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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...

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

There were reportedly at least 300 people in attendance at the concert for merengue singer Rubby Pérez

The artist’s latest single, featuring Proxy Fae, is a reflection on gentleness, rhythm, and the transformative power of the dance floor. This single is a deep, emotive exploration of the balance between self-compassion and the urgency of life, encapsulated within a soundscape that invites listeners to both reflect and move. Available now on Beatport. Vallechi, an artist known for his ability to merge introspective themes with dance rhythms, has released his latest track, “Go Easy.” This collaboration with the duo Proxy Fae, featuring Nico Eon and Clau the Witch, serves as the first glimpse into Vallechi’s upcoming EP Cherry, scheduled for release in mid-2025. “Go Easy” carries with it an urgent plea for gentleness amid the relentless pace of modern life. Its lyrics, “Go easy on me, take it slow,” evoke a universal desire for relief and connection. The track blends Vallechi’s distinct club sensibilities with an introspective lyrical narrative, offering both depth and accessibility. At its core, the song is about finding peace within oneself while navigating a world that demands constant action. The collaboration with Proxy Fae is the next evolution of Vallechi’s ongoing artistic journey. Having worked with Nico Eon in the past, including contributions to Vallechi’s previous work, this partnership has grown into a creative kinship. Proxy Fae’s hauntingly pure vocals, led by Clau the Witch, anchor all the tracks on Cherry, ensuring a cohesive sonic experience throughout the EP. Together, the trio crafts a sound that speaks both to the mind and the body, blending emotional resonance with the driving rhythms of the club. Listen now! Vallechi’s journey as an artist has always been informed by a desire to shift the narrative around electronic music. He has often pondered a central question: What if clubs became spaces where people could find themselves, rather than lose themselves? This question has influenced much of his creative output, including Go Easy. The track reflects Vallechi’s aspiration to re-enchant the dance floor, transforming it from a place of escape to one of personal transformation and connection. The creative process behind “Go Easy” was instinctive and fluid, with Vallechi beginning the melody on his mobile phone using the Korg Gadget. From there, the track developed, its rhythm and emotional tone shaped by a need to convey strength and gentleness simultaneously. “The idea was that kindness didn’t need to be soft to be real,” Vallechi explains, adding that “Go Easy” was shaped by a desire to explore how care could manifest through rhythm and motion, not just stillness. The track also represents Vallechi’s exploration of new textures and musical references. Drawing on influences from UK club culture, ambient sounds, and devotional music, “Go Easy” is more than just a song — it’s an experiment in blending different genres and emotional responses. With contributions from Clau the Witch on vocals and a careful arrangement of synths, basslines, and electronic percussion, the track strikes a balance between vulnerability and the pulse of the club. Vallechi’s use of Ableton Live and Korg Gadget allows for an expansive, yet intimate sound that invites listeners into a deeply personal yet universally relatable space. “Go Easy” marks an important milestone for Vallechi. It’s a continuation of his exploration of music as a vehicle for self-expression and emotional depth. As he reflects on his work, Vallechi notes, “Music should be a place where we can breathe, where we can be vulnerable without being overwhelmed.” With his latest track, he invites listeners to slow down, take a breath, and embrace the gentleness within — all while celebrating the power of movement and connection. Looking ahead, Vallechi’s Cherry EP promises to further explore the themes of self-discovery, gentleness, and the transformative power of music. Following “Go Easy,” Vallechi is set to release his next single, “Sometimes,” on April 30, 2025, before unveiling the full EP later that year. With his evolving sound and vision, Vallechi continues to push the boundaries of what electronic music can convey, inviting both the listener and the dancer to experience something more profound on the dance floor. Vallechi’s “Go Easy” is a testament to the artist’s ability to merge introspection with club energy. It’s a song that speaks to those seeking connection, calm, and a gentle yet rhythm-driven space for self-exploration. As he continues to explore these themes in his upcoming EP, Vallechi’s music remains a reflection of his journey — one where the dance floor becomes a space of personal growth, compassion, and transformation. The post Vallechi’s New Track ‘Go Easy’ Marks a Step Toward Self-Discovery and Connection in Electronic Music appeared first on Electric Mode.

"WAV has been my soundboard of last year and I hope that people can feel the raw energy that comes from this album"

Emergency responders in Santo Domingo fear the death toll could rise as the search for survivors continues Continue reading...

Emergency responders in Santo Domingo fear the death toll could rise as the search for survivors continues Continue reading... View the full article

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album. Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival. Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience. The Fear of Never Landing releases June 6th via Just Music. Pre-order here TRACKLIST 01 – Through The Heat Waves 02 – Eight Miles High Alone 03 – In Motion 04 – Inhale 05 – Crystalline 06 – Exhale 07 – One More Rush 08 – Silence Is Gliding 09 – Cloud Surfing The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album. Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival. Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience. The Fear of Never Landing releases June 6th via Just Music. Pre-order here TRACKLIST 01 – Through The Heat Waves 02 – Eight Miles High Alone 03 – In Motion 04 – Inhale 05 – Crystalline 06 – Exhale 07 – One More Rush 08 – Silence Is Gliding 09 – Cloud Surfing The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.

Photo Credit: HBO / Max Sean ‘Diddy’ Combs’ lawyers have subpoenaed Warner Bros. seeking raw, unedited footage from the HBO docuseries, ‘The Fall of Diddy.’ His lawyers sent the subpoena back in March to Warner Bros. asking for “all recordings, including raw and unedited footage” from the interviews with two accusers who appeared in the series. The docuseries aired on HBO/Max in January. The subpoena also contains a demand for any notes or journals the accusers gave the documentary’s producers and records of financial payments made to the accusers in connection to their involvement with the project. Warner Bros. is fighting the subpoena in court as Diddy’s trial looms in May. Lawyers for the studio asked a federal judge overseeing the sex-trafficking case to squash the subpoena in court today. A nine-page filing cites “reporter’s privilege” and calls Combs’ efforts an overly broad “fishing expedition.” “Mr. Combs seeks outtakes from interviews with two persons featured in the docuseries,” Warner Bros. lawyer Thomas B. Sullivan writes to US District Judge Arun Subramanian. “The interview outtakes it seeks are protected by the reporter’s privilege that applies to unpublished newsgathering materials,” the lawyer continues. Mr. Combs has not met, and cannot meet, his burden to overcome that privilege.” The Warner Bros. filing does not directly name the two accusers whose notes and outtakes Diddy’s lawyers want to see. Instead, the filing describes them as Individual A and Individual B. “Individual A is Mr. Combs’ former personal chef,” the document reveals. “She is featured in the docuseries speaking about how Mr. Combs treated her when she was employed by him, as well as various rumors she heard about his behavior during her time in his orbit.” Meanwhile, Individual B is called a “former romantic partner of Mr. Combs.” The lawyer’s petition says she was featured in the docuseries discussing the origins and path of her relationship with him, including one alleged incident of sexual assault.” Warner Bros. lawyers argue that Combs’ “fishing expedition” is an attempt to find something to use against those two accusers should they testify against him at trial. View the full article

Photo Credit: DMX by Mika Väisänen / CC by 3.0 The DMX Estate secures a victory in an ongoing lawsuit challenging their sole ownership of the late rapper’s copyright and IP rights. DMX’s estate has secured a major victory in an ongoing lawsuit that challenges the estate’s sole ownership of the late rapper’s copyright, trademark, and other intellectual property rights. The judge issued a decision and order on Monday (April 7) that rejects the claims by DMX’s ex-wife, Tashera Simmons, that she co-owned his IP rights accrued during their marriage and is entitled to 50% of all revenue generated. The decision reinforces that the estate, represented by Kurzman Eisenberg Corbin & Lever, LLP and Manatt, Phelps & Phillips, LLP, is the sole owner of all such rights. Tashera Simmons’ rights, therefore, are limited to a portion of record and music publishing royalties generated by musical works that her former husband released during their marriage. “[The Estate] is the sole owner of all intellectual property rights (including all copyrights and trademark rights) that [DMX] acquired during his marriage to [Simmons], as well as any and all trademarks and intellectual property rights that belonged to [DMX] at the time of his death; except as specifically set forth in five Letters of Direction signed by [DMX],” wrote Judge David F. Everett. “[Simmons] has no income interest and is not otherwise entitled to any monies of any kind generated by or attributed to services rendered by [DMX], and/or to copyrights and trademark rights […] acquired during his marriage to Plaintiff.” DMX, real name Earl Simmons, who began rapping in the early 1990s, passed away on April 9, 2021, at only 50 years old. His influence on hip-hop is undisputed; his aggressive style and violent lyricism helped popularize the horrorcore genre. Throughout his career, he won an American Music Award, a Billboard Music Award, and was nominated for six Grammy Awards. DMX was the first artist to have their first five albums consecutively debut atop the Billboard 200. By 2021, he had sold over 75 million records worldwide. His international hit, “X Gon’ Give It to Ya,” released in 2002, saw a resurgence in popularity in 2016 when it was featured in the Marvel film Deadpool and its trailers. DMX’s eighth and posthumous studio album, Exodus, was released a month after his passing, on May 28, 2021. View the full article

There was a time when Bondi Beach didn’t just have a lacklustre shimmer under fireworks on New Year’s Eve, it raved into the future. From the turn-of-the-millennium madness of NYE 1999/2000 to the epic Shore Thing era featuring The Chemical Brothers, Fatboy Slim, and Skrillex, Bondi wasn’t just a postcard, it was an epicentre of global club culture. Now, after more than a decade of silence, it may finally return to the most iconic beach in the world. Waverley Council has officially opened expressions of interest to bring back a New Year’s Eve festival on Bondi Beach, reigniting hopes that Shore Thing, the legendary party that ended in 2014, might be reborn for a new generation of ravers, music lovers, and sun-soaked dreamers. Australia has thrown some wild parties, but NYE 1999/2000 on Bondi Beach is still spoken about with reverence. That night, more than 20,000 revellers danced through the new millennium under a technicolour sky, powered by an all-star electronic lineup. It was a defining moment in Australian dance culture, placing Bondi firmly on the international map. Throughout the 2000s and early 2010s, Shore Thing brought dance music royalty to Sydney’s most iconic beach. The Chemical Brothers, Snoop Dogg, Fatboy Slim, Calvin Harris, and Skrillex all lit up the sand, backed by massive production and a crowd that knew how to party. It wasn’t just a beach event, it was an annual pilgrimage for lovers of electronic music from across Australia and the globe. Fast forward to 2025, and Sydney’s nightlife is still recovering from a tough decade of lockouts, red tape, and COVID-related shutdowns. But the desire to bring back Bondi’s beach festival is about more than nostalgia—it’s about reigniting Sydney’s soul. “Sydney needs to come alive again,” says Damion Pell, Editor of Decoded Magazine. “We need to remove restrictions, embrace our culture, and become a truly international city once again. Reviving Bondi Beach on New Year’s Eve is a powerful statement—it’s not just about the music, it’s about reclaiming our identity as a city that celebrates life after dark.” Waverley Councillor Michelle Stephenson, who attended Shore Thing herself in the 2000s, agrees. “Live music is one of the key factors we want to utilise to bring energy back to Bondi. Post-COVID, locals were feeling a lack of connection to the community and each other. This is how we bring that back.” The council has already re-engaged Fuzzy Events, the producers behind Field Day and past Shore Thing editions, to take over Bondi’s Mardi Gras beach party, signalling a potential return of serious festival expertise to the shoreline. And the industry is watching. Olly Arkins, Managing Director of the Australian Festival Association, recently addressed the council in support of the plan. “Events like this create unforgettable experiences for audiences and provide huge cultural cache for our city. Having an event on Bondi Beach during New Year’s Eve… I can’t think of anything more Sydney than that.” It’s not just about international acts either. Arkins stresses that a new NYE festival would be a golden stage for emerging Aussie artists. “Festivals are one of the few opportunities for up-and-coming local artists to get in front of large audiences. A 15,000-strong crowd on Bondi Beach? That’s career-changing.” Cr Stephenson already has her dream lineup. “Homegrown heroes like Dom Dolla and Fisher would absolutely destroy that stage, but artists like John Summit, Barry Can’t Swim, Vintage Culture, and Peggy Gou would take it to the next level. The list is endless.” She’s not wrong. Bondi deserves a lineup that reflects the city’s status as a global capital of culture, music, and sunshine. And with Sydney already hosting Field Day on January 1, the idea of a NYE blowout on the beach followed by a recovery party in the Domain sounds like a dream double-header. While Australia’s festival circuit has taken a beating—Splendour, Groovin the Moo, and even Bluesfest facing cancellations or scaling back—Bondi Beach is uniquely poised to revive not just a party, but a cultural movement. As we approach 2025’s NYE, one thing is clear: Sydney is ready for its moment. It has been waiting. And if Bondi Beach is anything like it used to be, when that needle drops again, it’s going to echo across the world. Decoded Magazine will keep you updated on the progress of Bondi’s NYE resurrection. Summer in Sydney might just be about to get legendary again. The post Waverley Council wants New Year’s Eve festival to return to Bondi Beach appeared first on Decoded Magazine.

There was a time when Bondi Beach didn’t just have a lacklustre shimmer under fireworks on New Year’s Eve, it raved into the future. From the turn-of-the-millennium madness of NYE 1999/2000 to the epic Shore Thing era featuring The Chemical Brothers, Fatboy Slim, and Skrillex, Bondi wasn’t just a postcard, it was an epicentre of global club culture. Now, after more than a decade of silence, it may finally return to the most iconic beach in the world. Waverley Council has officially opened expressions of interest to bring back a New Year’s Eve festival on Bondi Beach, reigniting hopes that Shore Thing, the legendary party that ended in 2014, might be reborn for a new generation of ravers, music lovers, and sun-soaked dreamers. Australia has thrown some wild parties, but NYE 1999/2000 on Bondi Beach is still spoken about with reverence. That night, more than 20,000 revellers danced through the new millennium under a technicolour sky, powered by an all-star electronic lineup. It was a defining moment in Australian dance culture, placing Bondi firmly on the international map. Throughout the 2000s and early 2010s, Shore Thing brought dance music royalty to Sydney’s most iconic beach. The Chemical Brothers, Snoop Dogg, Fatboy Slim, Calvin Harris, and Skrillex all lit up the sand, backed by massive production and a crowd that knew how to party. It wasn’t just a beach event, it was an annual pilgrimage for lovers of electronic music from across Australia and the globe. Fast forward to 2025, and Sydney’s nightlife is still recovering from a tough decade of lockouts, red tape, and COVID-related shutdowns. But the desire to bring back Bondi’s beach festival is about more than nostalgia—it’s about reigniting Sydney’s soul. “Sydney needs to come alive again,” says Damion Pell, Editor of Decoded Magazine. “We need to remove restrictions, embrace our culture, and become a truly international city once again. Reviving Bondi Beach on New Year’s Eve is a powerful statement—it’s not just about the music, it’s about reclaiming our identity as a city that celebrates life after dark.” Waverley Councillor Michelle Stephenson, who attended Shore Thing herself in the 2000s, agrees. “Live music is one of the key factors we want to utilise to bring energy back to Bondi. Post-COVID, locals were feeling a lack of connection to the community and each other. This is how we bring that back.” The council has already re-engaged Fuzzy Events, the producers behind Field Day and past Shore Thing editions, to take over Bondi’s Mardi Gras beach party, signalling a potential return of serious festival expertise to the shoreline. And the industry is watching. Olly Arkins, Managing Director of the Australian Festival Association, recently addressed the council in support of the plan. “Events like this create unforgettable experiences for audiences and provide huge cultural cache for our city. Having an event on Bondi Beach during New Year’s Eve… I can’t think of anything more Sydney than that.” It’s not just about international acts either. Arkins stresses that a new NYE festival would be a golden stage for emerging Aussie artists. “Festivals are one of the few opportunities for up-and-coming local artists to get in front of large audiences. A 15,000-strong crowd on Bondi Beach? That’s career-changing.” Cr Stephenson already has her dream lineup. “Homegrown heroes like Dom Dolla and Fisher would absolutely destroy that stage, but artists like John Summit, Barry Can’t Swim, Vintage Culture, and Peggy Gou would take it to the next level. The list is endless.” She’s not wrong. Bondi deserves a lineup that reflects the city’s status as a global capital of culture, music, and sunshine. And with Sydney already hosting Field Day on January 1, the idea of a NYE blowout on the beach followed by a recovery party in the Domain sounds like a dream double-header. While Australia’s festival circuit has taken a beating—Splendour, Groovin the Moo, and even Bluesfest facing cancellations or scaling back—Bondi Beach is uniquely poised to revive not just a party, but a cultural movement. As we approach 2025’s NYE, one thing is clear: Sydney is ready for its moment. It has been waiting. And if Bondi Beach is anything like it used to be, when that needle drops again, it’s going to echo across the world. Decoded Magazine will keep you updated on the progress of Bondi’s NYE resurrection. Summer in Sydney might just be about to get legendary again. The post Waverley Council wants New Year’s Eve festival to return to Bondi Beach appeared first on Decoded Magazine.

The grid is back online. Disney has just released the trailer for Tron: Ares, and the synth-heavy, neon-drenched world of Tron is pulsing with new life. Slated for release in October 2025, the third installment in the cult sci-fi saga looks every bit the cybernetic fever dream fans have been waiting for—and this time, the soundtrack torch has passed from Daft Punk to industrial-electronic titans Nine Inch Nails. For a generation raised on synthesisers, cyberspace, and futurism, the Tron franchise has long held a special place in the heart of the electronic music community. From the 1982 original, which saw Wendy Carlos pioneering electronic film scoring, to 2010’s Tron: Legacy with Daft Punk’s legendary score becoming a defining moment for cinematic electronica, Tron has always been as much about the sound as it is about the spectacle. In Tron: Ares, director Joachim Rønning (known for Pirates of the Caribbean: Dead Men Tell No Tales and Maleficent: Mistress of Evil) steps into the digital world for the first time, bringing a bold visual flair and blockbuster polish. But it’s the addition of Nine Inch Nails’ Trent Reznor and Atticus Ross, the Oscar-winning duo behind The Social Network and Watchmen soundtracks, that is creating serious buzz among audiophiles and ravers alike. Their gritty, atmospheric textures promise to take the Tron sound in a darker, more industrial direction, blending analog angst with digital chaos. While Daft Punk’s score for Legacy was pristine and cinematic, Reznor and Ross are likely to inject Ares with a grittier, more visceral sound. Think jagged synths, metallic drones, and epic basslines something that resonates with a post-cyberpunk, post-pandemic world where the boundaries between tech and humanity are blurrier than ever. Jared Leto steps into the titular role of Ares, a mysterious program sent from the digital world into our reality, marking the first time the Grid spills fully into the human realm. Leto, no stranger to transformative sci-fi roles, promises a performance that blurs the line between messiah and machine. Alongside Leto is a fresh cast that includes Greta Lee (Past Lives, Russian Doll), Jodie Turner-Smith, and Evan Peters (American Horror Story, Dahmer), bringing edgy performances to match the film’s renegade digital aesthetic. Rumors also swirl about appearances from Legacy alumni Garrett Hedlund and Olivia Wilde, but nothing has been confirmed. Tron: Legacy wasn’t just a movie; it was a movement. Daft Punk’s soundtrack was adopted as gospel by electronic artists and DJs, with tracks like “Derezzed” and “End of Line” still appearing in techno and house sets 15 years later. It redefined what a sci-fi film could sound like, setting a new benchmark for how electronic music could drive a narrative. The visuals were equally influential. The glowing suits, stark vector grids, and immersive lightcycle sequences became instant iconography, not just for cinema but for rave culture, festival stage design, and even fashion. With Tron: Ares, Disney appears to be doubling down on what made the series such a cult classic: cutting-edge visual effects, philosophical undertones about AI and digital identity, and a soundtrack that refuses to play it safe. For the electronic music community, it’s more than a movie, it’s a sonic event. As Tron: Ares prepares for its October debut, the hype is tangible, not just among Disney fans, but across underground dance floors, synthwave forums, and digital art collectives worldwide. This isn’t just another sequel. It’s a return to the grid, rebooted for a new era where technology and sound are one. From Daft Punk’s immaculate score to the raw intensity of Nine Inch Nails, Tron continues to be the intersection where cinema, electronica, and digital counterculture converge. Buckle in. The future’s coming, again. Follow Decoded Magazine for more deep dives into where music meets culture, and the beats beyond the mainstream. The post “Tron: Ares” Trailer drops – A futuristic fever dream fueled by Nine Inch Nails appeared first on Decoded Magazine.

The reintroduced TICKET Act is riding a fresh wave of congressional support. Photo Credit: Claudio Schwarz Riding a new wave of bipartisan support, the Transparency in Charges for Key Events Ticketing Act (TICKET Act) is one step closer to becoming law. Lawmakers made this latest round of approval official during a House Energy and Commerce committee markup today. Nearly all the involved representatives voted in favor of the reintroduced TICKET Act, which is also picking up steam in the Senate. (As part of the same four-hour hearing, the House committee considered 25 other bills, among them the American Music Tourism Act.) And for those who’ve followed the legislation’s years-running journey, that probably won’t come as a surprise. Before being booted from a spending bill late last year, the TICKET Act passed overwhelmingly in the House. “We have worked a long time on this legislation – it’s been a couple of years,” Representative Jan Schakowsky summed up during today’s hearing. “And we should not have any problems with this right now. Because we know that this legislation has passed the House of Representatives pretty much unanimously. And we have had sponsors across the aisle at all times.” Most notably, the TICKET Act would mandate all-in pricing, thereby compelling ticket marketplaces to display fee-inclusive costs at the outset. Outside the halls of Congress, several players have endorsed this key provision (and the bill itself). Chief among the all-in advocates is Ticketmaster parent Live Nation; some evidence suggests that the market-leading promoter will benefit from the measure. In any event, the concise TICKET Act would further ban speculative ticket listings, referring to those advertising passes that the sellers don’t actually possess. But possible workarounds seem straightforward enough here. Provided the appropriate listings are labeled accordingly, ticket marketplaces could still allow the sale of services to obtain as-yet-unsecured passes, the TICKET Act text shows. Stated differently, it doesn’t appear that the legislation will outlaw speculative tickets altogether. Another section of the bill describes bolstered ticket-refund requirements for postponed or canceled happenings, and the TICKET Act calls for an FTC report on the little-enforced BOTS Act. (President Trump’s March 31st executive order instructs the FTC to “rigorously enforce” the BOTS Act. Separately, the MAIN Event Ticketing Act was reintroduced towards 2025’s beginning and, in short, would heighten the BOTS Act’s enforcement power.) In a statement shared with DMN, the National Consumers League applauded the TICKET Act as “the solution that millions of fans have been seeking.” “This bill is the solution that millions of fans have been seeking to finally get rid of hidden junk fees, crack down on predatory ticket resale practices, and guarantee refunds in the event of event postponements and cancellations,” VP of public policy, telecommunications, and fraud John Breyault said in part. View the full article

A federal lawmaker is criticizing the latest TikTok sale deadline extension. Photo Credit: Solen Feyissa Is the latest extension to the TikTok forced-sale deadline “a clear violation of the law”? At least one member of Congress believes so, and he’s expressing “deep reservations” as a result. Senator Mark Warner (D-VA) just recently voiced that pushback in an open letter to President Trump, who last week extended the cutoff for ByteDance to divest from TikTok in the U.S. Prior to this extension (which is the second overall), evidence pointed to an imminent deal for TikTok in the States, we covered in detail. But just before the transaction’s anticipated announcement – and following the White House’s tariffs rollout – China pulled back from the agreement. Now, against the backdrop of intensifying trade and tariff negotiations, it remains to be seen how the marathon TikTok episode will conclude. Ahead of the grand finale, however, Senator Warner is taking aim at the deadline extension and the reported sale terms for TikTok U.S. On the former front, the senator reiterated “that the law passed by Congress” – it’s been almost one year since then-President Biden signed the Protecting Americans from Foreign Adversary Controlled Applications Act – “only allowed for a single extension of no more than 90 days.” “This second delay, announced April 4, 2025,” Senator Warner proceeded, “is a clear violation of the law while also continuing to leave Americans vulnerable to malign influence operations conducted by an adversary country.” Building on the position, the senator called out the divestiture’s reported particulars – including a non-controlling stake in TikTok U.S. for ByteDance when all is said and done. (The “reported” descriptor is important; concrete specifics haven’t been directly confirmed in this area. The senator in his letter cited terms highlighted in “news reports.”) “A successful and comprehensive divestiture will require any successor to scrupulously prevent influence or access by ByteDance or other entities under the jurisdiction of the People’s Republic of China,” the lawmaker wrote. “The deal being discussed undermines confidence that the divested app can be trusted to protect national security and ensure compliance with the law.” Time will tell exactly what the criticism (coming only from the senator, with no co-signers on the letter) means for TikTok’s possible U.S. sale. Most immediately here, from the perspective of support among younger voters, logic and evidence suggest that aggressively advocating for TikTok’s stateside shutdown is ill-advised. Thus, it’s unclear whether the pushback will pick up steam and fuel a broader campaign against the extension. But if so inclined, the senator and others could perhaps increase the pressure on Google and Apple, which are still carrying TikTok in their respective app stores and could technically face massive fines under the language of the forced-sale law. Regardless, amid reportedly devolving U.S.-China trade talks, it’s also possible that the well-defined TikTok deal (which would require Beijing’s approval) won’t wrap at all. On the other hand, should the long-discussed divestiture come to fruition, it’s safe to say the platform’s executive team will look different under the new owners. View the full article

Photo Credit: National Police of the Dominican Republic At least 44 people have died while over 100 were being treated for injuries after a roof collapsed at a Dominican Republic nightclub. Rescue crews have been searching for potential survivors in the rubble at the Jet Set club in Santo Domingo after a roof collapsed, killing at least 44 people. More than 100 others have been treated for injuries. It wasn’t immediately clear what caused the roof collapse. “We presume that many of them are still alive, and that is why the authorities here will not give up until not a single person remains under that rubble,” said Juan Manuel Méndez, Director of the Center of Emergency Operations in the Dominican Republic capitol. He added that teams were still working to determine the total number of people present at the scene at the time of the incident. President Luis Abinader wrote on social media that all rescue agencies are “working tirelessly” to help those affected. “We deeply regret the tragedy that occurred at the Jet Set nightclub. We have been following the incident minute by minute since it occurred,” he wrote. Among the victims was Nelsy Cruz, governor of the northwestern province of Montecristi and sister of Major League Baseball star Nelson Cruz. She called President Abinader at 12:49 AM on Tuesday, saying she was trapped and the roof had collapsed. Cruz later died at the hospital. “This is too great a tragedy,” said First Lady Raquel Abraje, who first reported Cruz’s call to the president. Injured individuals include former MLB pitcher Octavio Dotel and legislator Bray Vargas. Merengue singer Rubby Pérez was performing when the roof collapsed, and his daughter said he was believed to be trapped in the rubble. Pérez’s manager, Enrique Paulino, told reporters at the scene that the concert began shortly after midnight. The roof collapsed almost an hour later, killing the group’s saxophonist. “It was sudden. I thought it was an earthquake, so I threw myself to the ground and covered my head,” he said. “We tried to get to the area where Rubby was, but there was too much debris there.” Manuel Olivo Ortiz, whose son attended the concert but did not return home, was among those anxiously awaiting outside the club for news. “We’re holding on only to God,” he said. Massiel Cuevas, godmother of 22-year-old Darlenys Batista, was also awaiting word outside the club. “I’m waiting for her. She’s in there, I know she’s in there,” said Cuevas, who believes Batista will be pulled out alive. News of this night club roof collapse follows two deaths at a Mexico City festival due to a crane collapsing in high winds. View the full article

Photo Credit: David Shankbone / CC by 3.0 Cassie Ventura is set to testify against her former partner Sean ‘Diddy’ Combs using her real name instead of the ‘Victim 1’ designation. She will tell the court about her relationship with the rap mogul during his upcoming trial on sex trafficking and racketeering charges. She is one of four victims who are set to testify in court at Comb’s trial—and the first to make public allegations against the rap mogul. Ventura sued Diddy in November 2023 for what she alleges is a decade-long cycle of sexual assault—with the abuse beginning in 2005 when she was 19 and signed to Bad Boy Records. That lawsuit described beatings, forced drug usage, and coercive sexual acts with other men while Diddy filmed them. Leaked video of an incident between Diddy and Ventura shows the rapper running down a hotel hallway to intercept Ventura at the elevators, preventing her from leaving. He drags her back to the room by her hair after kicking and assaulting her. That incident occurred in 2016 at the InterContinental Hotel in Los Angeles, with CNN publishing the video in May 2024. The video seems to corroborate an account in Ventura’s initial lawsuit. Combs settled that lawsuit one day after filing it with no admission of wrongdoing. In a Friday motion submitted by prosecutors, federal attorneys said ‘Victim-1’ will no longer testify anonymously during the trial. “[Ventura] is prepared to testify under her own name. Victim-2, Victim-3, and Victim-4 have asked that their identities not be revealed to the press or public,” writes the prosecution, which seeks to use pseudonyms for those accusers. Combs’ lawyers have asked judges to unmask his accusers and force them to make their names public. Combs faces five counts on three charges of racketeering, sex trafficking by force, and transportation to engage in prostitution. The rap mogul has pleaded not guilty. Combs is facing more than 55 lawsuits in New York federal and state courts—with around 40 of thos elawsuits filed under ‘Jane Doe’ or ‘John Doe’ pseudonyms. View the full article

Photo Credit: Scooter Braun and Jermaine Dupri Jermaine Dupri’s So So Def Recordings enters a distribution partnership with Hybe America, led by Scooter Braun. The agreement sees Hybe distribute So So Def’s catalog while the two work together on releases for upcoming talent. Since the 1990s, Dupri and So So Def have worked with stars like Mariah Carey, Usher, Nelly, Xscape, Bow Wow, and Jagged Edge. Dupri also notably mentored Braun when he entered the music industry over 20 years ago. “Everything I learned about the music business started with Jermaine,” said Braun. “He gave me my first shot when I was just a kid with a dream. I was blessed to witness genius up close. And now, years later, it’s an honor to return to where it all began and stand beside him as a partner.” Since his time working with Dupri, Braun has become one of the most successful executives in the music industry. He is best known for managing stars like Justin Bieber, Ariana Grande, and Demi Lovato. Braun became the CEO of Hybe America after Hybe, the Korean music giant, bought his Ithaca Holdings in 2021. This partnership makes Hybe’s second major hip-hop-related venture, since acquiring Quality Control in 2021. The label and management company’s roster included artists like City Girls, Lil Baby, and Migos. “This isn’t just a business move, this is family,” Dupri shared. “Watching Scooter build what he has built has made me incredibly proud. He learned the game inside So So Def, and now he’s in a position to open doors the way I once opened them for him. That’s what legacy is about.” Usher, who got his early start with So So Def, remarked upon the partnership: “Nothing makes me happier to see my brothers together. They both have a lot to offer each other.” Hybe America and So So Def will both soon begin rolling out new music. View the full article

Photo Credit: Rory Kramer Blink-182 is set to hit the road again after their blockbuster 2024 tour. Mark Hoppus, Tom Delonge, and Travis Barker have announced their ‘Missionary Impossible’ tour supporting the release of their latest album, One More Time…. This is the first album in over a decade that features the original trio back in the studio. The upcoming shows will lean into Blink-182’s punk roots, with a setlist packed with classics spanning their entire catalog. The multi-city trek is produced by Live Nation and will hit up major amphitheaters, arenas, and stadiums across the United States. Special guests Alkaline Trio will join on all dates. Tickets for the new tour will go on sale starting Friday, April 11 at 10 am local time on Blink182.com. A Citi pre-sale for card members will begin Tuesday, April 8 at 12 pm ET until April 10 1 pm. The tour will also offer a variety of VIP packages and experiences for fans who want to take their concert experience to a new level. Blink-182 have sold over 50 million albums worldwide and have rocked audiences from Adelaide to Zurich—becoming one of the defining punk rock bands of their generation. The band last took stage earlier this year for a sold-out benefit concert at the Hollywood Palladium in support of LA fire relief efforts. 100% of net proceeds went to the Pasadena Humane Society, California Fire Department, LAFD Foundation, and ARC Firefighter Fund. Blink-182 ‘Missionary Impossible’ Tour Dates — 2025 August 28 | Hard Rock Live — Hollywood, FL 29 | MIDFLORIDA Credit Union Amphitheatre — Tampa, FL September 01 | Credit One Stadium — Charleston, SC 03 | Coastal Credit Union Music Park at Walnut Creek — Raleigh, NC 04 | Veterans United Home Loans Amphitheater at Virginia Beach — Virginia Beach, VA 06 | Bethel Woods Center for the Arts — Bethel, NY 07 | Broadview Stage at SPAC — Saratoga Springs, NY 09 | BankNH Pavilion — Gilford, NH 11 | Darien Lake Amphitheater — Buffalo, NY 13 | Four Chord Music Festival — Pittsburgh, PA 14 | Sea Hear Now — Ashbury Park, NJ 16 | Riverbend Music Center — Cincinnati, OH 17 | Ruoff Music Center — Noblesville, IN 21 | Shaky Knees — Atlanta, GA 22 | The Orion Amphitheater — Huntsville, AL 24 | Walmart AMP — Rogers, AR 26 | Hollywood Casino Amphitheater — St. Louis, MO 27 | T-Mobile Center — Kansas City, MO October 02 | Aftershock Festival — Sacramento, CA 04 | Acrisure Arena — Palm Desert, CA View the full article

Berlin, Germany. Photo Credit: Fernando Pascullo GEMA has reported a 4.3% year-over-year (YoY) revenue increase for 2024, when its live music collections spiked by nearly 17%. The German society revealed these and other figures in an English-language summary of its 2024 annual report, which points to €1.33 billion (currently $1.45 billion) in total revenue for the year. Behind that sum – and thanks in part to a cost-rate decrease – GEMA made north of $1.23 billion/€1.13 billion (up 4.7% YoY) available for distribution to its over 98,000 members (up 5,460 YoY, including 111 publishers), the document shows. By category, live performances and public establishment usages kicked in the most revenue for 2024, at a record $548.61 million/€502.04 million (up 13.1% YoY). And while that doesn’t exactly come as a surprise, GEMA emphasized the initially mentioned 16.9% YoY hike for concerts and festivals, which delivered $213.05 million/€194.94 million. All told, just shy of a quarter of a million live shows took place in Germany (population 84 million) last year, attracting about 70 million total attendees through April 2025, GEMA indicated. And the live collections improvement helped to offset areas where revenue was flat (like TV and radio broadcasting, at $264.47 million/€242.0 million, up 1.1% YoY) or declined. Most notable on the latter front is streaming’s 4.1% YoY collections dip to $315.38 million/€288.51 million. (Besides traditional on-demand streaming, the category includes revenue from social media licensing.) Nevertheless, the overarching online category managed to achieve modest YoY growth for GEMA ($338.18 million/€309.45 million, up 1.2% YoY) due mainly to a material increase from downloads ($22.48 million/€20.57 million, up 362% YoY). That jump (which GEMA attributed to a licensing deal for children’s music boxes) is particularly noteworthy in light of the 16% YoY recorded revenue decline BVMI identified for downloads in H1 2024. Elsewhere in its 2024 report, GEMA confirmed a 6.9% YoY boost for international revenue, $95.92 million/€87.8 million, though the uptick resulted in part from “catch-up effects from the coronavirus pandemic.” Similarly, Audoo-partnered GEMA acknowledged a 20% YoY falloff on the statutory licensing side ($64.14 million/€58.70 million total in 2024), but chalked up the slip to an “exceptionally high” 2023 sum that benefitted from substantial retroactive payments. Addressing the results, GEMA CEO Tobias Holzmüller touted his organization’s “stability” against the backdrop of, among other things, “disruptive technological developments.” “We were able to distribute over EUR 1.13 billion to our members,” the GEMA head of about 18 months communicated in part. “This is not only an economic achievement but also an expression of our responsibility towards music creators in Germany and around the world. “At the same time, we remain firmly committed to fair rules for the digital use of music – including in relation to major platforms and AI providers. … We will continue to help shape that protection with innovative foresight and our strong advocacy for legal clarity,” proceeded Holzmüller, whose organization is spearheading copyright suits against Suno and OpenAI. View the full article

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