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Major music labels are reportedly in talks with generative AI music platforms Suno and Udio — the very companies they sued last year for alleged copyright infringement. According to Bloomberg, Universal Music Group, Warner Music Group, and Sony Music Entertainment are discussing potential licensing deals that would not only bring in fees but also include a small equity stake in the companies. READ MORE: “It’s a weird kind of wanky, tech-bro nightmare future”: Radiohead’s Thom Yorke says AI does nothing more than “steal” from human artists Sources (which Bloomberg says “declined to be identified because the talks could fall apart”) told the news outlet that if successful, the agreements could help resolve ongoing legal disputes while laying the groundwork for how AI companies compensate recording artists and rights holders in the future. Suno and Udio have been at the forefront of the new wave of generative AI platforms. These tools allow users to type in simple prompts like “a modern rock ballad about a bad break up” and receive a full-length audio recording in return. Behind the scenes, the platforms rely on massive training datasets – likely made up of existing copyrighted material – which has drawn legal scrutiny from the industry. Last June, the Recording Industry Association of America (RIAA), on behalf of the major labels, filed blockbuster lawsuits against Suno and Udio, alleging copyright infringement on an “unimaginable scale.” The suits accused the startups of using copyrighted recordings without permission to train their models, and sought damages of up to $150,000 per infringed work, potentially amounting to billions of dollars. For their part, Suno and Udio have countered that the labels are wielding their intellectual property as a cudgel to stifle competition and innovation. They also argued that their use of copyrighted material falls under the “fair use” exemption to US copyright law. The current negotiations are seen as a way to settle these cases out of court. Talks are reportedly happening in parallel with both companies, creating a bit of a race to see who might land a deal first. Still, discussions are complex, says Bloomberg, as labels want greater control over how their music is used, while the AI startups are pushing for enough “flexibility” to continue experimenting as well as “deals at a price reasonable for startup companies”. Stay up to date with how AI is reshaping music creation, rights, and industry standards at MusicTech. The post Record labels reportedly in licensing talks with AI music firms Suno and Udio appeared first on MusicTech. View the full article

Barry Can’t Swim, one of electronic music’s most dynamic and in-demand talents, will headline The Warehouse Project on Friday 21st November with an unmissable three-room takeover hosted by his label imprint Earth’s Only Paradise. The Edinburgh-born artist will present two sets on the night – a full live show and a DJ set – as he takes centre stage at one of the UK’s most iconic venues. The Warehouse Project show follows a monumental year for Barry, with the announcement of his highly anticipated second album ‘Loner’, due for release on 11th July via Ninja Tune. The record includes the recent double single ‘About To Begin’ and ‘Cars Pass By Like Childhood Sweethearts’, a showcase of his genre-blending range – from euphoric club-ready energy to dreamy downtempo textures. Fresh from a sold-out North American tour and a string of major festival announcements for the summer, this Warehouse Project date stands as a rare chance to catch Barry Can’t Swim at his own headline show alongside a fully curated line-up. Taking over the three stages at Depot Mayfield including Depot, Concourse, and Archive, Barry Can’t Swim will be joined by the likes of Chloé Caillet, DJ Seinfeld, Prospa, Jayda G, Ross From Friends presents Bubble Love, and a special b3b between Étienne de Crécy, Cassius and DJ Falcon. The full line-up is announced below. Pre-sale ticket sales go live on Thursday 5th June from 10am. General ticket sales go live on Friday 6th June from 10am. Sign up at https://thewarehouseproject.com/calendar/ for pre-sale access. /// Barry Can’t Swim Friday 21st November Times: 20:00 – 04:00 DEPOT BARRY CAN’T SWIM (DJ SET) CHLOÉ CAILLET B2B DJ SEINFELD PROSPA BARRY CAN’T SWIM (LIVE) ROSS FROM FRIENDS PRESENTS BUBBLE LOVE ELADO CONCOURSE AVALON EMERSON BEN UFO JAYDA G LEON VYNEHALL ATRIP BOLLIBUBBLES ARCHIVE ÉTIENNE DE CRÉCY B2B CASSIUS B2B DJ FALCON KELLY LEE OWENS (DJ SET) BULLET TOOTH MARIE DAVIDSON (LIVE) MOUNT KIMBIE (DJ SET) NORA The post Barry Can’t Swim Announces Stacked Warehouse Project Takeover for November 2025 appeared first on Electric Mode.

Amsterdam-based electronic DJ-producer Kilder is set to release his highly anticipated new single and accompanying music video ‘Dusk Till Dawn’ arriving May 30 across all streaming platforms. Following the success of his standout track ‘Smile On My Face’ earlier this year and 2024’s club favourite ‘Next To U’, ‘Dusk Till Dawn’ marks a striking evolution in Kilder’s genre-fluid sound. Drawing from the raw intensity of rave and techno while weaving in house and UKG rhythms, the single merges club energy with melodic depth, a hallmark of Kilder’s unique production style. The video for ‘Dusk Till Dawn’ offers a cinematic portrayal of the transformative journey from the monotony of daily life to the exhilaration of the night. It follows a man entrenched in the routine of a 9-to-5 job, depicting his day filled with repetitive tasks and a palpable sense of despair. As the clock strikes the end of the workday, a subtle shift occurs, his demeanor changes, and anticipation builds. The narrative captures his metamorphosis as he sheds the layers of his work persona, symbolizing a release from the confines of his daytime identity. The visuals transition seamlessly from the sterile environment of the office to the vibrant, pulsating energy of the night. He embarks on a journey through the city, the atmosphere charged with the promise of the night ahead. With over 12 million streams across just two EPs, Kilder continues to bridge the underground and the mainstream. Inspired by the likes of Jamie XX, KETTAMA, and Disclosure, he has already caught the attention of major tastemakers and DJs including DJ Heartstring, Ki/Ki, and Benwal. Elsewhere, he has earned coveted placements on editorial Spotify playlists like New Music Friday, Planet Rave, and Altar as well as three major sync with Apple already under his belt. ‘Dusk Till Dawn’ also teases the upcoming EP of the same title, set for July 2025 and becoming a breakout year for Kilder, who’s been quietly crafting an arsenal of club anthems behind the scenes. With a reputation for spotlighting emerging talent, his past collaborators include Issey Cross, Alice Longyu Gao, Friday Night Plans, LYAM, and more. Kilder’s genre-defying sound and polished unpredictability has landed wide acclaim from BBC Radio 1, Triple J, 3FM, Dasding, 3voor12 and more alongside press nods from Notion, The Line Of Best Fit, Dummy and Wonderland. With tours in the EU, UK, and AUS/NZ on the horizon, Kilder is poised for global breakout. ‘Dusk Till Dawn’ is out 30th May on all major platforms. Follow Kilder: Instagram / TikTok / Twitter / Spotify / YouTube / Soundcloud WATCH VIDEO BUY / STREAM: ‘DUSK TILL DAWN’ HERE The post Kilder shares new single ‘Dusk Till Dawn’ via Infinite Rhythms appeared first on Electric Mode.

Brazilian DJ and producer Vintage Culture is teaming up with Von Dutch Loves, the bold new label from the iconic Von Dutch brand, for their first ever artist collaboration with a limited edition capsule collection. Known for its fearless designs and connection to music, nightlife and rule breaking creativity, Von Dutch Loves finds a perfect partner in Vintage Culture, whose genre defying sound and global influence embody the spirit of nightlife and creative rebellion. The highly anticipated collaboration between Vintage Culture x Von Dutch Loves will launch globally on Monday, June 16th on VonDutchLoves.com, with the collection channeling the energy of the underground through a Y2K lens, reflecting the dynamic energy of the nightlife scene and the spirit of individuality. The limited edition clothing line, designed by Vintage Culture himself, offers stylish and versatile designs for both men and women, featuring oversized silhouettes, distressed finishes and hand-scrawled graphics spanning trucker hats, t-shirts and more. From bold statement pieces to sleek, understated essentials, the collection celebrates self expression and creative freedom. Speaking about the collaboration, Vintage Culture said: “Von Dutch Loves and I share the same passion for pushing boundaries and celebrating individuality. It’s the perfect match and something I am immensely proud to finally be able to release into the world. The collection draws on a sense of nostalgic energy, reimagined through an edgier lens to create something truly unique. This has been a long time in the making and to finally see it come to fruition is incredibly exciting” The collection will be available online and at select Von Dutch retail locations worldwide following the launch event. Speaking about the partnership, Jack Cheika, CEO of WSG Brands, the owners of Von Dutch, shared: “This collaboration with Vintage Culture captures exactly what Von Dutch Loves was created for, fusing fashion with cultural innovation. Vintage Culture is a global icon whose vision and authenticity align perfectly with our mission to celebrate creativity, individuality, and the energy of nightlife. Together, we’re not just launching a collection, we’re shaping a movement that bridges music and style in a powerful new way. Von Dutch Loves is the perfect blend of honoring our legacy and riding the next wave, expanding beyond fashion to amplify artistic voices and foster creative collaboration for today’s artists, creators, and tastemakers.” The collaboration is the first in a series of influential activations for Von Dutch Loves, with further collections, festival and event partnerships and more to come across the year. The first limited edition range from Von Dutch Loves is now available at www.vondutchloves.com featuring brand new representations of the brand’s iconic trucker hat. Follow @vondutchloves and sign up on the website now to keep up to date with all announcements, as well as exclusive early access to merch drops, event and festival tickets, and more. The post Brazilian DJ and Producer Vintage Culture announces his collaboration with Von Dutch Loves appeared first on Electric Mode.

Total Studio 5 Standard – $/€299.99 Total Studio 5 Pro – $/€399.99 Total Studio 5 MAX – $/€599.99 Introduction and upgrade pricing available IK Multimedia is on a roll. Over the past few years, the company’s product lineup has gone from strength to strength, with venerable classics such as its standalone Mastering Console getting significant improvements. Meanwhile, new standout plugins have arrived, including the multi-band Quad Saturator, alongside some impressive hardware, like the Uno Synth Pro X. Total Studio 5 crowds many of these software achievements under one roof to offer an ‘everything you need’ production suite. The price is good, the plugins are generally excellent, but in a marketplace suffering from ‘bundle fatigue’, can this mega-collection hold your interest? READ MORE: Native Instruments Kontakt 8: A leap forward or a stumble sideways? Total Studio 5 promises to power your creativity at every stage of production, but, for my money, it’s the audio processing plugins that steal the show. First out of the gate is AmpliTube 5 — a comprehensive package of guitar amp and pedal emulations. The quality and versatility here is phenomenal. On the surface level, you get easy access to authentic emulations of rare and expensive amps and a dizzying array of quality presets perfect for busy music-makers. Dive deeper, however, and there is an ocean of sounds for serious guitarists to explore — with full control over microphone type and placement, the ability to swap out cabs independently of amp heads, and a powerful routing system for building up effects chains. Staying in guitar territory, there’s also the groundbreaking TONEX software for at-home AI modelling of stompboxes and amps. Even if you have no need to clone your own amp, the ToneNET ecosystem is a massive sonic resource; it’s packed with a seemingly endless supply of community-contributed presets and DIY amp models that can be used solo or combined with AmpliTude. New with Total Studio 5 is TONEX’s Signature Collection of amp and pedal combos from musicians like Joe Satriani and Rush’s Alex Lifeson. Riffing through the guitar tones of the rich and famous is fun and fruitful — but you’d probably have to be a pro player to truly hear the difference between some of these sounds and the ones you can get from AmpliTube. Next up is T-RackS 6. This suite of mixing and mastering tools earned a 10/10 review from me upon its release late last year, and, rather than revisit its many virtues here, I’ll simply point you to my glowing review. While audio processing plugins take centre stage, there is a raft of solid software instruments to keep composers and songwriters engaged – the most significant of which is Pianoverse. Ranging from soaring nine-foot grands fit for concertos, to dark and brooding seven-footers, and even including punchy and bright uprights, these are among the most sublime piano samples I’ve demoed. Interestingly, Pianoverse pairs these exactly-recorded samples with a set of otherworldly reverbs and a limited yet powerful selection of insert effects. This hybrid approach works surprisingly well, and while it would be nice to have some more miking options—users can use either a coincident pair or a close pair, with no ability to blend between them—Pianoverse’s rich tones, controllable pedal and hammer noise, and its capacity to go from realism to surrealism in an instant makes this a must-have sample piano. From here, the bundle gets less exciting. We have established mainstays like the sprawling SampleTank 4, which came out in 2019, the film-focused Cinekinetik libraries, released in 2021, and MODO Bass 2 and MODO Drum 1.5, both of which debuted in 2022. Notice a trend? In truth, it doesn’t hugely matter that these instruments are getting long in the tooth; SampleTank is still a decent library filled with some fantastic rare synth sounds, MODO Bass in particular stands out amongst other bass guitar sample instruments, and most of the instruments have received at least some quality-of-life updates or sound expansions over the years. However, if you want to see a truly past-its-sell-by-date sample instrument, look no further than Miroslav Philharmonik 2, which hit the market back in 2016. To be clear, the original samples still hold up in terms of detail and tone, and it’s perfectly possible to get expressive passages out of the different instrumental sections, but the cramped, low-res interface feels emblematic of a sample instrument lineup that, overall, hasn’t seen major innovations in years. Composers looking for big-screen scoring solutions can find far more streamlined workflows in EastWest’s OPUS player, while producers who like having idea-starters on hand should look to the new MIDI Tools introduced in Native Instrument’s Kontakt 8. Those shortcomings don’t feel like such a big deal once you consider Total Studio 5’s highly competitive pricing. Ranging from €299 for the standard edition up to €599 at the Max edition, the collection has received a price reduction of around €200 from the previous version across the board. At the Max level, you’ll get the Signature Collection Vol. 1 for TONEX, all nine keyboards in Pianoverse, and additional tools like ARC 4, a high-powered room calibration software suitable for professional studios or creators looking to get serious about their home setup. For most users, the middle ‘Pro’ tier, with its 95 included products and €399 asking price, will likely be the sweet spot. Pitted against its peers, Total Studio stands up pretty well. Regarding quality, the T-RackS suit goes toe-to-toe with Universal Audio’s hardware emulations. AmpliTube 5 might actually beat Native Instruments’ Guitar Rig Pro 7 in my estimation, and while Komplete 15 clearly wins on its sample instruments, it’s decidedly lacking on the mixing and mastering side of things. Waves Audio’s bundles are perhaps the closest direct comparison – but only if you’re looking at subscription options. If you want a single purchase, you’d need to buy the Horizon bundle and the Inspire Virtual Instruments Collection to achieve the same level of versatility. Total Studio 5 is also significantly cheaper than all the aforementioned competitors at full price. Overall, Total Studio 5 feels a bit uneven. The older sample libraries contain quality content but are held back by ageing user interfaces and workflows. Moreover, the majority of them were available in the previous edition of Total Studio and so provide little incentive for existing users to upgrade. On the other hand, AmpliTube 5 and TONEX are awesome, T-RackS 6 is formidable, and Pianoverse feels inspiring — these are industry-leading applications. In fact, if they were the only products included in Total Studio 5, I’d still say it’s worth buying. If Total Studio could boost the level of its sample instruments, it might just become the true all-rounder that music makers need. As it stands, you get high-powered audio plugins and with a mixed bag of sample instruments thrown in as a sweetener. If that’s a dynamic that works for you, then we’d say fill your boots. Key features 500GB of content Up to 2000 audio plugins Up to 16,000 samples Three pricing tiers offering 49, 98, or 162 products ARC 4 room calibration software included in the MAX edition The post IK Multimedia Total Studio 5 review: Almost a must-have — with a few must-fix appeared first on MusicTech. View the full article

Still buzzing on their early 2025 club hit ‘Back To Life,’ Swiss duo Adriatique returns with an anthem for this summer’s club and festival crowds. ‘Love’s A Game‘ features vocals from Grammy award winning singer-songwriter Bipolar Sunshine, delicate piano chords, subtle sound effects and warm melodic hooks, adding sweet hints of afro-house, wrapped into Adriatique’s signature deep and momentous production. An instant 2025 classic in the making, ‘Love’s A Game’ is the most melancholic afro-house tune you’ll hear this season, out now on X Recordings. ‘Love’s A Game’ shows a wonderful collision of these creative minds, as Adriatique and Bipolar Sunshine seamlessly complement each other in this heart warming, R&B tinged dance ballad. Setting the mood with a deep, luscious groove, the song immediately takes you closer with Bipolar Sunshine’s soulful vocals, matching the instrumental in perfect balance as he’s countered by the Swiss duo’s subtle yet inventive use of samples, percussion and sound effects. Meanwhile, tension builds with warm piano chords and inspired backing vocals, taking the vibe to breathtaking melancholic heights. The result is an illuminating piece of dance music; delivering the energy on waves of deep and afro house, while taking the mind to an almost spiritual place on the wings of those uplifting vocals and mesmerizing melodics. Eventually, ‘Love’s A Game’ has got you covered either way: body, mind and soul, sure to create a moment of impact when played at any given beach or pool party this summer. You can listen to ‘Love’s A Game’ below and on all available streaming platforms. Stay tuned for more news! The post Adriatique & Bipolar Sunshine Unite for New Track – Love’s A Game appeared first on EDMTunes.

As the summer of 2025 kicks off, one thing is becoming painfully clear: music festivals are in trouble. What used to be a season of nonstop lineups, weekend wristbands, and euphoric crowds has shifted into a wave of cancellations, slow ticket sales, and fan frustration. This year alone, more than 40 festivals have already been canceled, according to a CNN report that’s turning heads across the industry. Among the most notable exits is Pitchfork Music Festival, a Chicago staple for nearly two decades. Known for its eclectic lineups and indie ethos, Pitchfork quietly pulled the plug after its 2024 edition, joining the ranks of other festivals that have recently folded including Atlanta’s Music Midtown, Florida’s Kickoff Jam, and legacy names like Made in America and Firefly, both of which haven’t returned since 2022. What’s Causing the Collapse? The problems run deep and wide. Start with shifting tastes. In an era where TikTok and Spotify algorithms serve up hyper-personalized music experiences, the idea of paying hundreds to see a mixed bag of artists you might not know feels less appealing especially for younger fans. Why risk it when you can watch your favorite artist’s arena tour instead? That’s exactly what’s happening, according to Will Page, former chief economist at Spotify. “Roll forward to 2024, you go all in to see Taylor Swift, and you don’t bother with the festival,” Page told CNN. Stadium acts are cannibalizing festivals, pulling away not just fans but also artists who are opting for solo tours where they earn more and control the experience. Then there’s inflation. With the cost of living spiking, music fans are prioritizing where their money goes. A weekend pass, camping gear, overpriced drinks, food, and travel? That can easily run north of $600. Many are deciding it’s just not worth it. And that’s if the festival even happens. Uncertainty, Delays, and Refund Drama Cancellations aren’t the only issue. Some festivals have pulled last minute schedule changes or offered limited refunds, frustrating fans even further. Midwest Dreams, a new EDM festival slated for launch in St. Louis this May, postponed just a week before its debut officially citing tornado damage. But skepticism brewed online, especially as other events at the venue were still scheduled to go on. Attendees were initially given only 24 hours to request refunds before tickets were automatically rolled over. (Organizers later clarified that refunds would be honored, blaming the vendor for the initial policy.) Even long-established festivals are struggling with logistics. Last year, Electric Forest had to shut down early due to thunderstorms, canceling headline performances and leaving many fans without refunds or make-goods. That incident is still casting a shadow over the 2025 edition, where single-day passes are now priced at $175 a steep ask after 2024’s fiasco. The Magic Is Fading Part of what made festivals special was the sense of discovery. As Blake Atchison, co-founder of Nashville’s Deep Tropics festival, told CNN: “You could stumble upon an amazing band or DJ that you end up loving… there’s just nothing like it.” But that magic is harder to find these days. Some long-time fans point to over-commercialization as the root cause. Events like Bonnaroo and Lollapalooza have increasingly leaned into corporate sponsorships and recycled lineups. Once a haven for underground scenes, these festivals now often feature the same headliners across multiple cities. (This year, artists like Tyler, the Creator, Luke Combs, and Olivia Rodrigo are headlining both Bonnaroo and Lollapalooza.) Even the founders are noticing the shift. Perry Farrell, creator of Lollapalooza, told the Chicago Tribune back in 2016: “I sometimes cringe at my own festival,” bemoaning the flood of mainstream EDM acts after Live Nation took control. What Comes Next? Despite the chaos, people still crave live music. Concert attendance is booming even as prices soar. So what gives? It may come down to experience. Large festivals are plateauing because they’ve stopped innovating. They’ve lost the grit, the edge, the grassroots vibe that made them iconic. The question now isn’t just how to save them it’s whether they’re worth saving in their current form. Some artists are sidestepping the whole festival model. Bands like The All-American Rejects are booking house party tours and performing in backyards, college campuses, even bowling alleys. The intimacy, authenticity, and social media buzz around these shows are breathing new life into live music and making traditional festivals look outdated by comparison. Meanwhile, industry giants like Live Nation and AEG continue to dominate the major festival landscape, favoring big-name acts and cookie cutter formats. That leaves little room for experimentation, and even less for the underground scenes that once fueled the festival explosion of the early 2000s. Final Word The festival industry is in a reckoning. Rising costs, changing fan behavior, and a saturation of sameness are pushing even the most iconic events to the brink. As fans, we’re watching in real time as a cultural institution evolves or collapses. The post 2025 Festival Cancellations: A Crisis for Live Music? appeared first on EDMTunes.

Rezonate Music Rights co-founders Tom Tyler (left) and Cam Blackwood. Photo Credit: Rezonate Does the music IP arena have room for another investor? Rezonate Music Rights believes so, and it’s set sail with a $150 million war chest as well as a focus on producer catalogs. Rezonate announced its official launch – and several already-wrapped plays – today. Founded by producer Cam Blackwood and former London Stock Exchange Group higher-up Tom Tyler, the self-described “leading solution for music producers rights acquisition” secured the $150 million tranche from Europe’s Bridgepoint Credit. Under that investment, Bridgepoint took “a minority stake in Rezonate’s management company,” per the catalog buyer, which has offices in London and Los Angeles. Meanwhile, having evidently started pursuing deals ahead of its formal launch, Rezonate pointed to signed-and-sealed catalog agreements with producers Lorna Blackwood, Mark Crew, James Earp, and Jussi Karvinen (aka Jussifer). Those professionals have credits on tracks released by Lewis Capaldi, Bebe Rexha, Kelly Clarkson, The Wombats, Dua Lipa, Katy Perry, and Demi Lovato, to name just some. And as Rezonate describes things, a number of additional catalog agreements are forthcoming. “This partnership with Bridgepoint is a strong endorsement of Rezonate’s vision and the value we bring to music producers,” Blackwood and Tyler added in a joint statement. “With such substantial firepower we can significantly accelerate our growth plans and continue to set new standards in the industry, ensuring producers are at the heart of every decision we make. “We are excited to bring a fresh and artist-aligned approach to the royalties space, starting with an incredible day-one catalogue that includes some of the most iconic tracks of the last four decades,” concluded Tyler and Blackwood. Beyond straight IP purchases, Rezonate also offers “funding and mentorship to emerging talent,” producer-geared networking opportunities, and “accurate and transparent music catalogue valuations,” its website shows. (On the valuation side, worth reiterating is that HarbourView last week tapped Sweden’s Chapter Two to “facilitate” a Rodney Jerkins IP buyout. Formerly Anotherblock, Chapter Two is now touting a collection of catalog-tech solutions.) In the bigger picture, it’s safe to say that the catalog space remains flush with capital – even if the rights-acquisition game is more specialized than ever. On the funding front, 2025’s first five months delivered blockbuster investments in the work of Notorious B.I.G. and others – not to mention sizable capital disclosures from Intercept Music, Pophouse Entertainment, GoldState Music, Raven Music, and more. Regarding specialization, Duetti is zeroing in on indie rights, to name one example, while a film and TV joint venture is a seemingly significant component of DJ Khaled’s Influence Media catalog sale. Different players yet are opting to spearhead multifaceted deals at the intersection of emerging markets and regionally prominent IP. View the full article

Photo Credit: OLENS Global / CC by 3.0 A Seoul court has hit K-Pop group NewJeans with an injunction, with fines for independent activity starting at $730,000 per infraction. The Seoul Central District Court ruled on Friday that K-pop girl group NewJeans must refrain from performing without Ador’s consent or approval until a decision is made in a lawsuit over the validity of its members’ exclusive contracts. Should the group violate the court’s order, each member will be required to pay 1 billion won ($730,000) per infraction to Ador. The court also ordered NewJeans to pay the legal costs of the filing. NewJeans notified Ador of their request for contract termination last November after internal conflicts at the company quickly went public. Since then, the group has attempted to pursue independent activity under the name NJZ, but is now barred from doing so without repercussion. In March, the court accepted Ador’s initial injunction request, against which NewJeans’ members quickly filed an appeal. They voiced their intent to continue promotional events and performed as NJZ at the ComplexCon event in Hong Kong. On Friday, NewJeans responded to the court order by clarifying that the decision was related to the previous injunction issued in March. That order prohibited the members from conducting independent activities. The new ruling, they emphasized, was not part of the ongoing appeal they filed against the initial injunction. The group’s attorneys noted that the court’s latest decision is “temporary until the appeal is resolved.” They add: “If the NewJeans members win the injunction appeal, both the original and the related indirect enforcement rulings will lose their legal effect. In practice, indirect enforcement is typically issued in conjunction with an injunction ruling.” During the first hearing over the dispute between NewJeans and Ador last month, the group’s legal team expressed no intention of settling. Ador’s representatives, meanwhile, indicated they were open to a settlement. The next hearing is scheduled for June 5. View the full article

Photo Credit: Eminem by EJ Hersom for DoD News / CC by 2.0 Eminem’s music publisher, Eight Mile Style, is suing Meta with allegations of widespread copyright infringement on Facebook and Instagram. Eight Mile Style, Eminem’s music publishing company, has filed a lawsuit against Meta, alleging the tech company’s social media platforms allow widespread use of the rapper’s songs without proper licensing. The complaint, filed Friday in U.S. District Court in Detroit, says Meta has “created and stored” copies of Eminem’s songs on their servers and distributed them to “billions of users” around the world. According to the publisher, the rapper’s songs have been used in millions of videos across Facebook and Instagram that have collectively been viewed “billions of times.” Further, through Meta’s online tools that encourage creating content based on another user’s content, users can “steal” music from others’ posts for use in their own, “resulting in exponential infringement,” the lawsuit claims. Eight Mile Style asserts that Meta is “actively encouraging” users to stream the rapper’s music by making his songs available for use on Facebook, Instagram, and the messaging service WhatsApp. These apps’ algorithms also allegedly promote his music directly to users via “For You” pages and “Trending” features. Eminem’s publisher brought the issue to Meta’s attention previously, the lawsuit claims, which resulted in the tech giant removing several Eminem tracks from its libraries. However, several alternative versions of his song “Lose Yourself,” including a karaoke version, an instrumental piano version, and a cover version, remained available to all users. Other prominent tracks from the artist also remained available—prompting the lawsuit. “Meta’s years-long and ongoing infringement of the Eight Mile Compositions is another case of a trillion (with a ‘T’) dollar company exploiting the creative efforts of musical artists for the obscene monetary benefit of its executives and shareholders without a license and without regard to the rights of the owners of the intellectual property,” Eight Mile’s lawyers write. The company is seeking damages, in addition to Meta’s “profits attributable to the infringement,” with maximum statutory damages that Eight Mile claims would exceed $109 million. Further, the company is seeking an injunction to cease further infringement. View the full article

If much of the mindset and mantra behind Above & Beyond over the last quarter of a century has been born from the idea of connection, then their fifth artist album Bigger Than All Of Us is best summed up in one word: Reconnection. The depth of those intuitive reconnections, both between the three band members and with their inner circle of trusted collaborators, is evidenced in the latest single ‘Start A Fire’. Originating as a deep instrumental cut from Paavo Siljamäki’s vaults, it’s a demo that he estimates is “Easily seven, eight years old. Tony [McGuinness] had always said: ‘I like this…’ Then, as we were entering this album process, Tony is like: ’Hey, I’ve written something on this! Then everybody’s going: ’Oh my God, this is great!” I have a notebook that I keep for song ideas. I had this thought a few years back, ‘There’s enough of you in me to start a fire,’ and after dwelling on it for a few months, I found that it worked great over a piece of music Paavo had written. I had just that one line for years, until I went to The Gorge two years and one afternoon, the verses came together. I was trying to do something conversational, like one of Dire Straits’ love songs. I think it’s ended up being one of our favourites. -Tony McGuinness That’s been really nice for me, because it’s something that I completely forgot that I’d created. Then I get something fresh from Tony, and his input reignites my excitement. And then, it would have never been as good if it didn’t have Richard’s new vocal. That thing where it’s the power of a team. -Paavo Siljamäki In its completed form, the track features Richard Bedford singing Tony McGuinness’s lyrics and melody line. Of course, it’s not the first time Richard Bedford has teamed up with Above & Beyond on a Tony McGuinness-written song — see beloved classics ‘Sun & Moon’, ‘Thing Called Love’, ‘Northern Soul’, and more recently ‘Heart Of Stone‘, to name a few. Debuted at Coachella Valley Music and Arts Festival this past April, ‘Start A Fire’ kicked off an Above & Beyond set that would become a defining moment in the ‘Bigger Than All Of Us’ campaign. The post Above & Beyond Lift ‘Start A Fire’ feat. Richard Bedford From Next Studio Album appeared first on EDMTunes.

Maverick Helicopters is reuniting with Insomniac to offer scenic flights and helicopter transfers at Day Trip Festival. When the house and techno festival returns to Long Beach this month, thrill-seeking Day Trip attendees can book Maverick’s six-minute “Sky Trip” helicopter flight, soaring above the Queen Mary Waterfront and Long Beach Marina to give ravers a birds-eye view of Day Trip’s High Tide and Deep End stages, and the sunny California Coastline. These aerial excursions take off from Maverick’s private terminal, located steps from the festival grounds at 1175 Queens Hwy, Queen Mary Terminal, on both days of the festival. Sky Trip flights cost $179 and are only available to Day Trip attendees. Previously purchased festival admission is required and is not included in the price of the flight. Those looking to skip the traffic and arrive at Day Trip by air can also book Maverick’s Day Trip Festival transfers. These efficient flights offer guests a traffic-jam-free journey from the Long Beach Airport directly to the event, landing at Maverick’s nearby terminal. Individual helicopter transfer bookings cost $299 one-way and $399 for a round-trip flight. Private group charter bookings are also available out of any Los Angeles or Orange County airport, starting at $2,499. Additional information and bookings for Maverick Helicopters’ 2025 Day Trip flights are available here. Insomniac’s Day Trip Festival will return to the Queen Mary Waterfront in Long Beach, California, on June 21-22, featuring performances from Gorgon City, Duke Dumont, Tiësto, Chris Lorenzo, Joseph Capriati, and more. Tickets are still available here. Featured image courtesy: Maverick Helicopters. The post Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025 appeared first on EDM Maniac. View the full article

Maverick Helicopters is reuniting with Insomniac to offer scenic flights and helicopter transfers at Day Trip Festival. When the house and techno festival returns to Long Beach this month, thrill-seeking Day Trip attendees can book Maverick’s six-minute “Sky Trip” helicopter flight, soaring above the Queen Mary Waterfront and Long Beach Marina to give ravers a birds-eye view of Day Trip’s High Tide and Deep End stages, and the sunny California Coastline. These aerial excursions take off from Maverick’s private terminal, located steps from the festival grounds at 1175 Queens Hwy, Queen Mary Terminal, on both days of the festival. Sky Trip flights cost $179 and are only available to Day Trip attendees. Previously purchased festival admission is required and is not included in the price of the flight. Those looking to skip the traffic and arrive at Day Trip by air can also book Maverick’s Day Trip Festival transfers. These efficient flights offer guests a traffic-jam-free journey from the Long Beach Airport directly to the event, landing at Maverick’s nearby terminal. Individual helicopter transfer bookings cost $299 one-way and $399 for a round-trip flight. Private group charter bookings are also available out of any Los Angeles or Orange County airport, starting at $2,499. Additional information and bookings for Maverick Helicopters’ 2025 Day Trip flights are available here. Insomniac’s Day Trip Festival will return to the Queen Mary Waterfront in Long Beach, California, on June 21-22, featuring performances from Gorgon City, Duke Dumont, Tiësto, Chris Lorenzo, Joseph Capriati, and more. Tickets are still available here. Featured image courtesy: Maverick Helicopters. The post Maverick Helicopters Offers Scenic Flights Above Day Trip Festival 2025 appeared first on EDM Maniac. View the full article

Photo Credit: Amy Syiek Several major record labels have settled their copyright infringement lawsuit with internet provider Frontier after a multi-year legal battle. Major record labels, including UMG, Sony Music, and Warner Music, have settled their piracy liability lawsuit with internet provider Frontier after a lengthy, multi-year legal battle. All parties agreed in a public notice to bear their own costs, while the details of the settlement remain undisclosed. The settlement comes a few weeks after another similar lawsuit, filed by film companies, was settled ahead of trial. Frontier, which only emerged from bankruptcy three years ago, was fighting a pair of similar piracy liability lawsuits filed by music and film companies. Both were scheduled to go to trial in the spring, but were settled beforehand. The music companies, spearheaded by UMG, reached a settlement with Frontier this week. In a notice submitted to the New York federal court, all parties agreed that all claims were settled with prejudice—meaning the claims cannot be refiled in the future. Last month, the movie companies’ lawsuit was settled on undisclosed terms. Several prominent music and movie companies have filed lawsuits against internet providers in recent years for failing to take action against subscribers who commit piracy. Chiefly, the companies assert that ISPs like Frontier have failed to terminate the accounts of subscribers who repeatedly engage in copyright infringement by pirating IP— in violation of DMCA requirements. Lawsuits like this action against Frontier have resulted in millions owed by providers like Cox and Grande. The settlement arrives just days after the U.S. government recommended the Supreme Court hear Cox’s case seeking to overturn a ruling in favor of the music companies. However, there is nothing to suggest that stance impacted the Frontier lawsuit’s settlement. Should the Supreme Court take action, that outcome would affect similar lawsuits against ISPs. Meanwhile, several U.S. lawmakers are working on legislation against pirate sites, under which ISPs would be tasked with ensuring access to such sites is blocked. Some ISPs are open to the idea, as long as they’re granted “retrospective immunity” in the process. View the full article

Photo Credit: Live Nation (NBA Youngboy) NBA YoungBoy is making his return to the stage by announcing 13 new shows for his ‘Make America Slime Again’ 2025 tour. The tour is a sly reference to his recently granted presidential pardon from Donald Trump. Trump granted the pardon on May 28,2025 after NBA YoungBoy served almost two years in prison on federal gun charges. In a statement at the time, the rapper thanked the president for “giving me the opportunity to keep building—as a man, as a father, and as an artist.” The rapper isn’t resting on his laurels, either—the new MASA Tour is his first-ever headlining run. Due to overwhelming fan demand, the tour has expanded to include new stops in San Diego, Las Vegas, Charlotte, Glendale, and more. The tour has also added new dates in Dallas and Houston before wrapping up in Seattle on November 12. Tickets will be available with artist pre-sales starting June 4 with general on-sale launching June 6 at 10 am on LiveNation.com. Fans can also elevate their experience with a range of VIP packages, backstage tours, pre-show VIP lounge access, and exclusive merchandise. NBA YoungBoy — Make America Slime Again Tour Dates September 01 | American Airlines Center — Dallas, TX 02 | American Airlines Center — Dallas, TX 05 | Moody Center — Austin, TX 06 | Toyota Center — Houston, TX 09 | Crypto.com Arena — Los Angeles, CA 10 | Crypto.com Arena — Los Angeles, CA 12 | Oakland Arena — Oakland, CA 13 | Golden 1 Center — Sacramento, CA 15 | PHX Arena — Phoenix, AZ 17 | Ball Arena — Denver, CO 20 | Enterprise Center — St. Louis, MO 21 | T-Mobile Center — Kansas City, MO 22 | Target Center — Minneapolis, MN (ADDED SHOW) 24 | United Center — Chicago, IL 25 | Nationwide Arena — Columbus, OH 27 | Barclays Center — Brooklyn, NY 28 | TD Garden — Boston, MA 29 | Prudential Center — Newark, NJ October 01 | Capital One Arena — Washington, DC 03 | Wells Fargo Center — Philadelphia, PA 04 | CFG Bank Arena — Baltimore, MD 06 | Little Caesars Arena — Detroit, MI 08 | Colonial Life Arena — Columbia, SC 09 | Colonial Life Arena — Columbia, SC 10 | VyStar Veterans Memorial Arena — Jacksonville, FL 11 | Kia Center — Orlando, FL 13 | Kaseya Center — Miami, FL 15 | State Farm Arena — Atlanta, GA 16 | Bridgestone Arena — Nashville, TN 18 | State Farm Arena — Atlanta, GA 19 | Smoothie King Center — New Orleans, LA 20 | Smoothie King Center — New Orleans, LA 22 | Legacy Arena at the BJCC — Birmingham, AL 24 | Lenovo Center — Raleigh, NC (ADDED SHOW) 26 | Spectrum Center — Charlotte, NC (ADDED SHOW) 28 | Toyota Center — Houston, TX (ADDED SHOW) 29 | Frost Bank Center — San Antonio, TX (ADDED SHOW) 30 | American Airlines Center — Dallas, TX (ADDED SHOW) November 01 | Paycom Center — Oklahoma City, OK (ADDED SHOW) 05 | Honda Center — Anaheim, CA (ADDED SHOW) 06 | Desert Diamond Arena — Glendale, AZ (ADDED SHOW) 07 | Viejas Arena — San Diego, CA (ADDED SHOW) 09 | T-Mobile Arena — Las Vegas, NV (ADDED SHOW) 11 | Moda Center — Portland, OR (ADDED SHOW) 12 | Climate Pledge Arena — Seattle, WA (ADDED SHOW) View the full article

LSDREAM is elevating his renowned LIGHTCODE meditation experience at its next stop in Denver with a new 360-degree visual component, in partnership with local promoter Portal‘s visiting Portal Dome installation. The fan-favorite experimental bass artist announced on social media today that he’ll bring the guided soundbath experience to the Mile High City on June 18, just days before he and CloZee unite to headline Denver’s Mission Ballroom as LSZEE. While previous LIGHTCODE sessions from Electric Forest to Red Rocks have been audio-only experiences, featuring an ambient mix from LSDREAM and other meditative components like Tibetan singing bowls and guided breathing, the Denver event will utilize a 80-foot-tall geodesic projection dome—adding mind-expanding visuals to the experience for the first time. Featuring visual displays crafted by renowned design studios Micro Dose VR and LIGHTBRUSH, the event makes up a portion of the Portal Dome’s week-long visit in Denver for the 2025 Psychedelic Science Conference next month. Beyond LIGHTCODE, the Portal Dome installation will host additional events covering “music, film, conversation & consciousness,” at the Auraria Campus in downtown Denver from June 14-22. For more information or to grab tickets to LSDREAM presents LIGHTCODE at the Portal, visit youaretheportal.com. Featured image courtesy: LSDREAM. Credit: Felicia Budny. The post LSDREAM Announces LIGHTCODE Denver With 360-Degree Dome Visuals appeared first on EDM Maniac. View the full article

ULTRA Europe is back in a major way for 2025 and with its Phase 2 lineup now revealed, this year’s edition is shaping up to be the biggest yet. Set to take place July 11–13, 2025 at the legendary Park Mladeži Stadium in Split, Croatia, the festival is gearing up for a massive 11th edition. ULTRA initially wowed fans with its Phase 1 announcement, which featured titanic names like Adam Beyer b2b Mau P (a world debut), Alesso, Amelie Lens, Armin van Buuren, Carl Cox, Hardwell, John Summit, Martin Garrix, Solomun, and Tiësto. ICYMI, check out our coverage of Phase 1 here. Now, with Phase 2, the lineup grows even stronger. New Headliners Join the Party Afrojack – Grammy-winning hitmaker and global festival staple Gryffin – Melodic house savant bringing his guitar-driven sets to Split MRAK – Afterlife co-founder and visionary live performer SOFI TUKKER – The genre-bending, Grammy-nominated duo Steve Angello – Swedish House Mafia member and progressive house icon Support Acts Go Full Throttle Joel Corry – British dance chart dominator Maddix – A force in techno rave culture Matroda – Croatia’s own bass house innovator MORTEN – Future rave pioneer alongside David Guetta NGHTMRE – Bass heavyweight and label boss MYKRIS – ULTRA veteran returning for another epic year ULTRA’s house and techno brand RESISTANCE also returns, spotlighting underground excellence from around the world. Tickets, VIP, and Yacht Party Life If you haven’t secured your passes yet, act fast: Tier 3 GA tickets are sold out, and Tier 4 tickets are now on sale starting at €219 for a three-day GA pass. Tier 3 VIP is nearly gone, while VIP Premium and Fan Pit packages are in high demand. For those seeking the ultimate luxury, ULTRA’s Destination Yacht Package offers a seven-day cruise along the Adriatic Sea, complete with VIP tickets, island stops, and exclusive access to all events on the Destination ULTRA journey. “With over 150,000 attendees from more than 140 countries, ULTRA Europe continues to solidify its status as a global phenomenon.” As always, ULTRA Europe is part of the ULTRA Worldwide family, with events across six continents and a reputation for top-tier talent, jaw-dropping production, and global community vibes. The post ULTRA Europe 2025 Drops Blazing Phase 2 Lineup appeared first on EDMTunes.

Pictured L-R: EJ Gaines, Phil Thornton, Norman Gyamfi, Kirk Franklin, Ron Hill, Trell Woodberry, Jonathan Jay (Photo Credit: Rob Ector) Gospel music icon Kirk Franklin has announced a major partnership with Insignia Assets—the new Black-owned entertainment venture founded by Norman Gyamfi and Jonathan Jay. This strategic alliance brings together Franklin’s acclaimed Fo Yo Soul Recordings and CLTRE Lab with Insignia Assets’ expanding portfolio which spans recorded music, publishing, television, film, touring, and live events. Franklin will also assume the role of Chief of Creative Services at Insignia Assets. Franklin, who will be honored with the BET Ultimate Icon Award at the 2025 BET Awards on June 9 emphasized the cultural significance of the partnership. “This partnership with Insignia is bigger than business,” Franklin says. “it’s about building a platform where our stories, our faith, and our culture can live and breathe across every screen and stage. I’ve always believed in pushing Gospel beyond the margins and into spaces where it can challenge, inspire, and connect the world in a real way.” To launch this new chapter, Franklin will release a new single “Do It Again” on June 6. His media production company CLTRE Lab will also team up with Insignia Assets’ 3 Diamonds Entertainment division to produce ‘Den of Kings,’ a dinner conversation series hosted by Franklin. The premiere episode focusing on fatherhood will feature D.C. Young Fly, Kountry Wayne, Lou Young, and Devale Ellis and will debut on Franklin’s YouTube channel on Father’s Day. “We’re thrilled to fortify and deepen our partnership by welcoming Kirk to our executive team, and by charting a course for the future with him from recorded music to touring, film, TV, digital media, and more,” adds Norman Gyamfi, Co-Founder and CEO of Insignia Assets. “We are collectively very proud of this moment.” Insignia Assets’ music portfolio includes leading Christian and Gospel labels such as Tribl Records, Maverick City Music, and Fo Yo Soul Recordings, as well as R&B label Platform Sounds. Additional divisions include Undivided Entertainment for touring and events, 3 Diamonds Entertainment for TV and film, and the Icho Group for marketing. View the full article

Photo Credit: 50 Cent for Branson Cognac 50 Cent says he’s going to make his feelings about Diddy known after Trump said he’d “look at the facts” of the case regarding a potential pardon. 50 Cent says he’s going to “make sure” Donald Trump is aware of the “really bad things” Diddy has said about him. His comments come on the heels of Trump saying he would “look at the facts” of Diddy’s sex trafficking case regarding a potential pardon. “[Diddy] said some really bad things about Trump, it’s not ok. I’m gonna reach out so he knows how I feel about this guy,” said 50 Cent in a now-deleted Instagram post on May 30. “Donald doesn’t take well to disrespect and doesn’t forget who chooses to go against him.” Those remarks made headlines, which led to 50 Cent responding to The Daily Beast’s article with another Instagram post on Sunday, June 1. “I didn’t say I would nuke anything; I simply said I will make sure Trump is aware,” he explained. On Friday, Trump was asked about a potential pardon for Sean “Diddy” Combs, should the music mogul be convicted in his case. The president said he and Diddy used to be friendly, but that he hadn’t spoken to him since he got into politics. “He used to really like me a lot,” said Trump. “I think when I ran for politics, that relationship busted up. […] I would certainly look at the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.” Today (June 2), 50 Cent posted a clip on Instagram featuring Diddy discussing his feelings on Trump. “See Trump don’t like shit like this buddy, you run your mouth to [sic] much,” he wrote in the post’s caption, along with a laughing emoji. Diddy is facing charges of racketeering and sex trafficking, to which he has pleaded not guilty. His trial is expected to continue through July, and the disgraced mogul could face life in prison should he be found guilty. View the full article

Photo Credit: Netflix Netflix tees up a trailer for Adam Sandler’s “Happy Gilmore 2,” featuring a slew of stars, including Bad Bunny, Eminem, and Post Malone. Adam Sandler’s highly anticipated sequel, “Happy Gilmore 2,” got a new trailer reveal during Netflix’s Tudum event on Saturday, May 31. The footage shows a cavalcade of stars, including Eric André, Travis Kelce, Ben Stiller, Bad Bunny, Eminem, and Post Malone. A teaser that initially dropped in March showed Sandler’s character, former pro hockey player Happy Gilmore, facing off against PGA champions and eventually returning to the green. Professional golfers John Daly, Scottie Scheffler, Rory McIlroy, and Bryson DeChambeau also appear. The film, a sequel to the 1996 original, comes from a screenplay written by Sandler and Tim Herlihy, his co-writer on the first film. “Happy Gilmore 2” is directed by Kyle Newacheck, who also directed Sandler and Jennifer Anniston in Netflix’s “Murder Mystery.” The original film’s director, Dennis Dugan, returns as an executive producer. Margaret Qualley, a huge fan of the original, also scored a cameo, thanks to the help of her husband, Jack Antonoff. According to Qualley during an appearance on The Tonight Show, Antonoff convinced Sandler to cast her by claiming she is good at golf. “He lied for the sake of the family,” she joked. “I’ve never golfed a day in my life. I’m terrible, actually.” Sandler has teased some of the film’s cameos in recent interviews. On The Dan Patrick Show back in December, he said he filmed for a day with Eminem, and the rapper “said a million things we can use.” He added, “I’ve known Eminem for a long time, and he’s a great guy.” Beyond the cameos, the main cast of “Happy Gilmore 2” features Julie Bowen and Christopher McDonald, the latter of whom returns as fan favorite Shooter McGavin. “Happy Gilmore 2” is slated to debut on Netflix on July 25. View the full article

Seated co-founders John Griffin (left) and David McKay, who’ve reacquired their company from Sofar Sounds. Photo Credit: Seated Four years and change after selling to Sofar Sounds, Seated has officially been reacquired by its founders. Seated co-founder and CEO David McKay, whose ticketing platform says it helps artists “gain fan insights and sell more” concert passes, announced the newly finalized deal in a brief blog post. According to that message, the repurchase arrived as Somerville, Massachusetts-headquartered Sofar zeroes in “on their amazing global experiences business” under CEO Warren Webster, who came aboard in October 2024. Eight-year-old Seated opted against publicly disclosing the transaction’s financials. But it did mention a number of its artist users – among them Ed Sheeran, Brandi Carlile, and Jelly Roll – and tout its operational vision as a standalone entity. “This re-acquisition gives us the flexibility and focus to go deeper,” McKay summed up. “We’re doubling down on what we do best – building great software for artists to own their ticketing, capture and activate their fan data, and grow meaningful relationships with the people showing up to their shows.” Of course, at the intersection of ticket-pricing concerns and a growing superfan emphasis, the highlighted objectives are even more relevant now than they were when Sofar bought Seated. “We’re incredibly grateful to the team at Sofar Sounds for supporting Seated’s growth over the past four years,” McKay added of the circumstances surrounding the transaction. “As they refocus on their amazing global experiences business, we’re excited to carry Seated forward and keep building for the artists we’re lucky enough to work with.” At least from the outside looking in, the process of splitting Seated from Sofar doesn’t appear to have been too involved. Worth reiterating here is that the parties at the time of their February 2021 deal clarified that Seated would “keep operating their services independently.” On the personnel front, Billboard indicated that McKay will remain at the helm of the once-again-independent company, with CTO and fellow co-founder John Griffin also staying aboard. Per its LinkedIn profile, Seated has between two and 10 employees (with some claiming roles at both the business and Sofar). In the bigger picture, following recent years’ avalanche of music-space acquisitions, Seated isn’t alone in selling back to its founders and original owners. Likewise part of the list are ROSTR and Absolute Label Services (which Utopia Music offloaded in February and July 2023, respectively) as well as SoundBetter and Soundtrap (sold by Spotify in October 2021 and June 2023, respectively), to name a few. View the full article

Photo Credit: Midwest Dreams Music Festival The Midwest Dreams Music Festival at World Wide Technology Raceway was postponed following a catastrophic tornado that struck St. Louis on May 16. It highlights unforeseen circumstances that festival organizers are facing in an already razor-thin margin live entertainment industry. Organizers describe the tornado as “the worst tornado in St. Louis area history” with widespread destruction, collapsed buildings, and entire neighborhoods in need of aid. With additional storms forecasted, festival organizers made the difficult decision to delay the event to ensure the safety of attendees, artists, and staff. The new date for Midwest Dreams this year has been confirmed as November 1, 2025. All purchased tickets will automatically transfer to the rescheduled date, though ticket holders have a limited window to request refunds. While the artist lineup—originally featuring Dom Dolla, Diplo, Acraze, and YDG—may see changes, organizers have reassured fans they are working to preserve the spirit and quality of the festival. In response to the disaster, Midwest Dreams is donating 15% of ticket sales to tornado relief efforts. Organizers are joining forces with local sponsors, affiliates, and city personnel to provide supplies and support for those in affected communities. “We want to express our sincere condolences to all those affected by the recent storms,” said John Soell, Founder of Midwest Dreams. “Our festival is about more than just music—it’s about community. We look forward to bringing our festival to metro St. Louis when the time is right and are planning important partnerships with local non-profit organizations.” Severe weather, economic pressures, and logistical challenges have led to a surge in festival postponements and cancellations in 2024 and 2025. Dozens of music festivals across the world have faced similar fates, with some industry trackers reporting a 20% increase in cancellations compared to pre-pandemic years. The Pitchfork Music Festival in Chicago threw in the towel, while GoldenSky Country Music Festival in Sacramento took a one-year hiatus. Meanwhile, the Eastern Music Festival in Greensboro, NC canceled its 2025 season due to unresolved labor negotiations between management and staff. Festivals like Music Midtown (Atlanta), Kickoff Jam (Florida), Made in America (Philadelphia), and Firefly Music Festival (Delaware) have all been canceled or have not returned since 2022. Even iconic music festivals like Coachella and Electric Forest are feeling the squeeze as unsold tickets linger for months with noticeable drops in demand. View the full article

Electronic music disruptor Wehbba just dropped his latest body of work, STUDIO DUMP 05.25, a surprise, no-rules album, unveiled piece by piece over the past four weeks via his multi-art platform, HIFN. STUDIO DUMP 05.25 is what happens when an artist stops editing and starts releasing – immediately, impulsively, and unapologetically. It’s a collection of sonic sketches pulled straight from the studio floor: spontaneous, unpolished, and absolutely alive. Rolled out in weekly drops across the month and now finally here in its complete arrangement, the project invites listeners into the chaos and clarity of real-time creativity. There is a moment in creation when everything flows – before the overthinking, before the polishing, before doubt creeps in. A moment when instinct takes over and ideas move faster than the mind can process. STUDIO DUMP 05.25 is that moment, frozen in time. Each track is a fragment of energy, a snapshot of movement and thought before it could be second-guessed. The tracks on STUDIO DUMP 05.25 – including titles like ‘RENN,’ ‘TRACTION,’ ‘EXIT TIME,’ ‘RESPECT THE PROCESS,’ ‘SYNTHETICS, ‘BRAIN CONFUSION,’ ‘ESSENCE,’ ‘MIRAGE’ (with Misstress Barbara), and ‘SYMMETRY‘ – weren’t designed for uniformity or to chase trends. Each piece was developed with a clear purpose: to serve distinct moments within a DJ or live set, offering tools to shift momentum, redirect energy, or carve out unexpected space on a dancefloor. Rather than aiming to match the sound of high-energy, chart-topping techno, these tracks lean into individuality – each one breaking form in its own way, challenging structure while remaining highly functional. The result is a collection that feels varied by design, grounded in utility but unafraid to stand apart. STUDIO DUMP 05.25 speaks to the volatile nature of electronic music in the age of social media, reflecting how the culture of the scene, like the fleeting scroll of a social feed, is created, consumed, and replaced with dizzying speed. As with every HIFN release, the music is accompanied by a wordscape; an abstract reflection of its essence through poetry. The wordscape itself is a meditation on the emptiness that would arise if our social media feed were to disappear. What would happen to someone’s behaviour, emotions, even sense of self, when governed by the need for validation through external interactions? “What if my feed is empty / How can I know what happy is / How do I know what to like / And what to look like?” The words move like the music – repetitive, hypnotic, unravelling. A mirror held up to the digital world, where reality is curated and fractured, where presence is measured in engagement, and where silence feels like oblivion. Bring back the feed. “‘STUDIO DUMP 05.25’ captures my present state as an artist – disconnected, raw, and instinctive. It’s a reflection of how electronic music exists in the social media era, shifting so rapidly that everything can vanish in an instant. The Wordscape itself is a meditation on the emptiness of an unfilled feed, and the way our lives have been shaped by what’s seen, consumed, and forgotten. It’s not about permanence – it’s about finding value in the fleeting through being intentional.” -Wehbba Wehbba has always been an artist who thinks beyond the beats. His music is more than sound – it’s an exploration of ideas and unfiltered expression. Whether through his intricate productions, his conceptual wordscapes, or his refusal to cater to formulaic commercialism, he constantly searches for deeper truths in music. STUDIO DUMP 05.25 is a tribute to that ethos – an album that doesn’t strive for perfection but instead captures something real, something instinctive, something honest. The entire aesthetic is an explosion of textures and fragments, layered like a memory half-remembered. It doesn’t try to be perfect. It doesn’t try to be clean. It simply exists. And now, it’s out in the world. The post Wehbba Drops Surprise ‘STUDIO DUMP 05.25’: A Raw, Unfiltered Album Experience appeared first on EDMTunes.

Photo Credit: Anna Lee Stanford Stadium hosted Coldplay for two sold-out dates as the band launches the North American leg of its Music Of the Spheres World Tour. Stanford Stadium opened its doors to music for the first time to welcome the group on May 31 and June 1. The band performed to an elated audience, delivering a full set of songs from their latest global #1 album Moon Music. They also performed classics including “Yellow,” “Viva La Vida,” “Paradise,” “Fix You,” “The Scientist,” “A Sky Full of Stars” and many more. This show featured Coldplay’s hallmark visual experience, replete with LED wristbands, confetti bursts, lasers, and fireworks lighting up the sporting venue in spectacular fashion. Support for these North American Dates came courtesy of Willow and Elyanna, both of whom were met with thunderous applause from the early evening crowd in attendance. Coldplay’s Music of the Spheres World Tour has now sold over 12 million tickets globally—the most ever for a single tour. It firmly establishes the band as a cultural and touring phenomenon, while establishing a baseline for environmentally responsible live entertainment. Lasts summer, Coldplay issued an update on their sustainability initiatives, revealing that their current tour has produced 59% fewer CO2e emissions than their previous stadium tour in 2016/2017. That exceeds their original target of achieving a 50% reduction in emissions. More than 9 million trees have already been planted around the world—with a further million to be planted. Coldplay — Music of the Spheres World Tour Dates JUNE 06 | Las Vegas, NV — Allegiant Stadium – SOLD OUT 07 | Las Vegas, NV — Allegiant Stadium – SOLD OUT 10 | Denver, CO — Empower Field at Mile High – SOLD OUT 13 | El Paso, TX — Sun Bowl Stadium – SOLD OUT 14 | El Paso, TX — Sun Bowl Stadium – SOLD OUT JULY 07 | Toronto, ON — Rogers Stadium – SOLD OUT 08 | Toronto, ON — Rogers Stadium – SOLD OUT 11 | Toronto, ON — Rogers Stadium – SOLD OUT 12 | Toronto, ON — Rogers Stadium – SOLD OUT 15 | Boston, MA — Gillette Stadium – SOLD OUT 16 | Boston, MA — Gillette Stadium – SOLD OUT 19 | Madison, WI — Camp Randall Stadium – SOLD OUT 22 | Nashville, TN — Nissan Stadium – SOLD OUT 26 | Miami, FL — Hard Rock Stadium – SOLD OUT 27 | Miami, FL — Hard Rock Stadium – SOLD OUT AUGUST 18 | Hull, UK — Craven Park Stadium – SOLD OUT 19 | Hull, UK — Craven Park Stadium – SOLD OUT 22 | London, UK — Wembley Stadium – SOLD OUT 23 | London, UK — Wembley Stadium – SOLD OUT 26 | London, UK — Wembley Stadium – SOLD OUT 27 | London, UK — Wembley Stadium – SOLD OUT 30 | London, UK — Wembley Stadium – SOLD OUT 31 | London, UK — Wembley Stadium – SOLD OUT SEPTEMBER 03 | London, UK — Wembley Stadium – SOLD OUT 04 | London, UK — Wembley Stadium – SOLD OUT 07 | London, UK — Wembley Stadium – SOLD OUT 08 | London, UK — Wembley Stadium – SOLD OUT View the full article

In a shocking announcement, the renowned ICON Collective in Los Angeles has officially ceased operations, citing financial struggles as the primary reason for the decision. A paper affixed to the school’s doors provided the startling news, accompanied by a QR code inviting former students and faculty to scan for further details on the situation. Founded to provide comprehensive education in music production, vocal performance, and the intricacies of the music business, ICON Collective has long been a beacon of creativity and innovation in the industry. Over the years, it has nurtured and launched the careers of many successful artists, including EDM heavyweights such as Slander, Jauz, NGHTMRE, Bonnie x Clyde, Sullivan King, and more, who credit their time at ICON as instrumental in their EDM success. Moreover, the closure of ICON Collective has sent ripples through the music community, as students, alums, and fans reflect on their experiences and the invaluable skills they gained during their time there. The school’s unique approach, which blends technical training with artistic development, has fostered a generation of talent that has now made significant contributions to the music scene. As the music industry grapples with this loss, the legacy of ICON Collective will undoubtedly continue to inspire aspiring musicians and producers for years to come. The sudden closure raises questions about the future of music education, leaving many to ponder where the next generation of industry leaders will find their footing. Photo via Facebook: ICON Collective The post ICON Collective Suddenly Shuts Its Doors for Good appeared first on EDMTunes.