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Broadwick Group has announced a landmark partnership with Troxy, the iconic East London venue celebrated for its rich history, unique Art Deco architecture, and its legacy as one of the capital’s great independent music spaces. This new chapter will see Broadwick and its group of companies come together to build on Troxy’s existing legacy, while shaping its future. Troxy is renowned for hosting a huge spectrum of events. Music will remain at the heart of the building, and this partnership will establish a broader and more ambitious programming and commercial vision. The venue will expand its offering across brand activations, cultural showcases, film and TV production, corporate events, and creative hires, reinforcing Troxy as one of the most versatile and culturally resonant venues in the UK. Troxy will continue to operate as an independent brand, with its core identity, team and legacy proudly preserved, backed by Broadwick’s deep experience in operating globally recognised venues including the likes of Magazine London, Printworks and Landing 42. The Group will invest in Troxy’s future while retaining everything that has made it special, from its emotional connection with artists and audiences to its distinctive character and community roots. The partnership sees Broadwick Group investing alongside the venue’s landlords in a £1.5million refurbishment of the venue, which is currently underway. This is the latest phase in the restoration of the historic Grade II listed building and will see improvements in the customer experience, bringing disused parts of the building back into use. Tom Sutton-Roberts, Managing Director of Troxy, said: “This partnership marks a hugely exciting next chapter for Troxy. It’s been an incredible journey to get to this point and working with Broadwick feels like a natural evolution. As a team we are really excited for what’s ahead and looking forward to working with the wider Broadwick team whose experience includes creating some of London’s most iconic venues in recent years. With big plans already on the horizon, including thoughtful venue developments and new ways to use the space, we’re ready to take Troxy to the next level, delivering even more unforgettable experiences across music, culture, and beyond, while staying true to the people and spirit that make it special.” Simon Tracey, Group CEO of Broadwick, said: “Troxy has hosted some of the most unforgettable nights of comedy, music and spoken word, as well as thousands of celebrations that give it a special place in East London history. We’re incredibly proud to support the next chapter, one that not only protects its soul but also unlocks new potential across music, culture, and experience.” The post Broadwick Partners with Troxy, one of London’s most iconic music venues appeared first on Decoded Magazine.

Emma-Jean Thackray is an award-winning artist, songwriter, arranger, and producer who fuses jazz, soul and electronic elements into her brilliantly vibey and heartfelt music. Off the back of her incredible new self-produced record, Weirdo, she joins us on the My Forever Studio podcast, brought to you in partnership with Audient. Thackray tells us all about getting into jazz by mistake, her early arrangement experiments with her brass band, and we navigate building her analogue-heavy forever studio. In this hilarious episode, learn how she develops her eclectic taste, why she’s not upgrading to Logic Pro 11, and how method acting techniques can improve your recordings. You can watch the full episode, recorded at TYX London, below or listen on your favourite podcasting platform. Thackracy’s Weirdo marks a whole new era for the British polymath, offering a more personal angle than her previous works. As the album’s recording progressed, she says it became a “grief diary” following the unexpected loss of her partner in January 2023. “Losing my partner has changed the way I think and feel about absolutely everything, which includes my creative process,” she told MusicTech earlier this year. “I’ve always known making music was my purpose, but after a lot of time staring at the wall and being unable to do anything at all really, I found my way back to art. I had to refind myself through music again, and making Weirdo gave me a reason to get up. It was cathartic, it was therapy, and it saved my life.” The making of Weirdo also reaffirmed her most valuable asset in the studio — herself. “Gear means nothing without the creativity behind it,” she said. “The investment is my education, the time I’ve spent listening to so much music, and the performing, composing, arranging, and mixing techniques I’ve honed over the years. Screw the gear.” The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! In our previous episode, we were joined by producer, DJ, musicologist and podcaster Luxxury. We covered everything from musical gatekeeping and why it’s important to keep a DIY punk-rock ethos alive in the studio to finding out which legendary artists Luxxury dreams of ‘borrowing’ instruments from. Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech. The post My Forever Studio: Emma-Jean Thackray and the trumpet illusion appeared first on MusicTech. View the full article

Photo Credit: Iain Catling, CEO, AudioSalad & Toru Itabashi, President & Representative Director, RecoChoku AudioSalad partners with Japanese music tech firm RecoChoku in a greater push into the Asian music market. Digital music distributor AudioSalad has announced a strategic partnership with Japanese technology firm RecoChoku in a further push into the Asian music market. The deal gives AudioSalad access to RecoChoku’s local partners and distribution network in Japan. “Japan’s unique music market presents both exciting opportunities and distinct challenges,” said AudioSalad CEO Iain Catling. “Our partnership with RecoChoku allows us to address these market dynamics with tailored solutions that honor Japan’s rich musical traditions while embracing digital innovation.” Since establishing its partnership with rights management and distribution services provider NexTone in late 2023, AudioSalad says it has built a position in Japan’s analytics, distribution, and supply chain services sector. Now, the deal with RecoChoku aims to further that strategy through additional local partnerships. Founded in 2001, the Tokyo-based RecoChoku offers a digital music distribution service for individuals and companies. Its platform provides over 26 million tracks for download and streaming across a variety of platforms, including smartphones, PCs, and even the Nintendo Switch. “This partnership with AudioSalad enables us to realize both comprehensive global-standard distribution asset management and a hybrid form of music distribution with delivery-agency operations,” said Kaz Aida, General Manager, RecoChoku. “By adding our meticulous distribution operation support services, we are able to offer each service in an all-in-one manner that meets the needs of rights holders.” “Our service is designed to solve such challenges and concerns faced by domestic rights holders, and we are very pleased to be able to collaborate with AudioSalad, who shares our vision. We will continue to develop services that cater to the needs of rights holders to achieve our mission of ‘Maximize Music Market.’” This partnership comes as Japan’s digital music sector continues to evolve into a mixture of traditional and streaming consumption models. Data from IFPI shows that Japan was the second-largest music market in 2024, after the U.S. AudioSalad was founded in 2010 and was acquired by SESAC Music Group in 2023. Its clients include independent labels such as Secretly Group, Mushroom Group, Mad Decent, Redeye Distribution, and Stones Throw. View the full article

Photo Credit: NIVA Independent stages generate $153.1 billion in economic investment across the U.S. based on the NIVA State of Live survey. At the opening session of the NIVA ‘25 today, the National Independent Venue Association (NIVA) unveiled the results of its first-ever comprehensive national economic impact study, The State of Live. Conducted by leading economic research firm TEConomy Partners, this crucial report provides clear evidence of the vital role independent venues, festivals, and promoters play in powering the United States economy and sustaining local communities nationwide. The study reveals that, in 2024 alone, independent live venues, festivals, and promoters contributed $86.2 billion directly to the U.S. Gross Domestic Product (GDP)—more than the U.S. beer, gaming, and airline industries. Independent stages generated a staggering $153.1 billion in total economic output, including indirect effects from fan spending, tourism, and local businesses. The independent live sector supported more than 908,000 jobs across all 50 states and Washington, D.C., and paid more than $51.7 billion in wages and benefits. Further, independent stages have a significant impact on tourism, accounting for approximately 9.2% of total U.S. travel and tourism revenue. That translates into over $10.62 billion in annual visitor spending on lodging, dining, shopping, and local transportation. “Independent venues are more than stages for entertainment; they are economic engines and cultural lifelines,” said Stephen Parker, Executive Director of NIVA. “This report underscores the urgent need for policy reforms and public investment to sustain these indispensable community anchors.” Key findings from The State of Live report include: $153.1 billion in total economic output, driven by fan spending on lodging, dining, shopping, and transportation $86.2 billion contributed to the U.S. GDP 908,000 jobs supported nationwide $51.7 billion in wages and benefits $19.31 billion generated annually in combined federal, state, and local tax revenues, equivalent to the entire annual budget for FEMA’s disaster relief efforts. 64% of stages were not profitable in 2024 31% of all independent stages’ expenses went directly to artist and booking fees 91% of venues operate year-round “Thanks to NIVA and the efforts and trust of those who responded with real data on their operations, we can tell our story,” said Sean Watterson, State of Live Task Force Chair and President and Co-Owner of The Happy Dog. “We can make our cases to the statehouses and city councils on why we matter, and how our elected representatives can help us continue to help our communities.” The State of Live study serves as a critical resource for policymakers, community leaders, and industry stakeholders working to protect and grow the independent live entertainment sector. NIVA presented the report’s key findings and recommendations today in Milwaukee, WI, during a national convening of lawmakers and other key stakeholders. The presentation will underscore the urgent need for targeted policy action to support the sector’s ongoing resilience and growth. The National Independent Venue Association (NIVA) is the national trade association representing thousands of independent live entertainment venues, festivals, promoters, and more. NIVA works to preserve and nurture the ecosystem of live entertainment. NIVA also empowers members and their teams with member benefits, advocacy on the state, local and federal levels, an annual industry-leading conference, and more. View the full article

Photo Credit: Hinge Hinge’s CEO Justin McLeod recently announced plans for the dating app to introduce its own payment processing system outside the Apple App Store. The rationale: by circumventing Apple’s 30% commission on in-app purchases, Hinge can reduce costs and potentially pass those savings on to consumers. This announcement comes amid a broader industry debate about platform fees and the power of app store gatekeepers. According to a recent survey of iOS users, many consumers would need a substantial discount—as much as 20%—to be convinced to use a payment method outside the App Store’s environment. This highlights a significant challenge for Hinge and other apps looking to take control of their own financial transactions. Hinge’s move is more than just a business decision, it’s also a potential blueprint for massive changes in the relationship between apps and users. If Hinge and parent company Match Group successfully implement and popularize their own payment processing, it’s not that hard to imagine streaming services like Amazon Music, Tidal, and Deezer following suit. Spotify in particular has long chafed at Apple’s service fees and the prospect of keeping more of the revenue by handling payments themselves has already moved forward. Heading down this road isn’t without obstacles though—Hinge will need to prove the model is successful before more DSPs are likely to jump on board. Consumer trust is a major concern, with Apple’s App Store widely regarded as a secure and reliable payment platform that makes it easy to cancel unwanted subscriptions. Many users are reluctant to share their financial information directly with individual apps and services. And even if Hinge is successful with its payment processing roll out, it will still have to offer App Store payments to remain compliant with iOS developer requirements. Spotify has already tested the waters by informing iOS users that they can subscribe outside of the App Store. If consumers respond positively—which Spotify says they have—it could be the shift of tides for other DSPs to follow suit. Spotify’s new iOS experience allows users to see the full subscription pricing and promotions in the app, with a single tap directing them outside of the App Store. As of now, Spotify is the only major music streaming service that has publicly updated its iOS app to include direct links to subscription payments following the Epic v. Apple ruling. Other platforms like Tidal, Deezer, and Amazon Music could quickly follow suit for better control over pricing and user billing—especially if Hinge is successful with this payment processing experiment. View the full article

Martin Garrix's enigmatic alter ego, YTRAM, is stepping into the spotlight on American soil for the very first time, Insomniac Events has confirmed to EDM.com. The alias, a reversed spelling of "Marty," first emerged onstage at Tomorrowland back in 2017, cloaked behind a mask. What began as a one-off surprise is now starting a new chapter stateside, with YTRAM slated to make his long-awaited U.S. debut Sunday, June 29th, the final night of Garrix's three-day headlining run at Los Angeles State Historic Park. The weekender, produced by Insomniac, is scheduled for June 27-29. YTRAM's sonic ethos is built on a foundation of tech and deep house. In the years that followed the project's premiere at Tomorrowland, YTRAM releases were few but focused, including standout collaborations in 2020 with Bleu Clair ("Make You Mine") and Elderbrook ("Fire"). Live performances from YTRAM have remained extremely rare, so the news of his U.S. debut is particularly notable. The evening's lineup is rounded out with performances by DJ Ruckus, Lavern, Tchami and a headlining set by Garrix. You can purchase tickets to the show at Los Angeles State Historic Park here. c/o Martin Garrix Follow Martin Garrix:X: x.com/martingarrix Instagram: instagram.com/martingarrix TikTok: tiktok.com/@martingarrix Facebook: facebook.com/martin.garrix Spotify: spoti.fi/2YszVxQ

Picture this: You're at Club Space, it's 3am and Sara Landry is just hitting her stride. Seven hours later, the "high priestess of hard techno" is still behind the decks, and somehow you're still standing as she's breaking records. Landry on May 27th delivered the longest streamed performance in the history of the iconic Miami club, her publicity team has confirmed to EDM.com. The techno superstar and EDM.com Class of 2024 inductee performed for nearly eight hours until 11am, ultimately securing the longest DJ set ever recorded at the venue. The performance speaks to techno's unique power to suspend time itself, and the genre's tendency to demand commitment from its crowds. In an era of TikTok attention spans, watching thousands of people commit to an eight-hour marathon set from Landry feels genuinely subversive. The Spiritual Driveby producer called the night an "unforgettable throw down" at the time. You can watch her full performance at Club Space below. Follow Sara Landry:X: x.com/saralandrydj Instagram: instagram.com/saralandrydj TikTok: tiktok.com/@saralandrydj Facebook: facebook.com/saralandrydj Spotify: spoti.fi/3RKgqwu

Artist Publishing Group and others have settled the social-focused copyright infringement lawsuits they filed against more than a dozen NBA teams. Photo Credit: Markus Spiske After almost one year of litigation, music publishers including Kobalt, Artist Publishing Group, and Prescription Songs have settled the copyright infringement actions they filed against 14 NBA teams. We last checked in on the substantially similar courtroom confrontations, all centering on the allegedly unauthorized use of protected works in social media videos, closer to 2025’s beginning. Subsequently, February saw the coordinated cases enter mediation, which evidently laid the groundwork for settlements. Regarding the exact timing at hand, the action against the Atlanta Hawks trended a bit ahead of schedule and settled outright that same month. However, it wasn’t until April that the appropriate parties jointly moved to dismiss the Minnesota Timberwolves suit, and it was only last Thursday that the publisher litigants and the Phoenix Suns formally told the court that “all claims between them have been resolved.” Of course, we don’t know exactly what the settlements entail. But as social platforms’ licenses cover personal, not commercial, use, one needn’t stretch the imagination to guess the resolutions’ general terms. (Side note: The NBA itself has been on something of a licensing kick as of late, including a high-profile playoffs campaign in April and a more recent promo featuring a then-unreleased effort from Lil Wayne and Bono.) To be sure, NBA teams are hardly alone in settling copyright complaints levied by music rightsholders over allegedly unauthorized usages on Instagram, TikTok, and/or different platforms. During the past year, Chili’s parent Brinker, several American Hockey League teams, and Marriott alike have put related actions to rest. Keeping that point front of mind, social-infringement suits have continued to arrive during 2025. Sony Music sued the University of Southern California in March, for instance, before Warner Music started litigating against Crumbl Cookies in April. Then, May saw the latter major slap Designer Shoe Warehouse with a separate suit yet for allegedly infringing on hundreds of recordings and compositions. Today, the presiding judge in the DSW showdown set a July 2026 discovery cutoff and (assuming a deal doesn’t materialize in the interim) mediation session. Additionally, the court today granted an extension (until July 10th) for Sony Music to formally respond to USC’s dismissal motion. Meanwhile, Crumbl now has until June 30th to provide an answer. In the bigger picture, June has also brought rumblings of possible settlements in publishers’ infringement complaint against X as well as the majors’ copyright suits against Suno and Udio. View the full article

Las Vegas might not be short on parties, but few move with the ambition of Breakaway Music Festival. It's no surprise that Breakaway, the nation's largest touring EDM event, is bringing the action back to Vegas for round two of its series in the city. Partnering with Wynn Nightlife in late-August, the festival will once again embed itself in the opulent corridors of XS Nightclub and Encore Beach Club. The lineup features a medley of Wynn Nightlife resident artists and superstar DJs alike. Taking place from August 22-24, the festivities will be soundtracked by The Chainsmokers, Diplo, Marshmello, DJ Diesel, Two Friends, Bob Moses and EDM.com Class of 2022 star ACRAZE, among others. The announcement comes at a high watermark for Breakaway amid a meteoric trajectory over the last couple of years. In 2025 alone, the brand has launched festivals in multiple new cities including Dallas, Phoenix, Atlanta, Philadelphia, Huntsville and an upcoming addition in Northern California. The ongoing expansion brings its national footprint to a dozen festivals. Tickets to Breakaway's upcoming events with Wynn Nightlife are on sale now. Check out the full lineup and schedule below. c/o Breakaway

Los Angeles-based DJ and producer Angello is back with a powerful new release titled “Echo,” a track that captures the essence of late-night euphoria with an emotional pulse running through every beat. Crafted with a deliberate blend of rave aesthetics and club-ready momentum, Echo showcases Angello’s ability to channel raw energy into a sound that feels both instinctive and alive. “I didn’t overthink it,” Angello explains. “I built this track based on emotion and the energy I felt in the moment. I wanted something that hit hard but also flowed naturally—and that’s what Echo became.” From the hypnotic build-up to the drop that’s tailor-made for peak-time dance floors, Echo is more than just a banger—it’s a sonic experience designed to connect deeply with listeners while keeping them moving. As Angello continues to carve his sound from the vibrant LA underground to the global dance scene, Echo is a strong testament to his evolution as a producer and performer. Whether you’re tuning in for inspiration or to get hyped for the night, Echo deserves a spot on your radar. Listen to Angello – “Echo” now on all streaming platforms. here Follow Angello on Instagram The post Angello Drops “Echo” – A Raw Fusion of Rave Vibes and Club Energy appeared first on EDMNOMAD. View the full article

Photo Credit: OpenAI OpenAI recently removed all mentions of its partnership with Jony Ive’s new hardware startup io from its website and social media channels. The move comes after a federal court order related to a trademark dispute with IYO, a startup specialized in AI-powered hearing devices. The dispute centers on the use of the name io, which IYO claims is too similar to its own branding and could confuse consumers. As a result, OpenAI has temporarily removed references to its official blog post and nine-minute promotional video featuring Ive and OpenAI CEO Sam Altman. The removal has prompted speculation that the partnership itself collapsed—but OpenAI has clarified that the deal remains intact. OpenAI clarified that the content was removed due to a court order following a trademark complaint from IYO regarding the ‘io’ name. The company expressed disagreement with the complaint and is currently reviewing its legal options. Jony Ive’s spokesperson also pushed back, calling the lawsuit utterly baseless and vowing to fight it vigorously. Despite the legal setback, both sides confirm the partnership is still on and that Ive’s team will integrate OpenAI’s research and engineering groups. The original announcement positioned io Products as a key part of OpenAI’s strategy to build consumer AI hardware. The partnership was valued at nearly $6.5 billion and was unveiled in late May 2025. The promotional materials highlighted plans for a screenless AI companion device, leveraging voice and image capabilities to interact with environments. That product concept sounds similar to the Humane AI pin, which cost $700 and was only operational for about a year before the concept was shuttered and all AI devices ‘bricked’—or rendered non-functional. HP bought the remains of that AI company for around $116 million. This trademark dispute arose after the initial announcement, with IYO filing a lawsuit and a judge issuing a restraining order against OpenAI. U.S. District Judge Trina Thompson found that IYO’s trademark infringement case was strong enough to proceed to a hearing in October 2025. Until then, OpenAI cannot use the ‘io’ name on any branding, marketing, or promo materials. It’s unclear how successful the trademark dispute will be, considering the i/o abbreviation is shorthand for input/output in the tech world. Google’s annual developer conference—Google I/O—makes reference to this shorthand. (It’s also the name of the third largest moon of Jupiter, named after one of Zeus’ mortal lovers.) So while OpenAI is forbidden from using the name until the hearing in October, this partnership will continue. For now, the focus is on product development and integration, with branding issues set aside until this legal issue is cleared up. View the full article

The sneak peek of the year is here! Dance music legend Eric Prydz’s HOLOSPHERE 2.0 has been garnering all the rave reviews ever since its introduction in June. Growing in stature with each passing show, the curiosity behind the scenes was palpable. Come Wednesday, a 3-part documentary will go behind the scenes of this epic production. This SHOW, THE TECHNOLOGY AND THE size of it that’s never been done before – ever ERIC prydz HOLOSPHERE 2.0 significantly marked the return of the famed ‘Sphere’ that had a solo appearance at the first weekend of Tomorrowland 2019 (billed as EPIC 6.0 – HOLOSPHERE). That single appearance was enough to make its mark. Revellers back then had vouched to witness a visual spectacle unlike anything seen before. The demand to bring it back has been lingering ever since, with the wishes finally fulfilled 6 years later. The newly opened UNVRS in Ibiza, officially the world’s largest nightclub, is the hub of the show every Monday to add to the delight—the HOLOSPHERE 2.0 residency runs till September. The announced documentary reminds us of the rollout of Holosphere 1.0. Back then, The Verge was able to take a deep dive with Eric and learn all about the amazing feat in building the massive structure. A similar insight is in the works for HOLOSPHERE 2.0, which will help uncover what goes behind carving out the experience. It’s an experience that is both bewildering and memorable at the same time. Stay tuned for more! The post Eric Prydz Announces HOLOSPHERE 2.0 Documentary Series appeared first on EDMTunes.

National Music Publishers’ Association head David Israelite. Photo Credit: NMPA U.S. music publishing revenue grew by double digits during 2024 to crack $7 billion, per the NMPA, which says it’s time for labels and artists “to stand with non-performing songwriters whenever and wherever they strike.” The figure and the quote come from a speech delivered by National Music Publishers’ Association (NMPA) president and CEO David Israelite during his organization’s recent annual meeting. Per the longtime NMPA head, stateside publishing revenue came in at $7.04 billion in 2024, up 13.41% from 2023 for the 10th consecutive year of double-digit growth. That is, of course, despite the well-documented fiscal fallout of Spotify’s bundling craze; the NMPA has pointed to a $230 million single-year hit for songwriters and publishers as a result of the much-criticized maneuver. Back to the 2024 data, Israelite also attributed 26.74% of total revenue to sources that hadn’t previously been paying for licensing. “We fought, we won, and now nearly $2 billion of our revenue last year came from these sources,” he said. Meanwhile, the gap between stateside recording ($11.3 billion in 2024) and publishing ($7.04 billion) revenue is said to have closed significantly since 2014. “This incredible growth story is in spite of the fact that 72% of our revenue is under oppressive government price controls, which have denied songwriters and music publishers the true value of their intellectual property,” he indicated. Elsewhere in his remarks, the NMPA president disclosed members’ 2024 return on dues paid (458%), emphasized the industry’s growing recognition of songwriter achievements, and reiterated the long-term impact of the Mechanical Licensing Collective. “By the end of the next CRB period in 2032,” he specified, “songwriters and music publishers will have saved $2 billion from the zero-commission mandate in the MMA. And those savings will only increase.” Beyond these hard numbers, Israelite concluded by drawing attention to the “unique problem” of songwriters failing to “stick together” in the licensing arena. Chalking up the reality in part to the “different lens” through which songwriter-artists see things, the NMPA CEO noted the issue’s impact on the comparatively small subset of free-market rates. This impact ultimately affects government-controlled rates as well, he explained in more words. “Those who are fighting for fair songwriter rates are sometimes attacked by some of the very songwriters they are trying to help,” Israelite spelled out. “And that’s because some of those songwriters are also recording artists who view these platforms through a different lens. And this dynamic can cause us to crumble from within.” “I am calling on recording artists, managers, and record labels to stand with non-performing songwriters whenever and wherever they strike. … There is an opportunity to make a meaningful difference in songwriter income if we all stand together. And all of us need to do a better job articulating why we are in these disputes so that songwriters are armed with the information they need to help themselves,” he proceeded. View the full article

Photo Credit: apphunters.io SoundCloud renews its agreement with AdsWizz to expand its audio advertising inventory to 14 European markets. SoundCloud and AdsWizz have announced the renewal of their long-standing exclusive agreement with SiriusXM-owned AdsWizz to sell SoundCloud’s audio advertising in 14 European markets. These include Germany, France, Netherlands, Belgium, Ireland, Italy, Sweden, Denmark, Spain, Switzerland, Austria, Portugal, Finland, and Norway. Through 2025, AdsWizz and its regional sales representatives will serve as the exclusive audio sales representative for advertisers seeking to reach SoundCloud’s highly engaged and diverse audience. AdsWizz also has additional non-exclusive access to SoundCloud’s video and display inventory. The renewed advertising relationship, dating back to 2021, will give buyers continued access to SoundCloud’s growing European audience and premium audio inventory. The agreement continues to leverage AdsWizz’s technology, including its programmatic marketplace and ad-tech solutions. SoundCloud’s inventory has more than doubled since 2021, giving advertisers increased access to SoundCloud’s global community of over 50 million global users and 20 million creators. SoundCloud has also adopted new AdsWizz targeting solutions that will improve its advertising capabilities, such as mood targeting, which enhances ad relevance by allowing advertisers to match audio campaigns with a targetable “music mood.” “We’re thrilled to extend our exclusive agreement and continue connecting advertisers with SoundCloud’s growing and passionate global audience of creators and music fans,” said Paul Brown, VP, European Business & Operations at AdsWizz. “This is a major opportunity for brands to reach new, engaged, and diverse audiences in Europe, while leveraging our contextual targeting, measurement, and ad tech capabilities.” “Renewing our deal with AdsWizz reflects SoundCloud’s continued investment in the growth of our ad-supported business across Europe,” said Jonathan Kopitko, Senior Director, Global Partnerships at SoundCloud. “As our global community of artists and fans expands, this collaboration ensures we’re delivering meaningful opportunities for advertisers to connect with engaged, culturally relevant audiences—powered by innovative technology that enhances both targeting and reach.” Advertisers can access SoundCloud’s audio ad inventory through major DSPs, including AdsWizz’s DSP, AudioMatic, as well as through direct insertion orders or the AdsWizz Marketplace. SiriusXM’s combined sales group, SiriusXM Media, will continue to serve as the exclusive advertising representative for SoundCloud in the U.S. through 2025. View the full article

Photo Credit: emojisprout Spotify is set to make music streaming more accessible for users looking to switch platforms—a move to address flatlining subscription numbers in the US. A recent APK teardown has revealed references to a new ‘import music’ tool, with Spotify following Apple’s lead yet again. Android Authority found reference strings in an Android APK teardown that appear to show how Spotify will allow users to migrate playlists and tracks from other services directly to Spotify. Switching to Spotify from another service usually means rebuilding playlists manually or paying to use third-party tools. Now it appears as though Spotify is set to make the transition easier on potential new customers. The code suggests the import function will live in the ‘Your Library’ tab of the app. A message in the interface notes that an internet connection is required for importing. The exact mechanism for importing music remains unclear—though playlist migration is a top user request. Spotify already supports local audio file recognition, so this tool is specifically built for cross-platform migration from other digital service providers (DSPs). The feature is still in development, with no confirmed release date yet. APK teardowns typically only provide hints about future releases—references to Spotify’s still missing HiFi tier were discovered years ago. Spotify is once again playing catch-up with Apple Music, which launched a similar music import tool that allows users to migrate away from Spotify or YouTube Music to Apple Music. The Apple Music tool integrates a third-party tool called SongShift, one of the paid music migration tools. Apple Music users do not need to pay to migrate and they can do so by using the Apple Music app on iPhone, iPad, Android, and the web. The introduction of these features highlights how DSPs are aiming to reduce friction for users looking to switch platforms. Music subscription growth in the United States has reached a peak, so DSPs are fighting to retain users and keep them from going elsewhere. Apple’s introduction of spatial audio at no extra cost has left many users interested in migrating their playlists—especially since Android support for Apple Music has grown in the last few years. View the full article