catalog. And the latter, which offers upfront and revenue-sharing licenses for protected works, is still exclusive to Partner Program-enrolled YouTubers in the States. (A few creators are taking to Reddit to inquire about Creator Music’s international-release timetable. But the appropriate support page only notes that “[e]xpansion to YPP creators outside of the U.S. is pending.”) As for Shorts soundtrack matching, the capability, as its name suggests, aims “to help creators reduce editing complexity when trying to sync their clips to the beat,” per the video. “When you select multiple photos and video clips from your phone’s gallery,” said the over 14-year Google/YouTube vet Fendel, “you’ll now have the option to automatically create a short video synced to music. Just choose the media, pick a song, and it will arrange your clips to match the beat.” Regarding availability, the soundtrack-matcher’s current reach and future rollout plans don’t appear to be set in stone. “This will be available to a small number of creators during the experiment phase, but we’ll keep you posted if we expand it,” the YouTube employee relayed. In the bigger picture, music-feature tests aren’t new for Shorts, which in November 2023 debuted Dream Track. At the time, the “suite of experimental tools” emphasized a selection of AI-powered soundalike vocals, including from T-Pain and Sia. Since then, Dream Track has apparently pivoted into instrumental soundtracks, an October 2024 video indicates. Unlike the more robust music-generation option described above, the mobile-geared Dream Track looks to function in the Shorts app’s camera as opposed to YouTube proper. View the full article

Photo Credit: Spotify Spotify unveiled major advertising updates at its Spotify Advance event in NYC earlier this month. The detailed changes led to online speculation that Spotify Premium members would begin receiving advertisements—sparking calls for cancelation if that happens. Spotify has flatly denied the rumor. Spotify Advance detailed several new changes to how Spotify will deliver ads on the audio platform. They include a new programmatic marketplace that enables real-time bidding for audio, video, and display ads across Spotify’s logged in users. Spotify also detailed new Gen AI ads allowing for the use of AI to create ads that leverage Spotify’s listener preferences. Several tweets circulated over the last few days following the event suggested that Spotify would follow in Netflix’s footsteps by introducing ads on paid plans. The rumor suggested the current $11.99 monthly Premium plan would see limited ads introduced, while Spotify would introduce a higher-paid tier for continued ad-free listening. “There is a rumor circulating that Spotify is putting ads into premium music listening,” Spotify tweeted to address the rumor. “This rumor is false. Premium music listening is and will remain ad-free.” Despite the denial, some users have reported encountering ads despite having a paid Premium subscription. Spotify has chalked up those issues to a technical glitch. But the social media backlash to a Premium tier with ads showcases how much people are paying to avoid ads—rather than support artists. “I hope Spotify knows that the only reason I use them is for Spotify Wrapped and I don’t need it. So the minute I hear a whisper, a hint, a concept of an ad, BYE!” reads one angry tweet about the potential change. These rumors gained traction among Spotify’s rumored upcoming ‘Music Pro’ tier, which is expected to offer higher-fidelity audio and additional features for a higher price—with speculation that ad-free listening would be bumped to this tier. View the full article

Driven by a desire for "uptempo catharsis", the London-born artist says the 10-track project was inspired by a "turbulent time" in her life Continue reading... View the full article

Driven by a desire for "uptempo catharsis", the London-born artist says the 10-track project was inspired by a "turbulent time" in her life Continue reading...

Bass Canyon headbangers, the moment you’ve been waiting for is almost here! To build some hype for this year’s lineup, Bass Canyon has prepared a city-wide scavenger hunt that will have you diving deep into the Bass Canyon universe. Get ready to put your detective skills to the test and unlock the first pieces of the highly anticipated lineup all throughout the country. This Wednesday and Thursday, Bass Canyon has prepared a series of thrilling scavenger hunts across 8 select cities, each leading you closer to the heart of Bass Canyon. Participating cities include New York, Chicago, Denver, Las Vegas, Los Angeles, Austin, Chiago, and Pheonix. Here’s the lowdown: Bass Coordinates: Before each hunt commences, we’ll drop “Bass Coordinates”—precise locations within each city. Simply input these coordinates into your favorite map app and embark on your quest! The Prize: The first intrepid headbanger to locate the hidden Bass Canyon poster and successfully complete the accompanying prompts will score a coveted Bass Canyon 2025 ticket! Yes, you read that right! More Prizes Await: Don’t fret if you’re not the first! Fans who arrive within the designated “time slot” and complete the prompts will be entered into a draw to win exclusive Bass Canyon merch, VIP upgrades, and other epic surprises. Hidden Surprises: They’ve also sprinkled in a few extra surprises along the way, ensuring that every participant experiences a unique and unforgettable adventure. The post Bass Canyon Announces 8 City Scavenger Hunt Series ‘Decipher the Drop’ appeared first on EDMTunes.

Levity and NITTI have joined forces for their first collaboration, "Like This," fusing trap with twisted basslines for a high-energy anthem. Out now via Ultra Records, "Like This" kicks off with a hard-hitting beat and provocative vocals that command attention. The collaboration wastes no time, quickly charging toward an explosive drop that melts into a chaotic bassline. Here, Levity’s funky bass style and NITTI’s boundary-pushing production shine through a relentless onslaught of playful wubs and distorted sound design. For Levity, "Like This" serves as another preview of their upcoming EP following the success of their single "Postman" and sold-out "Full Circle Tour." With performances lined up at Bonnaroo and Shambhala, among other major festivals, the EDM.com Class of 2024 trio are reinforcing themselves as one of the today's most exciting acts in electronic music. Listen to "Like This" below and find the new single on streaming platforms here. Follow Levity:X: x.com/levitymusic TikTok: tiktok.com/@levitymusic Instagram: instagram.com/levity.music Facebook: facebook.com/levity.music19 Spotify: tinyurl.com/y84m6cv2 Follow NITTI:X: x.com/nittimusic TikTok: tiktok.com/@nittimusicofficial Instagram: instagram.com/nittimusic Facebook: facebook.com/nittimusic Spotify: spoti.fi/2KfPAO1

RaveDAO dawns the deserts of Terra Solis Dubai on May 1, 2025. This time, not as a newcomer, but as a movement with momentum. Born in April 2024 as a crypto-conference afterparty, it quickly evolved into a global initiative fusing electronic music, blockchain, and philanthropy. Now, during TOKEN2049 Dubai, the RaveDAO one-year celebration lands at Terra Solis by Tomorrowland, where sonic meets the systemic. The event is co-presented by RaveDAO and Terra Solis. With staging worthy of Tomorrowland’s legacy and a unique desert venue, this experience reflects the next phase in RaveDAO’s evolution—no longer defined by last year’s Nightopia series, but looking ahead with sharper intent. This isn’t just a celebration. It’s a glimpse of what music culture could be: tech-forward, collaborative, and built with purpose. Guests who purchase tickets through PLVR will receive an NFT as proof of attendance, marking the intersection of rave energy and blockchain identity. This is where music meets technology. An atmosphere buzzing with Web3 leaders, global creatives, and passionate music lovers ignites conversations that go far beyond the dancefloor. The Frequency Is Feminine: Decentralizing Sound, Rewiring Power The night belongs to the music—but the message runs deeper. RaveDAO’s May 1 event doesn’t simply feature women—it centers them. Each artist carries a distinct sonic identity, shaping the night’s energy from open to close with intentionality and force. The full line-up and set times have been revealed: 9:00 PM – 10:30 PM: Jiayu opens with future-facing rhythms weaving Eastern motifs into experimental sound design. Her set will set the tone for a night where presence and atmosphere matter as much as tempo. 10:30 PM – 12:00 AM: Pretty Pink, Spotify’s Female Electronic Artist of the Year, builds melodic arcs that blend emotional warmth with precise control. 12:00 AM – 1:30 AM: Nifra, celebrated for her Tomorrowland mainstage performance, drives the night into trance-powered momentum with clarity and conviction. 1:30 AM – 3:00 AM: Lilly Palmer drives the event home with raw industrial precision, emotional tension, and her signature blend of mechanical and mystical energy. Together, they don’t just headline the night—they shift its foundation. Each set reframes what sonic leadership looks like in spaces historically dominated by men. In both Web3 and electronic music, this event signals something more than visibility. It’s a blueprint for cultural production that moves beyond aesthetics. It’s infrastructure—built through rhythm, resonance, and power shared in real time. Terra Solis by Tomorrowland: A Stage Made for the Future Set in the sweeping Al Marmoom Desert Conservation Reserve, Terra Solis is Tomorrowland’s open-air gem—a fusion of serenity and scale. The venue’s aesthetic details, stage production, and remote setting create a surreal atmosphere where sound feels sacred. On May 1, this desert sanctuary becomes RaveDAO’s ultimate expression—a night that blends intention with immersion. There won’t be elaborate installations or flashy distractions. The experience lies in the music, the staging, and the synergy between the crowd and environment. Guests securing access via PLVR will receive an NFT included in their ticket—a digital proof of participation that anchors each attendee in the story of the night. Music meets technology here—not for novelty, but for meaning. RaveDAO – Purpose Beyond the Dancefloor RaveDAO has always combined celebration with contribution. Previous events helped fund over 400 cataract surgeries through Nepal’s Tilganga Eye Centre and supported mindfulness education at Seattle’s Nalanda West. For the Terra Solis edition, the next chapter of giving is still unfolding. The team is currently exploring causes centered on women’s empowerment, leadership, and access—extending the message behind the music into actionable change. What makes RaveDAO’s approach different is its integration. This isn’t philanthropy as branding. It’s infrastructure. By embedding giving into the event’s DNA, RaveDAO transforms raving into ripple effect. At its core, RaveDAO isn’t just organizing another night out. It’s designing a model—one where music, technology, and impact form a living ecosystem. In the deserts of Terra Solis, RaveDAO and its vision comes alive. Be part of the magic and secure your tickets via PLVR.io. The post RaveDAO Marks Jubilant First Year With Lilly Palmer In The Terra Solis Desert appeared first on EDMNOMAD. View the full article

Miami Music Week serves as the ultimate launchpad for summer music festivals, uniting music lovers who have endured harsh winters or lingering post-holiday blues. On the second day of Ultra, EDMTunes caught up with Joel Corry, an English producer and dedicated fitness enthusiast. Known for his infectious house music and chart-topping hits, Joel exploded onto the scene with his breakout track ‘Sorry’, in 2019. Since then, he has crafted electrifying dance anthems like ‘BED’ with David Guetta, ‘Out and Out’ with Jax Jones & Charli XCX. Join us on an exciting journey as we delve into Joel’s impactful musical journey thus far. I’m Scott from EDMTunes here with Joel Corry at Ultra Day Two. How does it feel to be here? Feel’s so good, just came off Main Stage. That was my first solo Main Stage debut set and it was insane. Unbelievable. Joel, you’ve played at Ultra a few times before, and this is your first time on Mainstage as you mentioned. How does it feel from a smaller stage to the biggest stage? It’s amazing man. The first time I came here, I actually came with David Guetta. I just jumped up on for one song he premiered our track ‘What Would You Do’ and I got a little taste of it. I was on the Mainstage and at that moment, I said to myself I’ve got to get myself here on my own set one day. And fast forward three years, and it happened. Moments like that stay with you forever and it was definitely a big moment in my life. Over the years at Miami Music Week, you have played at all different types of venues, pool parties, and now festivals. What have been some of your standout moments over the years here? When I was 19 years old, I went to the University of Miami for a study abroad program. I spent a year living in Miami for university, and during that time, I had a fake ID that allowed me to get into nightclubs, including Mansion (now M2) and all the clubs on the strip. Miami means a lot to me because that year was a significant period in my life; it was my first time living away from home and my family, having moved from London. I remember hustling to get into those clubs and onto guest lists. Now, when I play my headline sets at venues like LIV, it feels like a full-circle moment for me every time I’m back in Miami. How has Miami changed since you were here as a study abroad college student to now? I feel like Miami hasn’t changed that much. It’s good vibes, party central. You can’t not have a good time in Miami. I love coming here and if I ever move to the U.S., Miami is where I am going to live. So have you seen a sunrise at Space or Factory Town? I have tickets to Space for the closing party and I go to that every year. All the work is done now, and it’s time to party. I love Space, and I have had some amazing big nights there. In terms of music, what do you have coming up this year? What are your plans? I just debuted a new track that I played on the Mainstage called ‘Daydream’, that is coming out this summer. Aside from that, I have big collaborations coming this year with some unbelievable artists. I don’t want to say their names, but watch this space as I have a big year coming up. I am really excited about some of the music coming. Would you say your sound is staying with what you’re familiar with or would you say Joel Corry’s sound is branching out? I believe it’s essential to keep evolving because trends and tastes are constantly changing. I was discussing this with someone the other day. When I first started producing music in 2014 and 2015, the sounds I created were quite different from the music I’m known for today. It’s fascinating how every artist experiences this evolution. Over the years, their tastes shift, and the music they release changes as well. As a DJ, it’s crucial to stay updated on current trends. We have the privilege of playing music for dance floors every weekend around the world, allowing us to observe what works and what doesn’t. We can use these insights as inspiration when we’re in the studio. Two years ago we caught up on Groove Cruise and you played a techno set. Is that something you’d like to explore more? I am a raver at heart and a huge fan of techno. After this interview, I’ll be heading to the Resistance stage. I also enjoy playing techno in my sets. As you mentioned, you saw me perform a full techno set on Groove Cruise. Whenever I get the opportunity to do extended sets, like the five-hour set I played at Ministry of Sound in London recently, I love to incorporate techno. The last two hours of that set were packed with techno bangers. For my Mainstage set at Ultra, I wanted to include the records that people know me for, so they can sing along. However, I was thinking about how I can adapt those tracks to bring that energy to the Mainstage. I added some techno drops and made edits to those records specifically for this Ultra set. What Ultra set are you excited to see on Day Two? I am excited to catch Anyma back to back Solomon on the Mainstage. Also looking forward to seeing Carl Cox Live on the Resistance stage. Some people don’t know that you actually started off as a fitness influencer. Then you moved into DJing and put the fitness content to the side for a bit. Now you seem to be merging the two worlds. Tell me your thought process there. Is that something you want to do more of? Fitness and DJing have been my two biggest passions in life. They started as hobbies, but I eventually turned them into careers. In my early 20s, I took fitness very seriously. I participated in competitions, attended expos, created fitness videos, developed an app, and secured sponsorships. However, as my music career began to take off, I had to prioritize it above everything else. You can’t fully invest in every aspect of life, and music and DJing became my top priority. Once I started seeing progress in my music career, I committed to it entirely, and fitness transformed back into more of a lifestyle and hobby for me. It’s no longer solely about physical performance; it has become a mental benefit as well. When I go to the gym, I feel great, especially while touring, dealing with jet lag, and the party lifestyle. I want to maintain my fitness by training hard, as it helps me be the best version of myself—not only in fitness but also in my DJing. Scott: It’s a great example to set for all the artists out there, dealing with burnout. This is the best way to be. Hope you readers got to know more about Joel Corry. Catch his Ultra set below and let us know what you think. The post EDMTunes Chats with Joel Corry at Ultra Music Festival appeared first on EDMTunes.

We're counting down the results from 2025's Top 100 Clubs poll live here from 15:30 BST

The group's last studio album, 'Not Music', came out in 2010

The pair played a mix of original songs and cover songs that included their take on Charli xcx

Vassel‘s “Fading Gold” is a gripping mix of melodic techno and progressive house, where feeling and rhythm come together to make a hypnotic sound journey. The deep, pulsing bassline of this track draws you in from the very first note. It’s like a steady heartbeat under ethereal sounds that shimmer like faraway stars. The tunes build with a bittersweet beauty that moves between sadness and happiness, like the beauty of its name, gold, which slowly fades into twilight. The way the track builds with textured pads, haunting voice whispers, and complex arpeggios that spiral into the unknown makes it sound like a movie score. The production has the dark, immersive energy of artists like Anyma and ARTBAT, but Vassel’s signature touch is clear—the way the bassline breathes, the small details in the groove, and the careful balance between deep reflection and dancefloor drive. Fading Gold does best in the hours between midnight and dawn, when you can get lost in the moment. This is the kind of song that wraps you up on a late-night drive, pumps through a foggy club at 3 AM, or plays in the background while you take a quiet walk in the city at night. It’s not just a song; it’s a feeling trapped in sound. It’s hypnotic, electric, and deeply emotional. The post Vassel unveils synth-driven melodic techno ‘Fading Gold’ appeared first on The Groove Cartel.

There are fewer than 100 of the Yamaha GX-1 synthesisers in existence

The experimental hip hop group spoke out against the “rumours and hearsay” Continue reading...