Ravebot

The 'Last of Us' star was seen donning a "House of Dijon" hat at the event in London Continue reading... View the full article

The 'Last of Us' star was seen donning a "House of Dijon" hat at the event in London Continue reading...

She has also announced a two night residency at the O2 Academy in Brixton for later this year

Ultra Miami 2025 was a wild ride—epic beats, insane visuals, and a thunderstorm that couldn’t kill the vibe. From March 28-30, thousands of fans turned Bayfront Park into one massive dance floor, and when the rain poured down, the crowd danced harder. Nothing stops Ultra. Nothing. Sets that Shook the CityThe lineup this year was completely packed with incredible artists and unforgettable sets, but I did have a few personal favorites: Axwell, Chase & Status, Hardwell, Martin Garrix, and Armin van Buuren b2b Oliver Heldens b2b Maddix. Axwell laid down some of the most infectious grooves, Chase & Status set the stage on fire-literally- and Hardwell was an absolute powerhouse. Martin Garrix proved once again why he deserved to close down the festival, delivering massive drops and ending the set with his own live vocals. The real showstopper though? The was the B3B madness of Armin van Buuren b2b Oliver Heldens b2b Maddix—a set full of surprises that had everyone dancing non-stop. Rain Couldn’t Stop the RaveWhile the festival saw mostly nice Miami weather, Sunday brought an unexpected challenge—a heavy rainstorm that threatened to disrupt the final night of the festival. However, Ultra’s production team quickly adjusted, making sure that the show went on with minimal interruptions. While some sets faced temporary delays, the energy never wavered as fans embraced the rain, turning the downpour into yet another unforgettable Ultra moment. Back to Bayfront in 2026All in all- Ultra Music Festival 2025 was pure chaos in the best way possible. From iconic sets to moments that I certainly won’t forget, this year’s festival was one for the books. See you next year at Bayfront Park—same great energy, and hopefully a different weather forecast.

Grammy-winning live electronic trio RÜFÜS DU SOL announced Inhale / Exhale Remixed, the official remix package for their acclaimed album Inhale / Exhale, set to arrive on May 2. Offering a glimpse into the upcoming 15-track remix collection, Adriatique’s remix of ‘In the Moment‘ is out now via Rose Avenue/Reprise Records. A celebration of their deep-rooted connection to clubland and undeniable influence in the electronic space, Inhale / Exhale Remixed further expands on the band’s legacy as both creators and tastemakers. Curated by the trio, Inhale / Exhale Remixed will feature Turkish-Italian underground favorite Carlita, Haitian house producer Francis Mercier, Peruvian DJ Sofia Kourtesis, Swiss heavyhitter Andrea Oliva, German deep house artist Emanuel Satie, melodic innovator Enamour, Afro-tech powerhouse Nitefreak, and more alongside Adriatique’s ‘In The Moment’ remix. Leading Inhale / Exhale Remixed, Adriatique envelope ‘In the Moment’ in their signature sound, lifting RÜFÜS DU SOL’ soft original with ethereal synthwork and driving basslines to cadence the energy of the dancefloor. RÜFÜS and Adriatique have a collaborative history, starting when the Swiss duo’s remix of ‘On My Knees’ launched the band’s Surrender (Remixes) in 2022. The following year, RÜFÜS offered their take on Adriatique and WhoMadeWho’s Rose Avenue-released single ‘Miracle’. The ‘In The Moment’ remix sees the pairing come full circle with a rework that embodies the after-hours pulse of Inhale / Exhale Remixed. Since the release of their widely celebrated fifth studio album last October, RÜFÜS DU SOL have cemented their status as one of the most successful live electronic acts in the world. They’ve broken personal records, like debuting on the Billboard 200 chart and earning their first No.1 on dance radio with ‘Music is Better’. Their ongoing Inhale / Exhale World Tour is the biggest-selling single artist electronic music tour of all time, a new milestone for the band. The tour kicked off last month in South America with headline stops and performances at Lollapalooza Argentina, Brazil, and Chile. Adriatique’s ‘In the Moment’ remix arrives just in time for the North American leg of the tour, which will start with a trio of sold out shows in Texas. The tour will continue into the summer for a nearly sold out run with stops in Los Angeles, San Francisco, Miami, and Toronto, along with festival appearances at Lollapalooza and Up In The Sky. Stream Adriatique’s ‘In The Moment’ remix below and on all platforms and pre-order Inhale / Exhale Remixed. Stay tuned for more news! The post RÜFÜS DU SOL Announce Album Inhale / Exhale Remixed Album appeared first on EDMTunes.

“With You” by PHICTION is a mesmerizing Melodic House/Techno song that perfectly captures the high of being with that one special person. As a rising EDM producer from New Orleans, he creates a trip through sound with lush, romantic lyrics, a deep, grooving bassline, and hypnotic lead melodies that put listeners in a happy, dance-ready trance. The track’s upbeat energy and emotional depth make it hard to stay away, whether you’re at a festival and getting lost in the crowd or on the dance floor with your partner. After the release of “With You,” PHICTION will release a 3-track Remix EP with new versions of the song by up-and-coming EDM artists. The EP will span a dynamic range of styles, including: A smooth Deep House remix for late-night vibes, A driving Peak Time Techno rework built for big-room energy, And a dreamy Melodic/Chill House version for those laid-back, after-hours moments. This record makes PHICTION’s place in the electronic music scene even stronger by combining emotion, groove, and dancefloor appeal into one memorable piece. Keep an eye out, because “With You” and its versions are about to make people dance and break hearts. The post PHICTION release melodic-techno single ’With You’ appeared first on The Groove Cartel.

The mix was recorded at Voodoo, a club night at Liverpool venue Clear, in May 1997 Continue reading...

The mix was recorded at Voodoo, a club night at Liverpool venue Clear, in May 1997 Continue reading... View the full article

The festival, which included Charli XCX, LCD Soundsystem, Fuerza Regida and more on its line-up, officially closed on 5th April following the incident

As the electronic music industry returns to pre-pandemic crowds, an enduring question has never been more urgent: how do we party without putting people in danger? Last week, the Association For Electronic Music (AFEM) convened a virtual roundtable titled "From Dance Floors to Festivals: Rethinking Crowd Safety," offering an in-depth look into the challenges and solutions being discussed by the industry at large. Moderated by powerhouse publicist Nikki McNeill, who is also an AFEM Executive Board Member, the panel featured Claire Wright, founder of BUDDY, which claims to be "the world's first social utility app; Carl Loben, Editor-in-Chief of DJ Mag; Jason Euler of the Arizona-based electronic music event organizer Relentless Beats; and crowd safety pioneer Paul Wertheimer, founder of Crowd Management Strategies. The discussion touched on the escalating complexity of event safety, the emotional toll of fear-based messaging and the persistent threats facing women on the dancefloor. Though differing in backgrounds, the panelists shared a common belief: safety cannot be a secondary consideration in music—it must be embedded in the DNA of every event, from underground warehouse raves to stadium-scale festivals. As Wertheimer, a veteran in the field since the 1979 Cincinnati Who concert tragedy, has long argued, safety must be integrated into every aspect of event planning, from venue design and crowd flow to real-time response and public education. Euler, whose organization produces large-scale events across the United States, emphasized those logistical rigors required behind the scenes. Emergency action planning is crucial, he explained, noting that Relentless Beats takes steps to ensure its chain of command is abreast on active shooter trainings, CPR preparation and Narcan certification. "Having more people that are multifaceted to be able to help in different types of emergencies—and having that preparation—is really everything," Euler said. The raves continue, but so does the risk. His comments reflect a new reality for promoters operating in a post-pandemic world, where staff are expected to be not only hosts, but also first responders. The significance of such preparation is underscored by recent tragedies at concerts around the world, including crowd crushes and drug-related deaths, incidents that have led to growing scrutiny from local governments and the public. Phoenix Raceway Peter Speyer Elsewhere in the roundtable, Wright called for a recalibration of how safety information is delivered to attendees. There's an abundance of material out there, she said, but it's positioned in a way that stresses them out and instills a sense of trepidation. "There's so much fear-based information, like on social media and press... It's stopping people from going out," she explained. "That's not what we want. We're not here to scare people, we're here to inform them." McNeill pointed to a disturbing truth: for many women in electronic music spaces, safety is not a theoretical issue, but a lived experience due to rampant sexual assault. "It's more the girls who tend to feel unsafe," she said, "but obviously that's a wider issue." While she acknowledged the culture of mutual care that often defines the electronic music community, she cautioned that individual vigilance has its limits. "I think we do tend to look out for our friends when we're out and about clubbing or at festivals, but that can only go so far," McNeill said. "So it's harder to tackle a wider society problem, but I always think the electronic music sector is a leader in taking on new technologies and an early adopter of things." You can watch AFEM's full roundtable here.

Hot on the heels of the standout first single ‘Dheere’ which made waves across the underground, Anvaya now serves up their super debut EP ‘Sands Between Us’ in full on Indo Warehouse. It arrives on April 4th and offers a deep dive into the full richness of their sound. Anvaya is the fast-rising pair of dynamic husband-and-wife team Sonia and Kaushal Majmudar. Formed in 2023, the duo has quickly garnered international acclaim and carved out a space for themselves as innovators in South Asian-inspired electronic music. With Kaushal’s deep-rooted instrumental expertise and Sonia’s spellbinding and genre-bending vocals, the duo delivers a signature sound that bridges tradition and modernity, making them a standout force in the Indo Warehouse collective. Since their inception, Anvaya has released eight tracks on the Indo Warehouse label, each one showcasing their evolving sound and growing artistry. So far they have taken their live performances to renowned venues and festivals like Brooklyn Mirage, Sunburn Festival, ADE and SXM Festival, alongside features on BBC Radio 1’s Essential Mix and Diplo’s Revolution on Sirius XM. In April, they perform at Coachella with Indo Warehouse and then head out on an extensive North American tour where they will showcase tracks from Sands Between Us. Vocalist and songwriter Sonia says of the EP, “Releasing Sands Between Us is surreal! Countless hours went into shaping this release, pushing us creatively and emotionally. There’s vulnerability in sharing your deepest fears and challenges through art, but it’s made possible by the trust and partnership Kaushal and I have in the studio. We leaned on each other and created something we’re genuinely proud of.” Producer and multi-instrumentalist Kaushal adds, “Every song has its own unique story, born from constant experimentation and collaboration. Our hope is for listeners to immerse themselves fully, discovering new layers with every listen. We envisioned this EP as a sonic journey, offering connection and introspection, whether you’re dancing or reflecting quietly.” Sands Between Us is an immersive journey through shifting landscapes, both internal and external, exploring themes of personal transformation, resilience, and embracing change. The EP invites listeners to traverse the delicate spaces between who we are and who we strive to become, acknowledging discomfort as necessary terrain on the path to self-realisation. Musically, it blends melodic house, pop sensibilities, and rhythmic tribal grooves. Each track features unique instrumentation and innovative production: ‘Laal Chunariya’ kicks off with festive shehnai melodies that evoke joyous, celebratory feelings while lead single ‘Dheere’ is full of hypnotic soundscapes created by mridangam, khol, and reversed santoor textures. ‘Yaadein’ offers a moment of deeply reflective, melodic exploration and ‘Ud Jaana’ features a descending santoor motif offering rich countermelody. ‘Take My Hand’ is inspired by Indian classical Jugalbandi and showcases a captivating duet between vocalist Sonia and acclaimed Carnatic violinist Shiva Ramamurthi who expertly performs in the emotive ‘Raga Charukesi’. Indo Warehouse is a perfect home for this innovative EP as it sits right at the forefront of an organic, immersive house sound that is rich in authentic South Asian culture and is making its mark around the globe with each new release and sold out event. Anvaya’s Sands Between Us EP is another bold step up and a truly mesmerising EP that takes you on a cultural, soulful, life-enriching journey into the unique sound of this tastemaking duo. Tracklist: 1) Laal Chunariya (Original Mix) 2) Dheere (Original Mix) 3) Yaadein (Original Mix) 4) Ud Jaana (Original Mix) 5) Take My Hand (Original Mix) 6) Laal Chunariya (Extended Mix) 7) Dheere (Extended Mix) 8) Yaadein (Extended Mix) 9) Take My Hand (Extended Mix) The post Anvaya returns to Indo Warehouse with their much anticipated debut EP Sands Between Us appeared first on Electric Mode.

The 14th edition of the Audi-presented festival takes place from 31st July to 3rd August 2025

The popular standalone sampler can now be used to DJ

Öwnboss and Fafaq work together on the hot new track “Bacilando” on Future House Music. The way that the smooth Latin singing and the darker, underground beat fit together in this song is a lesson in contrast and unity. Deep melodies and sultry, sun-soaked words that make you feel like you’re in a tropical evening pull you in from the first few bars. Don’t get too comfortable, though, because “Bacilando” quickly turns into a full-on sound storm, releasing driving rhythms, dirty basslines, and a tight mix of progressive house and melodic techno elements. The catchy vocals and the dancing beats are what defines this song for me, together with a Latin vibe that has a lot to do with my roots. The strong EDM production gifts the listener with balance, in a track that will be perfect for clubs and festivals worldwide. – Öwnboss This makes for a thrilling ride that can be used in a smokey club at 2 a.m. or to light up a huge fair stage as the sun goes down. The emotional topline adds a depth of beauty and humanity, and the constant production energy keeps things moving on the floor. “Bacilando” is more than just a song; it’s a mood, a journey, and a message. This song is sure to become a summer anthem for both underground and mainstage fans, thanks to its lightning-fast music and crowd-pleasing energy. Blending melodic vibes and fresh EDM feel, fuego vocals, melodic atmosphere with deep basslines and driving rhythms that captivates the listener ear from the very beginning. The song crafts a sound that resonates on both streaming platforms and a dance floor. Happy to release this one with Öwnboss and the FHM team. – Fafaq The post Öwnboss debuts on FHM with “Bacilando” appeared first on The Groove Cartel.

The artwork appeared overnight in Farringdon’s Clerkenwell Green Continue reading...

The artwork appeared overnight in Farringdon’s Clerkenwell Green Continue reading... View the full article

Two photographers were pronounced dead after being taken to hospital on Saturday evening Continue reading...

Two photographers were pronounced dead after being taken to hospital on Saturday evening Continue reading... View the full article

To our wonderful community of EQ Music Blog readers, we are thrilled to share some exciting news! You may have heard that the prestigious SXSW festival, which annually captivates audiences in Austin, Texas, marks its debut in London this June. This event promises to be Europe’s largest, and most dynamic cross-sector networking opportunity, uniting tech innovators, creative visionaries, and influential business leaders to shape the future. But here’s the secret we’ve been eagerly waiting to unveil. We are beyond excited to reveal EQ Music is showcasing some of our favourite emerging artists at this inaugural SXSW London festival. We are co-curating the event EQ Music presents Poptronik, on the 3rd June 2025, 7pm at Jaguar Shoes in Hoxton. We’re excited to showcase an incredible lineup of talented independent artists who we’ve been championing here on the blog. Get ready to experience the mesmerizing sounds of dark-pop senstaion, Nic Billington, the multi-talented wunderkid singer and producer, Lostchild, the evocative and punchy storytelling of singer-songwriter Myylo and the vibrant retro/electro vibes of Sophie Grey. Prepare for an unforgettable experience as we bring fresh talent to the forefront! Admission to this event is by festival pass only – Buy festival passes HERE. Keep an eye on the blog for further SXSW London updates. Check out the first wave of 100 artists announced HERE The post EQ Music Presents Poptronik at SXSW London 2025 appeared first on EQ Music Blog. View the full article

Photo Credit: Pexels Music production and digital content creation is a fast-paced world, and managing payouts to all artists, influencers, and creators involved can quickly become a logistical nightmare. Let’s take a peek at how Tipalti has helped some of the biggest names in the music business, like Symphonic Distribution, Create Music Group, Spitfire Audio, and Thematic stay on track with efficiency and compliance in royalty payouts. The following was created in collaboration with Tipalti, a company DMN is proud to be partnering with. Tipalti transforms payout operations for digital music brands, allowing these companies to focus on creativity and growth. Automated tax compliance is a huge part of that, with Tipalti’s ability to manage tax compliance requirements in more than 196 countries. The company’s global reach enables financial operations for companies across the globe—especially where cross-border transactions add extra work and complexity. Tech-focused music distribution company Symphonic Distribution uses Tipalti to automate royalty payouts for over 100,000 clients that represent 500,000 artists. The company’s proprietary SplitShare service allows creators to add collaborators, set revenue splits, and ensure automatic monthly payments. With Tipalti, Symphonic has eliminated manual processes, enhanced client security, and streamlined tax data collection—enabling a lean team to scale the business with fewer operational bottlenecks. Meanwhile, Create Music Group and its artist-first approach uses Tipalti for an automated solution for global payouts and accounts payable. By integrating Tipalti with its ERP, NetSuite, Create Music Group reduced its payment processing time from several days down to just one hour. The company also implemented a custom iFrame for artist onboarding, which allows Create Music Group to maintain brand recognition while enhancing customer loyalty. The direct results of Tipalti’s technology include reduced payment workload by 36 days annually, centralized operations under a single system, and fast and error-free payouts to more than 25,000 artists. Spitfire Audio also transformed its royalty payment process through its partnership with Tipalti. The company is a leader in cinematic sound libraries and was previously managing payouts to 700+ musicians manually—which equated to six weeks of manual work. With Tipalti, this process now only takes 30 minutes. Because of this success, Spitfire Audio also moved accounts payable and procurement management over to Tipalti, which freed up its finance team’s time even further. With Tipalti, Spitfire Audio automated over 1,500 global payouts, eliminated manual data entry while reducing errors, and reduced payment processing time from weeks to hours. Thematic also partnered with Tipalti to handle its complex royalty and licensing payments. For this digital content platform, Tipalti created a self-service portal for artists to help standardize the collection of tax and bank data—streamlining global payouts in the process. Thematic also integrated Tipalti’s API to build a centralized dashboard, allowing artists to choose their preferred payment methods and receive funds faster. For companies in the music industry, efficiently and securely paying digital creators is more than just an operational task—it’s a critical part of building lasting relationships with artists and creators. Tipalti Mass Payments has helped companies like Symphonic Distribution, Create Music Group, Spitfire Audio, and Thematic reduce the manual workload while creating a better experience for their global communities. If you’re in the music production and services industry, consider how Tipalti may help you accelerate your payout operation and support creators. Tipalti can help music companies scale business with ease by automating manual tasks, achieving global tax compliance, and streamlining payouts worldwide. Reach out to Tipalti to learn more about transforming your financial operations. View the full article

Photo Credit: J. Cole by Kee1992 / CC by 3.0 J. Cole’s Dreamville Festival plans to continue on under a different brand. The Raleigh festival was set to end this year, after launching in 2018. J. Cole previously announced his North Carolina-based Dreamville Festival would be ending this year, less than a decade after it launched in 2018. But Dreamville and Roc Nation promoter, Sascha Stone Guttfreund, announced at a press conference last week that the festival will go on, but under a different name. Details are sparse, but Guttfreund unveiled a plan to continue bringing large-scale music shows to Raleigh for the foreseeable future. “We’re going to be here for years to come. This is a multi-year deal, and we’re so excited to be working with the city of Raleigh together on something new and exciting, and to continue to build on this incredible thing that we’ve done over the years,” he explained. According to Guttfreund, the new festival is set to be held at Dorothea Dix Park for at least the next four years. “We’re using the Dreamville label to a certain extent,” added Raleigh City Manager Marchell Adams-David. “[Cole] will obviously be involved, whether or not he headlines. That’s probably not going to be an occurrence, but he is a local resident. He is totally committed to this community, and he is totally committed to this festival.” “We wanted to keep the feeling of just the community. We call it our family reunion. I think a lot of people from all over the world and from all 50 states come in, and it’s good to be able to do it here in North Carolina,” said Ib Hamad, J. Cole’s longtime manager and business partner. The final edition of J. Cole’s Dreamville Festival is set to kick off this weekend, with headliners J. Cole, Lil Wayne and the Hot Boys and Big Tymers, Erykah Badu, and 21 Savage. Other performances will include GloRilla, PARTYNEXTDOOR, Ludacris, Tems, Chief Keef, Wale, Coco Jones, Ab-Soul, Young Nudy, Keyshia Cole, and BigXthaPlug. View the full article

Photo Credit: Bruce Springsteen by Takahiro Kyono / CC by 2.0 Bruce Springsteen announces a box set of seven “lost albums,” totaling 83 songs. The collection, Tracks II: The Lost Albums, releases on June 27. It’s about to be a big year for Bruce Springsteen fans. The Boss is set to release a box set featuring some of his previously unreleased music. Tracks II: The Lost Albums drops on June 27, containing 83 songs recorded across four decades, 74 of which have never been officially released. The collection spans 1983 to 2018, compiling “full records, some of them even to the point of being mixed and not released,” said Springsteen, who says the project came together during the COVID-19 pandemic. “I’ve played this music to myself and often close friends for years now,” he added. “I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.” The 75-year-old star can be heard spanning his career in this collection, from his early Nebraska sounds on a record called LA Garage Sessions 83. Meanwhile, Streets of Philadelphia Sessions expands on the sounds Springsteen experimented with for the 1993 film “Philadelphia,” which includes synthesizers and drum loops, and even some hip-hop influence. The next album, The Ghost of Tom Joad, returns to his previous sound in 1995. Faithless is the soundtrack to a film that was never made, while some country-adjacent sounds rear their head for Somewhere North of Nashville. Twilight Hours presents a “noirish” sound, while Inyo offers “richly woven border tales.” Each album offers something different for die-hard Springsteen fans to relish in. The physical release includes a 100-page book with rare archival photos and liner notes for each record. An additional 20-song selection from across the collection will also be released. Bruce Springsteen returns to the road in the UK this summer, his third in a row, with performances in Manchester and Liverpool. On Record Store Day (April 12), Springsteen and the Killers will release the Encore at the Garden EP, which documents the New Jersey native’s surprise appearance alongside the band at Madison Square Garden in 2022. His most recent album, Only the Strong Survive, also debuted in 2022. View the full article

Photo Credit: Ed Sheeran by Eva Rinaldi / CC by 2.0 Coachella makes a few last-minute lineup changes, securing Weezer and Ed Sheeran, as several artists cancel their sets. Ed Sheeran and Weezer have been added to the 2025 Coachella lineup ahead of the festival kicking off this weekend. Weezer will play the Mojave tent on Saturday, April 12, from 3:10-3:55, during the festival’s first weekend. Sheeran plays during the second weekend, during the 3-4 PM time slot on Saturday, April 19. Both acts are followed by Yo Gabba Gabba!’s set on the same stage at 4:45 PM. Their addition to the Coachella lineup comes as several artists have cancelled their planned performances, including FKA twigs, Anitta, and Gel. FKA twigs has been forced to cancel all North American dates for her Eusexua Tour due to ongoing visa issues. “Production did not fill out the correct paperwork in a timely manner for us to have our visas to come to the USA to perform,” she explained in a social media post. Meanwhile, Brazilian pop star Anitta announced a couple weeks back that she would have to back out of Coachella, citing “unexpected personal reasons.” Similarly, New Jersey hardcore band Gel announced their sudden breakup last month, accusing former guitarist Anthony Webster of “heinous acts” causing “irreparable damage to the band.” Interestingly, Ed Sheeran and Weezer are arguably big names for last-minute additions, but that might not do much to curb Coachella’s slow ticket sales this year. Both performances take place at the smaller Mojave stage. Both Weezer and Ed Sheeran have several upcoming shows, with Weezer celebrating the 30th anniversary of their self-titled 1994 debut album. The band has several upcoming festival dates this summer. Sheeran just released a new single, “Azizam,” and has a summer chock full of performances lined up. Coachella 2025 sees Lady Gaga, Green Day, Travis Scott, and Post Malone headline the main stage at the Indio, California, festival over the next two weekends. The lineup also includes performances from Charli XCX, Megan Thee Stallion, and Missy Elliott. View the full article

Photo Credit: Nik Trump’s broad-ranging tariffs may have ultimately delayed a TikTok deal, leading to the latest 75-day extension to make room for more negotiations. The Trump administration sounded confident that it was nearing a deal for TikTok’s operations to be spun off in the US into another company owned by a majority of American investors. But that deal seems to have been shuttered by Beijing at the eleventh hour in the face of Trump’s wide-ranging tariffs, including against China. According to those close to the matter, representatives for TikTok’s China-based parent ByteDance called off the deal, telling White House officials it was a no-go until they could negotiate about trade and tariffs. The near-deal, led by Vice President JD Vance’s team, called for a 120-day closing period to finalize the financing and paperwork. It involved a group of investors that includes Oracle, Blackstone, Andreessenn Horowitz, and several others. Notably, ByteDance would still have maintained a minority ownership stake in the new company, under the 20% threshold required by Congress. Allegedly, the deal had the approval of existing investors, new investors, ByteDance, and the administration. But those negotiations were placed on hold by the Chinese government once Trump’s tariffs went into effect. Now, a group of TikTok investors is suing ByteDance, claiming the company sabotaged the proposed acquisition in order to maintain control over TikTok’s US operations. This, they say, is in violation of antitrust laws. A Florida-based company called TikTok Global, formed by American investors specifically to acquire the social platform’s operations during the first Trump administration, filed the lawsuit in the Southern District of Florida. The company alleges it submitted a $33.3 billion acquisition agreement to ByteDance on September 14, 2020, which purportedly met all requirements set by the Committee on Foreign Investment in the United States. “Plaintiff would soon discover the game was rigged from the start, because ByteDance had other plans, plans that circumvented proper procedures, stifled competition, and maintained ByteDance’s control over TikTok’s US operations — all under the guise of compliance with the executive order,” reads the lawsuit. TikTok Global claims ByteDance ignored its allegedly compliant offer, instead pursuing a partnership with Oracle which did not fully address national security concerns. Investors say the situation escalated when then-Treasury Secretary Steven Mnuchin announced that Oracle had been selected as TikTok’s “trusted technology partner” in the US. The lawsuit seeks at least $58 billion in damages from ByteDance, TikTok Inc., and ByteDance founder Yiming Zhang. TikTok Global is also requesting preliminary and permanent injunctive relief requiring ByteDance to divest TikTok’s US operations to them, asserting they are “unequivocally entitled to recover those losses.” The filing comes as the deal for TikTok remains in limbo, the result of the emerging trade war between China and the United States. Trump has said he would consider lessening tariffs on China if the government would negotiate on the TikTok deal. The outcome remains to be seen. On Friday, Trump extended the deadline for TikTok by another 75 days, pushing the previous April 5 deadline out. It’s the second time he has pushed the deadline since taking office in January. View the full article

Photo Credit: Rajiv Perera Fyre Festival 2 appears to be off to a familiar start as organizers seek to assure the public the festival is happening in Mexico. But local government officials for Playa del Carmen have stated no permits have been granted. Organizers for Fyre Fest 2 took to Instagram with a statement saying they are working with the local government. “FYRE has been working directly with the government of Playa del Carmen (PDC) and their officials since March 5, 2024 to ensure a safe and successful event,” that announcement reads. “All media reports suggesting our team has not been working with the government of PDC are simply inaccurate and based on misinformation.” The festival organizers then provide a timeline of supposed communication with the PDC government, with the last communication supposedly occurring on March 28. “PDC government shared their official support for the event on their Instagram account. Digital Music News can find no record of the supposed support. Instead, a message released in Spanish on April 4 to the PDC residents states: “To the residents of Playa del Carmen— In relation to the information that has begun to circulate about a supposed event called ‘Fyre 2’ the municipal government of Playa del Carmen informs the public that no event with that name will take place in our city,” the statement begins. “After a responsible review of the situation, it is confirmed that there is no record, planning, or conditions that indicate the holding of such an event in the municipality. This municipal government is acting with responsibility and commitment—always with priority placed on public order, security, and social coexistence.” “We reiterate that any official information will be communicated directly through the corresponding official channels.” Digital Music News reviewed the documents provided by the Fyre Festival 2 organizers as ‘evidence’ that the festival will go forward. The actual permits supplied appear to be for a gathering of 250 people, using recorded music, for a total of 12 hours between 12 am – 4 am spread over three days. A noise ordinance in place says the music cannot be over 100 decibels. The permit appears to be from a beach club that would put on a show for a small audience—not a massive music festival as Billy McFarland is leading people to believe. The video of the official government account shared by Fyre Festival 2 organizers includes the notice translated above—that no event by the name of Fyre Festival 2 is happening within the municipality. It’s also worth noting that Billy McFarland said performers would be revealed within the next two weeks—two weeks ago. View the full article